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This exhibition of work by Patrick Heron and Victor Pasmore celebrates sixty years since they both represented Britain at the VIII São Paulo Biennial in 1965. The Biennial was a significant event for both artists and, also more broadly, for Britain as a country in establishing itself as one of the primary players in the development of abstraction on the international stage. The selection brings together ten examples by each artist dating from the period 1952 to 1964. Many of the works were included in the original São Paulo show and together they give a sense of the scale and impact that the original display had on an audience largely unfamiliar with British Modernism. Although the aesthetic differences between Heron and Pasmore’s work are stark, both artists shared a rigorous approach to their practice which allowed them to push the boundaries of abstraction down untrodden paths; Heron exploring the visual complexities of colour and Pasmore that of space. By 1965 both Heron and Pasmore had well-established careers in Britain and were producing some of their most important work. The significant influence that they each had on the development of abstract painting in Britain and beyond was recognised by their selection for the Biennial, and their shared artistic values and common interests made them as exciting a pairing in 1965 as indeed they remain today.

In 1999 Gary Hume was selected by the British Council to represent Britain at the 48th Venice Biennale. Twenty-five years on, and to mark this occasion, Hazlitt Holland-Hibbert are presenting some of his most important early works dating from 1993 through to 1999. The year 1993 marked a radical shift in Hume's creative direction. He moved on from his celebrated 'door' paintings to focus on a braoder scope of subjects including head, bodies, flowers, and other objects drawn from popular culture and daily life. Most of the paintings in this show began with a photograph, a 'found' image, traced and projected onto monumental aluminium supports and subsequently filled with high-gloss household paint. Hume favoured the brand Dulux for his tins of ready-made commercial paint: 'it's fluid, it sets, it's standard, it's recognisable... When you make a painting out of it, the material becomes beautiful. It transforms itself from a mundane material into a beautiful material'.

In 1974 Catherine Lampert organised the first major touring retrospective of Euan Uglow’s work for the Arts Council of Great Britain. Fifty years on, Lampert has curated this exhibition to revisit some of the artist’s most important work and to mark the joint representation of the Estate of Euan Uglow by Hazlitt Holland-Hibbert and Frankie Rossi Art. Uglow’s paintings are meticulously constructed. Their grand simplicity is underpinned by the artist’s rigorous methodology combining close observation, carefully controlled light conditions, and his notable use of plumb lines to accurately demarcate the subject on the canvas. The traces of this process are left visible on the surface of all Uglow’s pictures, each line and mark corresponding to a particular point in space. Included in the exhibition are rare and exceptional masterpieces from public and private collections which reveal Uglow’s command of the nude. The privately owned Root Five Nude (1974-75) and The Diagonal (1971-77), and Curled Nude on a Stool (1982-83) lent by the museum Ferens Art Gallery, display the artist’s accomplished handling of the naked body as a formal problem.

Maelstrom comprises a new series of paintings by Maggi Hambling, made on her return to the studio following a near-fatal heart attack in New York in March 2022, two days...

Featuring nine paintings and eleven drawings that date from 2017 to the present day, Hazlitt Holland-Hibbert in collaboration with Frankie Rossi Art Projects present the first ever exhibition of self-portraits by Frank Auerbach (b.1931) and the first presentation of new work by the artist since 2015. Primarily known for his landscapes of North London and portraits of a small circle of regular and dedicated sitters, the self-portraits are a notably rare aspect of the artist’s oeuvre. Prior to these recent works, Auerbach has only made two self-portrait drawings in 1958 and 1959, and one oil-over-charcoal on paper dated 1961-1965. It would be another 36 years before the artist drew himself again, and not until 2021 that Auerbach painted his first self-portrait on canvas.

An introduction to the second solo exhibition of work by Richard Smith (1931-2016) at Hazlitt Holland-Hibbert, focusing on the monumental shaped canvases made by the British abstract artist from the late 60s through to the early 70s.

Filmed on the occasion of Hazlitt Holland-Hibbert's exhibition 'Lucian Freud: Interior Life' to celebrate the centenary of Freud's birth, David Dawson explores the life and work of the artist with a particular focus on Freud's etchings.

Produced on the occasion of Hazlitt Holland-Hibbert's first solo exhibition of work by the British artist Patrick Heron since the gallery announced its representation of the artist’s estate in 2020. Patrick Heron (1920-99) is among the most significant artists to have emerged in Britain after the war. He was a highly articulate advocate for the European tradition of painting, a tradition which he extended through his work. A fascination with the pictorial effects of colour runs through his entire oeuvre and arguably reached its zenith in the seemingly simple works he made between the mid-1960s and mid-1970s, the subject of this film. Today these paintings still hum with the same vibrancy and freshness which moved his audience over half a century ago. Heron’s exceptionally sensitive eye for colour is as apparent in his earlier work as in his brilliant commentaries on the paintings of the three artists he revered above all others: Bonnard, Matisse and Braque. But it was with the type of paintings shown here that he made work that was fully immersed in the limitless realm of pure, abstract colour.

This exhibition is devoted to the art of Howard Hodgkin (1932-2017), who is widely regarded as one of the leading British painters of the last fifty years. Described by the...