Frieze Masters 2024

- EDWARD BURRA
- PATRICK HERON
- HOWARD HODGKIN
- LEON KOSSOFF
- MAGDALENE ODUNDO
- EDUARDO PAOLOZZI
- victor PASMORE
- PAULA REGO
- bridget RILEY
- RICHARD SMITH
HOWARD HODGKIN
1932 - 2017
The density of Hodgkin’s painted frames casts them in the role of buffer states, shields of colour erected to shelter the fragile, evanescent images at the heart of a painting from too close and immediate a contact with the world beyond the painting. It also turns his pictures into conduits, leading into private or secret worlds.

- Andrew Graham-Dixon, 1994
Egypt (1993-96) by Howard Hodgkin will join further landscapes made in what is widely regarded as the artist’s ‘golden period’ of 1978 to 1999. Landscapes formed an integral part of Hodgkin’s practice and Egypt appears as an important subject in works made between 1970 and 2002. These landscapes showcase Hodgkin’s emboldened style which coincided with his strengthening career following representation of Great Britain at the Venice Biennale in 1984 and winning the Turner Prize in 1985.
MAGADELENE ODUNDO
Born 1950
Untitled (1984) exemplifies Odundo's masterful control over the terracotta medium and the facility with which she approaches her craft to attain technical elegance. Evocative of the female form or the unfurling of a plant, Untitled also points to Odundo's capacity to draw upon eclectic sources: the modernist sculptures of Brancusi and the graphite-glazed pots made by the Ganda of Uganda that influence her vision are seamlessly entwined. Strength in form echoes a strength of colour in this work. On the deep and rich black surface, subtle nuances of colour - flashes of red ochre from the oxygen-poor, 'reduced' atmosphere - unpredictalby appear.
BRIDGET RILEY
Born 1931
I do not select single colours but rather pairs, triads or groups of colour, which taken together act as generators of what can be seen through or via the painting... [The eye] should feel caressed and soothed, experience frictions and ruptures, glide and drift. Vision can be arrested, tripped up or pulled back in order to float free again.

- Bridget Riley, 2005
EDUARDO PAOLOZZI
1924 - 2005
Three sculptures by Eduardo Paolozzi on display are no doubt symbolic of the struggles of a society still living in the shadow of two apocalyptic world wars. These works, however, are not morbid in tone but more hopeful and impish in their peculiar appearance. Damaged Warrior seems to have been built from the mud and detritus of the trenches, irregular pieces welded together as an awkward composite. As Kirkpatrick aptly remarked, ‘one senses that the vital spirit might have escaped if more time had been taken in rebuilding the physical shell...'.
PATRICK HERON
1920 - 1999
Flooded with expansive areas of intense colour, Patrick Heron's Vertical Blues with Disc : December 1962 (1962) toys with the eye’s comprehension of space. These soft-edged abstract works - many of which were selected by the British Council as part of Heron's presentation at the VIII Bienal de São Paulo in 1965 - served to consolidate the artist's reputation as a painter of equal significance to his American contemporaries in New York at the time.
VICTOR PASMORE
1908 - 1998
Pasmore’s transition from figurative painting to pure abstraction in 1947 was described by art historian Herbert Read as ‘the most revolutionary event in post-war British art’. Chris Stephens has also recognisd the 1960s - the decade in which Pasmore made Brown Development, No 3 - as a distinctive and successful decade in which he ‘synthesised different elements of his art.' The artist seamlessly combines oil, wood, and plastic to construct a work of sufficient build and autonomy; however, placed assymetrically they speak to the poetic and intuitive qualities that is sensed in Pasmore's reliefs.
LEON KOSSOFF
1926 - 2019
I’m always working to make it more like the sitter, to make the structure more real, more intense – but in the end, at the final minute, something else happens, something overtakes me in his presence, or in the presence of whoever I’m painting…I stop thinking for better or worse.

- Leon Kossoff, 1988

The sitter in this portrait, Chaim Kossoff (b. 1925), is Leon Kossoff's brother and the oldest of Wolf and Rachel Kossoff's seven children. He ran his own bakery business (independent of his father's), and first appears in Kossoff's paintings in 1975. Chaim began sitting regularly for his brother after the death of their father in 1982, and, as Kossoff's father had been before him, was a reliable and dedicated sitter for twenty-four portraits in total.
PAULA REGO
1935 - 2022
The Mermaids (2016) one such example of Rego's expansive imagination and use of eclectic source material in the construction of her psychic dramas. In this work, Rego finds inspiration in Hélia Correia's Portugese tale, The Boy who loved the Sea (2005) in which a young protangist journeys to the ocean until his feet bleed. On the way, the boy meets surreal characters including the grotesque apparitions that swirl above his head in this pastel. In the 2017 BBC film (pictured), we see these three tortuous forms - the 'dollies' that were integral to Rego's process - hanging from her studio ceiling.
RICHARD SMITH
1931 - 2016
Made in 1962, Garland reflects a highpoint in the British Pop art movement in terms of its scale, subject and sheer ambition. It was chosen to be included in Richard Smith’s important retrospective at the Whitechapel Gallery in 1966 - an exhibition which established the artist as a name of consequence in contemporary painting. By this date, Smith had already had several solo shows at the Green Gallery in New York, having moved there for two years on the Harkness Fellowship in 1959. It was the first time that he had ever visited the city and he later recalled how ‘America really drove me in very positive ways’.
frieze masters 2024

Regents Park

Stand C17

Hazlitt Holland-Hibbert

38 Bury Street

St James's SW1Y 6BB

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