{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1375805"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1375805/"}},"images":null,"see_also":null},"record":{"systemNumber":"O1375805","accessionNumber":"E.210-2017","objectType":"Drawing","titles":[{"title":"Study-Interval 3","type":"assigned by artist"}],"summaryDescription":"This drawing dates from the last years of Alan Reynolds career and is part of a series titled <i>Study – Interval</i>. These large subtly tonal drawings, made using graphite, are composed of vertical and horizontal bands of light and dark in four quadrants. They were the development of a practice begun by Reynolds in the late 1970s and 1980s and bring together these earlier tonal drawings with reliefs made drung the same period. In such late drawings as Study-Interval 3, tone and physical recession have become interchangeable.","physicalDescription":"","artistMakerPerson":[{"name":{"text":"Alan Reynolds","id":"A25980"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Pencil","id":"x30347"},{"text":"Paper","id":"x30308"}],"techniques":[{"text":"Drawing","id":"x32498"}],"materialsAndTechniques":"Graphite on paper","categories":[],"styles":[{"text":"Constructivism","id":"AAT112846"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":[],"imageResolution":"none","galleryLocations":[{"current":{"text":"WS","id":"THES49603"},"free":"","case":"R","shelf":"98","box":"R"}],"partTypes":[[{"text":"Drawing","id":"x32498"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Britain","id":"x32019"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"2008","earliest":"2008-01-01","latest":"2008-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Given by Mrs Greta Hyde","dimensions":[],"dimensionsNote":"","marksAndInscriptions":[{"content":"'Study-Interval 3' FOR GRETA","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Lower left corner"},{"content":"AR 2008","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Lower right corner"}],"objectHistory":"Gift from the artist to his sister-in-law, Mrs Greta Hyde; given to the Museum by Mrs Greta Hyde, 2017. ","historicalContext":"Alan Reynolds was born Newmarket, Suffolk, where his father worked as a stableman. He served on the front line in 1944-5 and was in Germany at the end of WWII. He was sent to Göttingen University to train as a teacher, taking art as his subsidiary subject, and then to Hanover as an army master at the Forces Study Centre. The year he spent there was of formative importance. Until 1933 Hanover had been a prominent centre of avant-garde art and there Reynolds was exposed to the work of Die Brücke and the Blaue Reiter artists, as well as that of abstract-concretists including Kurt Schwitters and Carl Buchheister. Crucially, he saw first-hand the paintings of Paul Klee and Mondrian, who were to have a lasting impact on his art. \r\n\r\nReturning from Germany in 1947 with an ex-service grant, Reynolds attended Woolwich Polytechnic School of Art from 1948 to 1952. In 1952, he won a scholarship to the Royal College of Art, but left after only a year. By this time he had already exhibited at the Redfern Gallery and one of his paintings had been acquired by the Arts Council. \r\n\r\nIn his early career, Reynolds painted landscape of the Kentish countryside in watercolour and oils, which him hailed as the ‘the golden boy’ of late Neo-Romanticism. However his first-hand encounter with the work of the German avant-garde, in particular that of Paul Klee, encouraged a preoccupation with the formal and structural elements of composition. By the end of the 1960s, Reynolds was moving away from figurative landscape painting towards increasing abstraction and ultimately concretism. \r\n\r\nThis drawing dates from the last years of Reynolds career and is part of a series titled Study – Interval. These large subtly tonal drawings, made using graphite, are composed of vertical and horizontal bands of light and dark in four quadrants. They were the development of a practice begun by Reynolds in the late 1970s and 1980s and bring together these earlier tonal drawings with reliefs made drung the same period. In such late drawings as Study-Interval 3, tone and physical recession have become interchangeable.  \r\n\n\n ","briefDescription":"Drawing, 'Study-Interval 3', by Alan Munro Reynolds, pencil on paper, British, 2008","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Harrison, M., <u>Alan Reynolds: The Making of a Concretist Artist</u>, Farnham, 2011"}],"production":"","productionType":{"text":"Unique","id":"THES48864"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.210-2017"],"accessionNumberNum":"210","accessionNumberPrefix":"E","accessionYear":2017,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-16","recordCreationDate":"2017-01-05","availableToBook":false}}