445:. Standing before the subject to be painted, Uglow registered measurements by means of a metal instrument of his own design (derived from a modified music stand); with one eye closed and with the arm of the instrument against his cheek, keeping the calibrations at a constant distance from the eye, the artist could take the measure of an object or interval to compare against other objects or intervals he saw before him. Such empirical measurements enable an artist to paint what the eye sees without the use of conventional
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the traditional studio nude but set in relation to an artificial space contrived by the artist himself with geometrical markings and the odd prop used as if by a minimalist stage designer." The measuring process was laborious and time-consuming to the point that Uglow himself joked that one model he began painting when she was engaged, was still painting when she got married and did not finish painting until she was divorced.
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developed from his early studies under
William Coldstream, and it was to become a mainstay of teaching at the Slade School of Art in London tying into an already long standing emphasis on drawing there. The result was paintings that had a strong sculptural quality, but within the tradition of the shallow picture plane of modernism, particularly as it was understood by
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Uglow was predominantly a painter of the human figure, although he also painted still life and landscapes. His method was meticulous, involving a great deal of measuring and correction to create images that are not hyper real, but appear almost sculptural. Writing in 1990, Tim Wilcox said " staple is
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until 1954, and later taught there. Uglow's adaptation of
Coldstream's method of painting included the use of a metal instrument of his own design with which he could take the measure of an object or interval to compare against other objects or intervals in his field of vision. By the use of such
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in 1980 and again in 1983 are almost wholly landscapes, and he used the clear summer skies of Cyprus as a stark contrast of flat colour against the geometrical and sculptural forms he painted at ground level. But Uglow was also well travelled to other countries, spending six months in Italy on a
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As this indicates, Uglow worked directly from life, and one of the features of his paintings was that he did not attempt to hide the process of construction. Remnants of the measurements he took and the drawing guide he used remain visible in the finished paintings. This was a process that Uglow
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Success in art was not immediate, and he did not sell a painting until eight years after leaving art school. During this time he took a variety of part-time teaching jobs, most notably at the Slade from 1961, an institution with which he was to be associated for the rest of his life.
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particularly for the way he would make his life models pose in ways to emphasise simple geometric shapes. Planes are articulated very precisely, edges are sharply defined, and colours are differentiated with great subtlety.
207:, was more significant in his development. Nonetheless, when Coldstream left Camberwell to teach at the Slade School of Art in 1951, Uglow followed him, and remained a student at the Slade until 1954.
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was supposed to have helped with. It's most beautiful, very simple, very lovely. I couldn't paint the dome there, so when I came back I thought I'd try to paint it from a lemon.
152:. Uglow's finished paintings display the many small horizontal and vertical markings with which he recorded these coordinates so that they could be verified against reality.
449:. The surfaces of Uglow's paintings carry many small horizontal and vertical markings, where he recorded these coordinates so that they could be verified against reality.
441:(1976). He then carried out careful measurements at every stage of painting, a method Coldstream had imparted to him and which is identified with the painters of the
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Wilcox, T., Causey, A., Checketts, L., Peppiatt, M., Manchester City Art
Gallery., Barbican Art Gallery., & Glasgow Art Gallery and Museum. (1990).
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in London and then periodically at the Browse & Darby
Gallery in London. He also took part in numerous group shows, including exhibitions of the
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143:, whose meticulous method of painting from life involved repeated, careful measurements. Uglow continued his studies under Coldsteam at the
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has jokingly suggested Uglow made such an impression on the young Cherie that 30 years later the Blairs named their son after him. His
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Despite this, Uglow was generally a shy artist who shunned publicity as well as honours, including an offer to become a member of the
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at the
National Gallery in London. In 2002 a posthumous retrospective was organised by the Arts Council for England, entitled
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124:(10 March 1932 – 31 August 2000) was a British painter. He is best known for his nude and still life paintings, such as
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203:. Uglow was influenced by Coldstream whilst at Camberwell, although he believed that another tutor there, the painter
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540:(1993-95) features a reclining nude woman with her back to the viewer, with a tree branch in the background; actress
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in 1954, and spent two years undertaking community work, assisting in the restoration of a war-damaged church by
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in south London, where his father was an accountant. Uglow went to the local grammar school in Tulse Hill,
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495:(1981–82), which depicts a standing nude, was inspired by a children's toy of an acrobat, with the word
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were closest to his heart. Uglow described to an interviewer the inspiration for his still life
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in London in 1991, although, in his own words, he was generally ignored by the other trustees.
