Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Leon Kossoff’s, "The Judgement of Paris (2)." It's a whirlwind of lines and figures. I'm curious – what first strikes you about this piece? Curator: It’s like looking into a memory, isn't it? That scrappy, urgent etching style… Kossoff’s art, for me, is always about this raw, visceral connection. The mythic subject is almost secondary to the act of seeing, of feeling the scene emerge. It feels like raw sensation. Does it spark anything in you? Editor: It makes me think about imperfect beauty, definitely. It is not classical but feels deeply personal. Curator: Exactly. Kossoff embraces that imperfection. It is a window into the artist's soul.
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http://www.tate.org.uk/art/artworks/kossoff-the-judgement-of-paris-2-p11720
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This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, oil paintings by old masters; in this case The Judgement of Paris, probably 1632-5, by Peter Rubens (1577-1640), owned by the National Gallery, London. Tate owns two prints by Kossoff after this Rubens painting (Tate P11719-20). The artist’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. This print was never published as an edition; Tate owns the second trial proof of this version, which is rendered in brown ink on cream paper.
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