Screenprint on paper
Tate Collection
Works with images
General Collection
Rose and Chris Prater
Collection
The Institute of Contemporary Arts Portfolio
<a href="https://www.tate.org.uk/art/artists/henry-mundy-1679" aria-label="More by Henry Mundy" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Henry Mundy</a>
Presented by Rose and Chris Prater through the Institute of Contemporary Prints 1975
abstraction
colour
diagrammatic
emotions, concepts and ideas
environment / nature
formal qualities
geometric
inscriptions
non-representational
notes and diagrams
space
symbols and personifications
universal concepts
<p>Henry Mundy was born in Birkenhead, Cheshire, in 1919. He moved to London to train at Camberwell School of Art from 1946 to 1950. His teachers included Victor Pasmore, Sir William Coldstream, Sir Lawrence Gowing and Michael Rothenstein. Mundy views his work as non-figurative and has offered purely formal interpretations of it, arguing that 'I only want to get the right intervals between the shapes in a way that satisfies me'. However others have seen his works as alluding to both still life and landscape perhaps because, as the critic David Sylvester remarked, they 'relate to visual experience, to seeing in a space which is all around one, to seeing as one moves about in space'.</p><p><em>Gallery label, September 2004</em></p>
paper print screenprint
Untitled
image: 606 × 584 mm
Presented by <a href="/search?gid=999999979" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Rose and Chris Prater</a> through the Institute of Contemporary Prints 1975
<p>Henry Mundy was born in Birkenhead, Cheshire, in  1919. He moved to London to train at Camberwell  School of Art from 1946 to 1950. His teachers  included Victor Pasmore, Sir William Coldstream,  Sir Lawrence Gowing and Michael Rothenstein. Mundy  views his work as non-<a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/f/figurative-art" title="Glossary definition for 'Figurative'"><span>figurative</span></a> and has offered  purely formal interpretations of it, arguing that  'I only want to get the right intervals between  the shapes in a way that satisfies me'. However  others have seen his works as alluding to both  <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/s/still-life" title="Glossary definition for 'Still life'"><span>still life</span></a> and <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/l/landscape" title="Glossary definition for 'Landscape'"><span>landscape</span></a> perhaps because, as the  critic David Sylvester remarked, they 'relate to  visual experience, to seeing in a space which is  all around one, to seeing as one moves about in  space'.</p>
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2004-09-03T00:00:00
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abstraction colour diagrammatic emotions, concepts and ideas environment / nature formal qualities geometric inscriptions non-representational notes and diagrams space symbols and personifications universal concepts