Robert Bevan ‘Horses on a Beach’

Oil on canvas
31 x 34cm

 

Robert Bevan (1865-1925)  was born in Hove in 1865 to a family of Quaker bankers with ancient Welsh origins. He studied at Westminster School of Art, and then at the Acadèmie Julian in Paris, where his fellow students included notable Post-Impressionist artists, Pierre Bonnard, Maurice Denis, Paul Sérusier and Édouard Vuillard. Bevan made several journeys to Brittany, as well as Spain and Morocco, in order to study their art and culture. In Brittany, he befriended Paul Gauguin, who gave him several prints, and he was heavily influenced by the work of Vincent Van Gogh, although there is no evidence that the two artists ever met. As well as Gauguin, Bevan received much encouragement from Auguste Renoir, particularly for his studies of horses.

Bevan’s bold use of pure colour set him apart from his British contemporaries, and his unique style is more akin to the French Post-Impressionists. In many ways, his work anticipates the Fauvism of Henri Matisse and André Derain in the 1900s.

Bevan was an avid huntsman and was Master of the Tangier Hunt, whilst in Morocco. Upon returning to England in 1894, he settled in Exmoor, Devon, where he could combine his twin passions of art and horses. In 1897, Bevan met the Polish artist Stanisława de Karłowska (a founder member of the London Group), whom he married in Warsaw that year and with whom he had two children, Edith Halina (b.1898) and Robert Alexander (b.1901). The family moved to London in 1900.

Although he worked mainly in isolation, Bevan was invited to join Walter Sickert’s Fitzroy Street Group, alongside artists Spencer Gore and Harold Gilman and, in 1911, he became a founder member of the Camden Town Group. Bevan became best known for his depiction of horses as part of ordinary life; for example, his series of works exploring the decline of the horse cab trade, and London horse sales. After his death in 1925, Bevan’s seminal contribution to British art was somewhat forgotten until 1965, when the artist’s son published a memoir of his father and organised a series of exhibitions. Bevan’s modesty and reticence with regard to selling his work meant that a large proportion of his output remained in his personal collection, which was gifted to the Ashmolean Museum in Oxford by Bevan’s children in 1961. Bevan’s work can also be found in collections including the Tate Gallery, London, Pallant House Gallery, Sussex, and the Yale Centre for British Art, New Haven.

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