Eduardo Paolozzi 1924-2005
Fairground, 1947
Collage and paint on paper
55 x 26 cms
21 10/16 x 10 3/16 ins
21 10/16 x 10 3/16 ins
40
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In the later 1940s in collages indebted to ethnography and surrealism, Paolozzi constructed a new post-war vision of man based on an assault on his self-imaging: In Fairground Motif (October...
In the later 1940s in collages indebted to ethnography and surrealism, Paolozzi constructed a new post-war vision of man based on an assault on his self-imaging: In Fairground Motif (October 1947), a surrogate figuration suggestive of African nail-riven fetishes replaces civilisation with savagery.
Paolozzi later recalled the influences behind Fairground Motif: 'it was part of a series of images inspired by French playgrounds. I spent my first summer in Paris after the Slade in a large wooden studio at Denfert-Rochereau where there seemed to be a permanent summer fairground, and lots of shooting booths [also] I used to draw that summer at the Musée de l'Homme.' Eduardo Paolozzi, letter to James Hyman, 14 June 1994
Paolozzi later recalled the influences behind Fairground Motif: 'it was part of a series of images inspired by French playgrounds. I spent my first summer in Paris after the Slade in a large wooden studio at Denfert-Rochereau where there seemed to be a permanent summer fairground, and lots of shooting booths [also] I used to draw that summer at the Musée de l'Homme.' Eduardo Paolozzi, letter to James Hyman, 14 June 1994
Provenance
Mayor Gallery, London, 1947Acquired from the above by the previous owner
Exhibitions
Mayor Gallery, Eduardo Paolozzi, 1948Henry Moore and the Geometry of Fear, James Hyman Gallery, 19 November 2002 - 18 January 2003, (cat. 24)
Literature
Twentieth-century British Art, James Hyman Gallery, London, 2001, (cat. 7), illustrated p.17.Henry Moore and the Geometry of Fear, James Hyman Gallery, London, 2002, (cat. 24), illustrated p.42.
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