The depiction of Derrick Greaves's second wife demonstrates his appreciation of classical lineage through its composure and classical approach to drapery. The style is reflective of Greaves's personalised execution of meticulously and precisely executed drawings, particularly those produced in the 1950s.
This work comprises three key and abundantly visible features, frontality, linearity and serenity. The first of these is created by the completely front-on view of Sally Butler, where the viewer is brought face-to-face with the sitter as she gazes out of the work, creating a very arresting image. The frontality also creates the impression of classical architectural figures as seen on temples and buildings from antiquity.
The second feature is the linearity, which is visible in the precision of the line as it meanders across the work to produce the form. This line is of similar execution and style as the works of Matisse and Ingres and is used in this work to create the classical and sculptural drapery of antiquity.
Finally, there is the serenity emanating throughout the work, which is achieved through the monochromatic palette and the simple linear outline of the form. All of these above features combine to create a striking and monumental work.
Provenance
Private Collection, London
Literature
Derrick Greaves: The Pleasures of Drawing, James Hyman Gallery, London, 2005, (cat. 10), illustrated (un-numbered).
James Hyman, Derrick Greaves:From Kitchen Sink to Shangri-La, Lund Humphries, London 2007, illustrated p.148.