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    Horse Fair at the Barbican, 1913 by Robert Polhill Bevan

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    • Larry Rice

      Horse Fair at the Barbican, 1913 by Robert Polhill Bevan. The artist was also a horseman and painting them was his first love.

    • Jiří Svoboda

      Robert Bevan

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    Robert Polhill Bevan. Horse Sale at the Barbican. 1912. This is the squared drawing for the oil painting in the Tate Gallery -

    Robert Bevan. The Artist's Son (R.A. Bevan) ca.1917. See Wikipedia

    Horse Sale at the Barbican. Robert Polhill Bevan. Tate Gallery. 1912. This was one of the largest pictures Bevan ever made, and has fewer of the contrasts of colour and choices of extreme colour which characterised his earlier work. The colouring is subtle and modulated. See squared drawing -

    Study for Sussex Farm Horse, C. 1904-6 Giclee Print by Robert Polhill Bevan at

    Robert Polhill Bevan. Near Applehayes. ca.1912-15. Watercolour and black crayon. This is a study for a painting of the same title.

    By Robert Joyner

    The Athenaeum - Whisky and Soda (Robert Bevan - )

    Robert Polhill Bevan (1865 – 1925) - The Feathered Hat (Portrait of Stanislawa de Karlowska, the Artist's wife), 1915

    The Smithy, Bolham by Robert Bevan. 1919. I suspect that some find Bevan's use of colour 'difficult', but this is a wonderful painting of his most distinctive period. Sir Philip Hendy, the Director of the National Gallery, in his preface to the 1961 Bevan retrospective exhibition at Colnaghi's, commented that Bevan was perhaps the first Englishman to use pure colour in the 20th Century

    Robert Bevan: A Polish Homestead, 1922. Lithograph. The only one of his later prints not based on a painting.

    Robert Polhill Bevan. Clayhidon Church. 1922. St Andrew's Church, Clayhidon, Devon

    Robert Polhill Bevan. Horse Dealers (Ward's No 1). 1918 (The City Art Gallery, Manchester) "Bevan painted angular, common horses in a most sensitive and individual style, frequently using straight lines which made the horses even more angular, and yet produced more feeling and suppleness in the horse than most artists are capable of. He was and is an outstanding artist of our time...and his use of colour and his draughtsmanship were both quite original." (Sally Mitchell 1985).

    Robert Roth. Beautiful colours

    Ni Tian (Chinese, 1855–1919). Two Horses, dated 1904. The Metropolitan Museum of Art, New York. Gift of Robert Hatfield Ellsworth, in memory of La Ferne Hatfield Ellsworth, 1986 (1986.267.91) #horses

    Horse and Boy, 8th century. China. The Metropolitan Museum of Art, New York. Bequest of Robert West, 1950 (50.221.2) #horses

    Robert Hagan 1947 | Australian Impressionist painter | Western painting