Notes

In 1953, a profound turning point marked the beginning of transformative years of artistic study for Albert Adams, commencing at the Slade School of Art in London.¹ Being a descendant of mixed heritage background and living within a racially demarcated era instilled a deep sense of political and self-awareness that repelled, haunted and inspired Adams.² He endured the cruel barriers imposed by racialised policies that denied him access to Michaelis School of Fine Art, subsequently leading him to leave South Africa for London so that he could pursue a free and non-inferior education.³

He was profoundly concerned with the political tumult of the era, and combined with this, his deep fascination with German Expressionism laid the foundation for his artistic exploration of socio-political concern. He embarked on an independent study of German Expressionism long before attending the Slade, drawing inspiration from print and graphic collections of Kathe Kollwitz introduced to him by Irma Stern, who shared in his marginalised background and non-conforming and determined spirit. By the time Adams reached the Slade he had already laid the foundations for his characteristic expressive style and could fully immerse himself in the vibrancy of the era. The influence of important 20th Century European artists such as Lucian Freud and Oskar Kokoschka, who were both his teachers and each left an indelible mark. Adams’ art transcended the geographical boundaries of South Africa, with a portfolio that began to encompass a range of global concerns.⁴

In 1980, Adams made one of his periodic trips to Cape Town to present 30 drawings at Gallery International, the present lots likely formed part of this collection. This body of work began as exploratory studio drawings of animals that Adams observed from his home next door to Regents Zoo in London, subsequently leading him to produce evocative black and white drawings of dogs and hyenas. The present lots are akin to that of Francis Bacon, a significant figure in 20th century European art and influence on Adams. The abstract handling of facial features of the animals, the moody black and white palette with striking contrasts achieved through a range of handling and application of material to the surface.⁵ Adams’ concern with the menacing aspects of humanity is reflected here. Hyena (lot 55) the equivalent of a canine, is engrossed in a catch evoking a sense of violent inferiority. The hyena, symbolising the untamed, takes on the role of a metaphor for the base aspects of humanity, carrying the weight of social burdens and representing lust, self-indulgence, and impulsive desire, all the while serving as a poignant reminder of those relegated to the margins of society. While the muffled Masked Dog (Lot 56) speaks to those aspects of society that are rendered invisible and unacknowledged.⁶

^1. Marilyn Martin and Joe Dolby (eds) (2008) Albert Adams: Journey on a Tightrope, exhibition catalogue, Cape Town: Iziko Museums of Cape Town, page 26 and 102.
^2. https://artuk.org/discover/stories/from-south-africato- the-slade-repositioning-albert-adams, accessed 20 September 2023.
^3. Marilyn Martin and Joe Dolby, pages 65 to 68.
^4. ibid
^5. Benita Munitz (1980) ‘Adams: Most relevant’ The Cape Times, 18 August, page 6, online: https:// artcollection.salford.ac.uk/albert-adams-in-contextresources/, accessed 21 September 2023.
^6. Ibid

Provenance

Acquired from the artist by the current owner.

Exhibited

Gallery International, Exhibition of Thirty Drawings, Cape Town, 1980, similar examples exhibited.