Pencil, oil, gouache, collage on board
54 x 152.5cm (21.26 x 60 inches)
Terry Frost – Moon Quay
Peter Nahum. Private Collection, UK
Belgrave Gallery, Terry Frost, AB Printers Limited, Leicester, 1989, illus colour, pl.6
Margaret Garlake, New Art World, British Art in Post War Society, Yale University Press, Yale and London, 1998, illus colour, p118
Chris Stephens, Terry Frost, Tate Publishing, London, 2000, illus colour, p24, pl.14
London Belgrave Centre, Terry Frost, 12 October – 3 November 1989, cat no.6
Chichester, Festival Exhibition, The Tudor Rooms of the Bishop’s Palace, Kindred Spirits, Leading Groups of British Painters in the 19th and 20th Centuries, July 1993, cat no.32
On Adrian Heath’s recommendation, Frost moved to St Ives, where he met and was influenced by leading figures such as Ben Nicholson and in particular Peter Lanyon who were developing landscape-inspired abstraction.
Lanyon’s physical involvement in the landscape was to be a key influence on Frost’s work: “Peter would drive me all over the place… he taught me to experience landscape… so that you knew what was above and below you, and what was above and below the forms you were going to draw.”
Moon Quay belongs to a body of works which marked a fundamental shift in Frost’s artistic production and established Frost as a major figure in Post-War British abstraction. Following on from Frost’s first mature abstract painting Madrigal, this series can be seen as the first fully resolved statement of the approach to painting that Frost would adhere to for the rest of his career.