London

Leon Kossoff: Making Marks

October 07, 2021 - January 15, 2022

Marlborough Graphics London presents a selection of outstanding etchings by Leon Kossoff (1926-2019).

Drawing with either a needle or a pencil was an inherent part of Leon Kossoff’s artistic output. He saw in drawing the possibility of studying his subject further, to become closer to it. Like many of his contemporaries such as Frank Auerbach and Lucian Freud, Kossoff approached printmaking as a draughtsman.  These exceptional etchings demonstrate how printmaking enabled Kossoff to pursue and expand his investigation of ‘line’.

Contrary to many of his preparatory drawings, Leon Kossoff’s proofs have largely survived, enriching our understanding of his process. The many states of his print proofs suggest an insatiable strive for perfection, driving him to rework his compositions, sometimes even after an edition had been printed.

Kossoff’s printmaking practice ran alongside his drawing and painting, as demonstrated by recurring themes in all three media:

London played a central part in Kossoff’s artistic oeuvre as he sought to depict its boundless nuances throughout his career. ’Ever since the age of twelve, I have drawn and painted London…the strange ever-changing light, the endless streets and the shuddering feel of the sprawling city linger in my mind like a faintly glimmering memory’ he once commented. Outside Kilburn Underground (1982) and Going Home (1984) are two prime examples of Kossoff’s ability to capture the crowded atmosphere of his neighbourhood.

Kossoff's portraits primarily depict members of his close circle of family and friends. There is a gentle intimacy and sense of affection in the portraits of his parents.  His mastery of the line in Fidelma and Eoin (1988-89) captures the tenderness of this depiction of his long serving model and her baby son.

Kossoff’s etchings after paintings by Old Masters – Poussin, Rembrandt and Veronese - were not intended to be seen as copies, they were an exploration of the artists’ practises. By stripping the compositions of their original lavish colours, Kossoff looked beyond the ornamental surface of the works to further his understanding of the artists themselves.

‘The truth about my encounter with Poussin is in the few brief moments spent before the paintings, making marks on the plates.  It was like working in the dark, I could hardly see what I was doing.’

The initial proofs were developed in collaboration with the artist Ann Dowker and further proofs were printed and editioned by Mark Balakjian of Studio Prints.

Installation view of the Leon Kossoff: Making Marks exhibition, Marlborough London, autumn 2021.
Installation view of the Leon Kossoff: Making Marks exhibition, Marlborough London, autumn 2021.
Installation view of the Leon Kossoff: Making Marks exhibition, Marlborough London, autumn 2021.