Twitter Beğeni Hilesi

In ‘Pennine Scene - Gate with a Sheep’ it is typical of Peter Brook that he draws our attention to such a common landscape feature, using it to lead the eye to the lopsided tree on the far side of the wall and on, up the hillside, to the usual abandoned farmhouse in the distance.

‘Sheep Eyeing a Sheep Dog’ is one of Peter Brook’s most intriguing compositions, the ewe’s dominant position on top of the wall begging the question whether it has climbed the stile and making us ponder the whereabouts of the dog, presumably somewhere just out of the picture.

🏆 2024 sees us celebrate 𝗧𝘄𝗲𝗻𝘁𝘆-𝗙𝗶𝘃𝗲 𝗬𝗲𝗮𝗿𝘀 since we first began working with 𝗣𝗲𝘁𝗲𝗿 𝗕𝗿𝗼𝗼𝗸. Our second special print release to celebrate this milestone was 'Hannah Hauxwell Waving Goodbye' — by Peter Brook, RBA Available here: acgallery.co.uk/peter-brook/ha…

In ‘The Mill, Sunday Morning’, portraying Birds Royd in Brighouse, a Peter Brook image often accompanied by a bustling crowd, the human interest is provided by the timeless scene of a harassed mother pulled in different directions by a child and a dog. (Leeds Museums & Galleries)

On International Dog Day the subject of the customary post was always going to be somewhat predictable. ‘Out with my Dog’ could hardly be more appropriate, summing up perfectly the predominant theme of Peter Brook’s ever popular later Pennine paintings. (Sold Clark Art Gallery in 2022)

Some of Peter Brook’s early urban work is surprisingly colourful. In ‘Birds Royd - Snow’, from 1960, the Brighouse mill, its adjacent buildings and fence are rendered in bold reds, oranges and browns, in contrast to the bright green of the street lamps. (The Hepworth, Wakefield)

Changing light is a recurring theme in Peter Brook’s work, ‘Walking the Dog - 4PM’, portraying the gloom of a late afternoon in Bradley Wood, with no hint of the usual colourful winter sunset, as Peter and Shep disappear almost unnoticed into the trees. (Sold by Bonhams in 2020)

In ‘Hello! The Dog recognised you before I did’ Peter Brook does not take himself too seriously. Unusually, together with Shep, he strides down the slope towards us, waving enthusiastically and leaving us feeling that we have actually been spotted by his canine companion.

Peter Brook’s paintings often portrayed places he knew well. In ‘Two Listeners’, readily recognisable as the ruined farmhouse at Raistrick Greave on Heptonstall Moor, he has added one his usual KEEP OUT notices, which together with the title leaves us wondering what is going on.

Our Peter Brook Exhibition starts next Saturday. The original painting that we used on the poster is called 'Apprehension' 🐑

A real nip in the air on today’s crack-of-dawn dog walk, a sure sign that summer is almost over and scenes like Peter Brook’s ‘Pennine Morning - Autumn Mist’, with its early light struggling to break through a hazy pink sky, will soon be upon us. (Sold by Bonhams in 2012).

‘September - Cornfield - Sheep on the Wrong Side of the Gate’ from Peter Brook’s ‘Twelve Months of the Year’ series of lithographs is perhaps the most whimsical of the images, featuring a forlorn ewe, seeming only too well aware of its transgression. (Published by Agnews in 1978)

‘Washing Lines in Terraced Streets’ from 1960 is one of Peter Brook’s ‘Monday’ paintings portraying the West Riding towns of Brighouse and Sowerby Bridge at a time when his lines of laundry were much more than just a favourite motif and added both colour and movement to his work.

'Training the dog about 1/4/ to 4' (Embellished) by Peter Brook RBA 🐶 This is our third special print release to celebrate 25 years since we first began working with Peter Brook.

Humour became an increasingly important part of Peter Brook’s later work, ‘Dawn - Pennine Angel - Morning Star’ being unmistakably his own idiosyncratic version of Antony Gormley’s Angel of the North, including the touch of glitter for the star. (From Clark Art Gallery’s 2013 Exhibition)

From the late 1960’s Peter Brook spent over 40 years painting remote Pennine farm houses and returned time and again to his favourite locations. In his later work like ‘Visiting Friends in High Paces, 2000’ the palette becomes much bolder, producing a warmer less austere feeling.

Peter Brook always had a keen eye for detail. In ‘On the Road - Drawing’ it is not Peter and Shep who catch the eye, but the bright red GIVE WAY sign leaning into the picture, while not one of the telegraph poles flanking the road as it disappears into the distance is straight.

We’ve been busy getting our Peter Brook Exhibition ready for tomorrow! Originals ✔️ Signed prints ✔️ Estate approved prints ✔️ New releases ✔️ We even have a number of memorabilia items on display, kindly loaned to us by Peters daughters and by Bankfield Museum...

Witnessed a real Peter Brook dawn when out with the dog this morning, not unlike that in ‘Watching the Sun Rise in the Pennines’, just without the snow. Getting light later nowadays has its compensations with spectacular day breaks not going unnoticed. (Sold by Clark Art Gallery in 2016)

Today is the day! Our Annual Peter Brook Exhibition starts at 10am in Huddersfield and will run until the 5th October 2024 Please double check opening times before travel: acgallery.co.uk/huddersfield