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empirical measurements he contrived to paint what the eye sees without the use of conventional
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Life: The
Observer Magazine - A celebration of 500 years of British Art - 19 March 2000
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influenced him all his artistic life along with many others, although perhaps Cézanne,
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Eric Pace, 'Euan Uglow, 68, British
Realist Who Won Praise for His Still Lives', in
729:. London: Lund Humphries in association with Manchester City Art Galleries. p. 17.
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Uglow's perceptual work continues through those he taught and inspired such as
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The
Pursuit of the real: British figurative painting from Sickert to Bacon
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exhibition at the gallery. Hird claimed the painting 'offended decency'.
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In 1962, he was at the centre of a storm at the municipal art gallery in
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One of the most notable paintings made by Uglow was a nude painting of
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591:"Euan Uglow, 68, British Realist Who Won Praise for His Still Lifes"
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Christopher
Andreae, 'Figurative Art Isn't What It Used To Be', in
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Uglow's paintings made whilst he was an artist-in-residence at the
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He has work in the collections of the Arts
Council of England, the
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Colour was fundamental to his understanding, and painters such as
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Keith Perry, 'UK's 'unknown' master painter dies of cancer', in
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Refusing compulsory military service, Uglow was registered as a
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651:(newspaper from Lexington, North Carolina), 22 August 1962, p.2
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which toured around Britain. In 2003 there was a retrospective
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Euan Uglow was born in 1932 in London. As a child, he lived in
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Frank Whitford, 'The Sunday Times best art books of 2007', in
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scholarship in 1953, and later making work in France, Spain,
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Christopher Woodward, 'Behind the scenes at the museum', in
897:(London: Browse and Darby, and the Sheepdrove Trust, 2003)
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Andy McSmith, '£600,000 to see Cherie in the nude', in
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Euan Uglow: Controlled Passion, Fifty Years of Painting
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Euan Uglow: the Complete Paintings: Catalogue Raisonné
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Sebastian Smee, 'The artist who would not doubt', in
855:. London: Yale University Press. pp. 160, 182.
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Public collection holding Uglow's works include the
526:, future wife of the former British Prime Minister
346:to become the first artist-in-residence at the new
49:. Unsourced material may be challenged and removed.
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260:in 1961. However, he did become a trustee of the
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311:, London. In 1992 he featured in the exhibition
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313:British Figurative Painting of the 20th Century
895:Euan Uglow : some memories of the painter
647:'Nude portraits cause uproar in England', in
484:is about ... It's the dome at Volterra that
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686:June Ducas, 'The irresistible Mr Uglow, in
267:Uglow's first solo show was in 1961 at the
800:Lambirth, Andrew, "A State of Emergency",
634:June Ducas, 'The irresitable Mr Uglow, in
396:Uglow died of liver cancer at his home in
908:Painting perceptions, Slade School of Art
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342:In 1980, Uglow was invited by the artist
287:. In 1981 he took part in the exhibition
109:Learn how and when to remove this message
890:(New Haven: Yale University Press, 2007)
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664:(Glasgow newspaper), 21 August 1962, p.7
886:Catherine Lampert and Richard Kendall,
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222:, redecorating the house of the artist
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923:Marlborough Art Gallery, artists' page
841:(London newspaper), 25 November 2007.
425:Uglow preferred that his canvas be a
993:People educated at the Strand School
958:Alumni of Camberwell College of Arts
828:(London newspaper), 16 December 2006
788:(London newspaper), 1 September 2000
784:Unsigned obituary, 'Euan Uglow', in
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47:adding citations to reliable sources
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913:25 artworks by or after Euan Uglow
888:Euan Uglow: the complete paintings
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499:itself being Chinese for acrobat.
135:Born in London, he studied at the
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716:(London newspaper), 19 March 2009
883:(London: Browse and Darby, 1997)
775:(London newspaper), 30 July 2003
690:(London newspaper), 5 April 1997
660:'Nude Paintings Taken Down', in
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851:Lampert, Catherine (2007).
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293:Yale Center for British Art
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122:Euan Ernest Richard Uglow
367:National Museum of Wales
329:Spotlight on Euan Uglow,
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277:Whitechapel Art Gallery
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893:Susan Campbell (ed.),
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978:English male painters
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879:Catherine Lampert,
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688:The Daily Telegraph
636:The Daily Telegraph
519:, India and China.
480:I'll tell you what
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379:Glasgow Art Gallery
145:Slade School of Art
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443:Euston Road School
371:Ferens Art Gallery
305:The Hard Won Image
269:Beaux Arts Gallery
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548:Legacy
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381:, the
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