It was alright on the night, Christopher's train arrived on time, he was dropped off at Swindon Dance at 6.35pm, giving us chance to have a chat to him beforehand. Lots of people did come along, I took a photo at the end of the evening, quite a good crowd, maybe 70?
Create Studios, at very short notice, if they could film the event. We were very lucky to have Henry Meredith coming to film the evening, here he is in the photograph below, setting up and checking everything. The video will appear online as soon as we have it, and was a timely reminder that we need to video all our talks and make them available on the website.
At the Slade where his tutor was John Hoyland, and figurative art wasn't favoured at that time, Le Brun went home to work on paintings he was discouraged from working on at college.
Nigel Greenwood Gallery when Richard Morphet encouraged Swindon Museum and Art Gallery to acquire with the help of the V&A fund. Le Brun talked quite a bit about this painting, which coincidentally hung over the stairs in the Town Hall when it was first acquired by Swindon Museum and Art Gallery; the great hooks it hung from are still in the wall!
I've added a few more photos of paintings, a bit blurry and unclear:
'Dream, Think, Speak' was painted in the same year as 'Hyperion'.
I thought the bit of information with the book was rather good:
'Renowned for his evocative and highly-charged imagery, British artist Christopher Le Brun's new work builds upon a wide cultural literacy, from Virgil and Tennyson to William Walton.Following his appearance in many international group exhibitions - such as the influential Zeitgeist exhibition at the Martin-Gropius-Bau, Berlin (1982) - Le Brun became recognised as one of the leading young European painters, and is currently the President of the Royal Academy, London.New Paintings shows an abundance of energy and Le Brun's renewed pleasure in colour and light.Alongside full-colour illustrations, this volume includes a personal response by artist and writer Edmund de Waal, and an introduction by art historian David Anfam that places the work within the tradition of late twentieth and early twenty-first century modern painting.'
Please let me know if you'd like a copy of the book, we can order them together.