Join us on Tuesday 23rd February at ELP for an illustrated talk by Edward Twohig on ‘The Joys of Collecting, Creating and Living with Original Prints.’ Twohig is a practicing intaglio printmaker and a collector of original prints. He trained at the Crawford College of Art and Design in Cork before specialising in etching at Chelsea College of Art, London where he was the first student from Ireland to receive a British Council Scholarship.
Collecting prints can be an obsession, indeed a way of life. Printmaker, director, curator and connoisseur; Edward Twohig started young. Aged 22 he purchased “St Eustace” by Durer, 14 Durer’s later his love of printmaking has certainly not diminished and spills into all the main mediums and styles. He is bravely going to bring along some examples from his 7,000+ collection for us to see and intends to explain his collecting journey with some amusing anecdotes.
In his own practice Twohig is a firm believer in Ruskin’s maxim “You will never love art well until you love what she mirrors better.” Taking his inspiration directly from nature, he then distils the essence of the places that resonate with him through painting, photography and particularly drypoint etching, which is especially suited to his fluent mastery of line. His etchings, while acknowledging the influence of Blake, Ravilious and Samuel Palmer in particular, are a vital and sustained contribution to the English pastoral tradition in their own right. Edward Twohig’s work is represented by a Eames Fine Art in Bermondsey, London.
Twohig currently combines his art practice with his role as Director of Art at Wellington College.
RSVP to the talk here, limited spaces.
Above: Picasso, “Vollard Suite”, line etching, c.1932
Above: John Craxton, “Poetic Landscape” coloured lithograph, 1945.
Above: Rembrandt, “The Three Trees”, etching & drypoint, 1642
Above: Jeffery Edwards, “The Cortina of Dr Calaigari” screenprint, 1991.
Above: Sir Francis Seymour Haden, PPRE, “The Boat House” drypoint from observation, 1877.
Above: Roy Lichtenstein, “Haystacks # 3”, lithograph, 1969.
Above: Middleton Todd, “Jean Caught In A Moment In Time”, drypoint, 1942.
Above: Edward Twohig, “Evening’s Allegro”, etching and aquatint, 2015.