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John Bond

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What have East Anglia, France and the Caribbean all have in common, save a coastline? The clue of course lies in the question itself, in terms of the association with coastlines. Hence our introduction of respected contemporary landscape fine artist, John Bond; who’s historically captured the very likeness of all three locations and their individually ever-changing landscapes at various junctures on canvas. Although Bond’s visually seductive depictions of vistas far and wide don’t just start and finish with a distant tideline; irrespective of how pictorially impressive they tend to be. Indeed, shores and marsh are joined by field, fen and woodland on Bond’s illustrative roll call of compositional honour, and on each occasion is graphically emphasised by acute attention to every nuance of that particular landscape.

Born in 1945, Bond elected to study art at great length during his higher educational stints at both the Norwich School of Art and thereafter, The Central School of Art in London. As hinted above, the general and recurrent theme in Bond’s trademark paintings are those epic landscapes, swathed in beauticious colourations, encouraged by considered and measured hues and saturations which seek to capture the very essence of what, where and when they’re ostensibly about, in terms of defined subject matter. Peer a little deeper into a Bond piece however, and there amid the pitch perfect landscape observations, are more often than not the semblance of life. Middle and distant-ranging figures caught going about their business. If a beach location, then strolling will be the order of the day, whilst should it be a field, a more agricultural bent will be afforded the general populace documented within its surround.

Bond’s figures are still and solitary to the naked eye, yet adding volumes to the narrative for their reasoned part, and enlighten still further seismic scenes of field, marsh, woodland, shore and fen courtesy of their atmospheric, oil painted quality and intensity of application. Sometimes these tones will project warmth, garnered by the sun’s presence, while on other compositional occasions subdued and reflective tones and gradiations will suggest the advent of autumn or the cool and biting snapshots of paler colours will evoke an ambience and rounded feel for the coming of a winter’s tale. Whichever instance is pictorially marked by Bond’s supreme brushstrokes one thing links the paintings, and that is without questionable doubt the artist’s awareness and naturally occurring illustrative response to the traditional passing of seasons, underpinned by a healthy respect for country life per se.

Plying his highly collectable trade care of his oils on board more typically, however he has been known to explore the boundaries of watercolours and gouache in previous incarnations, Bond’s original studies are gregariously crafted pieces, which effortlessly blend a union of sky, landscape and figures like no other and which makes his work instantly recognisable to his loyal following and habitual collectors alike. Finishing on this topic, Bond’s original work and limited edition prints are much collected and hang from admired wallspace in private collections far and wide, whilst his (albeit) rare solo exhibitions are inevitable sold out due to popular demand.