Age, Biography and Wiki

Tony Bevan was born on 12 July, 1951 in Bradford, United Kingdom, is a British painter. Discover Tony Bevan's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 72 years old?

Popular As N/A
Occupation N/A
Age 72 years old
Zodiac Sign Cancer
Born 12 July 1951
Birthday 12 July
Birthplace Bradford, United Kingdom
Nationality United Kingdom

We recommend you to check the complete list of Famous People born on 12 July. He is a member of famous Painter with the age 72 years old group.

Tony Bevan Height, Weight & Measurements

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Tony Bevan Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Tony Bevan worth at the age of 72 years old? Tony Bevan’s income source is mostly from being a successful Painter. He is from United Kingdom. We have estimated Tony Bevan's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income Painter

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Timeline

1951

Tony Bevan (born 1951) is a British painter, known for his psychologically charged images of people at the edge of respectable society.

Bevan was born in Bradford, Yorkshire.

1968

He studied at Bradford School of Art from 1968 to 1971, followed by Goldsmiths' College, London from 1971 to 1974, and the Slade School of Fine Art from 1974 to 1976.

1980

Bevan came to prominence as an artist in the 1980s, taking part in the ICA show Before it hits the floor in 1982, Problems of Picturing, curated by Sarah Kent and held at the Serpentine Gallery in London in 1982-83, and The British Art Show, a touring exhibition of contemporary art, in 1984.

Although this handling has led some critics to associate Bevan with the School of London, this connection has been disputed, most notably by Grace Glueck in The New York Times. So it is possibly more accurate to link Bevan to artists like Steven Campbell, Ken Currie and Peter Howson, who also came to prominence in the 1980s, and like Bevan worked under a noticeable influence from 'expressionistic' forms of German art.

Bevan himself wrote his thesis at art school on the highly expressive German eighteenth-century sculptor, Franz Xaver Messerschmidt, and acknowledged Messerschmidt's influence on his own work.

1985

In the estimation of the art critic Sarah Kent, writing in 1985, this quality is a reflection of the social times in which Bevan finds himself, with the highly charged political climate of the mid-1980s in Britain, under the government of Margaret Thatcher, provoking artists like Bevan to 'roll over and play dead, to escape into fantasy, or to stand and fight'.

The implication of Kent's analysis was that Bevan chose to stand and fight.

What this meant in practical terms was that Bevan produced psychologically charged images of people at the edge of respectable society, in a style that drew influence from sources ranging from early twentieth century New Objectivity artists, to Frances Bacon and the painters of the School of London, and the ephemera of street graffiti and popular culture.

1989

This was followed by exhibitions mainly in the USA and Germany, including the LA Louver Gallery, California, in 1989, 1992 and 1995, and Kunsthalle, Kiel, in 1988, Staatsgalerie Moderner Kunst Haus der Kunst, Munich, in 1989, and Galerie Wittenbrink, in Munich, during the 1990s.

1992

Indeed, commenting on Bevan's entry in the Whitechapel Open exhibition in 1992 art critic David Cohen described, as a compliment, one of Bevan's self-portraits as looking like 'a cross between Lucian Freud and Dennis the Menace...

arousing associations of delinquency and social unrest.'

In addition to his 'rough, jagged lines', Bevan's work is characterised by a limitation placed on his colour palette, and his addition of grit or sand to the acrylic paint he uses.

2006

In 2006 Bevan was invited to explore the printmaking technique of monoprints, a technique he had not previously tried, at the Scuola de Grafica in Venice.

This resulted in over 80 images which were subsequently shown at Marlborough Fine Art in London, and marked the beginning of an interest in printmaking Bevan retains to this day.

Bevan has work in many major art collections around the world, including Arts Council England, the Israel Museum, Jerusalem, the British Museum, the Louisiana Museum in Denmark, Museum of Contemporary Art, Los Angeles, the Museum of Modern Art, New York and the Tate.

He is represented by Marlborough Fine Art, L.A. Louver and Ben Brown Fine Arts, London.

Bevan's subject matter focuses predominantly on the human figure.

In doing so he uses a distressed linear style, which has been described as graphic and even deliberately crude.

This followed a two-week professional workshop at the Scuola de Grafica in Venice with the printmakers Simon Marsh and Mike Taylor in 2006.

2007

He was elected to the Royal Academy of Arts in London as an Academician in 2007.

Writing in the catalogue for the exhibition of these prints in London in 2007 Marco Livingstone noted they possessed many of the same physical and psychological qualities of Bevan's paintings, writing that they "reveal as much in their materiality as in the imaginative and emotional dimension of their imagery".

2011

In an interview in 2011 Bevan stated: 'I've used elements [of Messerschmidt] in the past, but recently I decided to work specifically through these sculptures.

So I used formal elements from the sculptures to make self-portraits because it's believed that a lot of these sculptures were self-portraits.

So I used the formal elements of his to work through my own self-portraits.'

As with the Scottish artists Campbell, Currie and Howson, there is a clear interest in attempting to represent an internal or psychological reality in Bevan's paintings by finding visual equivalents to a subject's state of mind.

It is also notable that Bevan's most frequent subject in his paintings is himself, which again adds weight to the argument he is seeking to create 'psychological portraits'.

Indeed, this is a quality Bevan himself notes, admitting that he was heavily influenced as a student by a book called Psychoanalytic Approaches to Art (unidentified).

Paradoxically, despite being described as having a 'graphic style', it was not until relatively recently that Bevan began making prints.

2013

Bevan also exhibits in Australia, at Niagara Galleries, Melbourne and Liverpool Street Gallery, Sydney, with recent solo shows in 2013.