Modern Masters: Group Show

10 September - 22 November 2018

After Rodin XII, Eve after the Fall, 2016

Chromogenic print

Edition of 7, 51 1/5 x 39 2/5 in. 

Edition of 10, 30 1/3 x 23 5/8 in.

© Erwin Olaf

Hamiltons group show Modern Masterspresents a selection of work by some of the greatest names in Modern and Contemporary photographic history, including Helmut Newton, Irving Penn, Richard Avedon, Herb Ritts, Robert Mapplethorpe, Robert Frank, Sir Don McCullin, Peter Beard, Hiro and Erwin Olaf.




Erwin Olaf 

Olaf has often used themes of theatre and cinema in his photographs. With his combination of photojournalism and studio photography, Olaf emerged on to the international art scene in 1988 when he was awarded first prize in the Young European Photographer competition. Olaf’s trademark is to address social issues within the framework of a highly stylised mode of imagery.

The After Rodin series was originally commissioned by the Groninger Museum, The Netherlands in 2017 and their collection now includes nine works from the series. In this series, Olaf pays homage to individual masterpieces by the impressionist sculptor August Rodin and by using members of the Dutch National Ballet to do so. Each of the pictures is titled after the sculpture from which it has been inspired. Olaf also pays tribute to the marbles of the French master with a uniquely sparse, stone background, rather than his more common, elaborate stages.


Sir Don McCullin

McCullin was born in 1935 in London’s Finsbury Park, one of London’s roughest areas at the time. Leaving school at fifteen with no qualifications, McCullin signed up to the RAF as a photographic assistant. In 1958, McCullin took his first published photograph of The Guvnors, a London gang who had been involved in the murder of a local policeman. The image appeared in The Observer that same year, securing his contract with The Observer in 1961Initially based on projects in London, his work soon took him around the world, starting with the building of the Berlin Wall, 1961 and soon after the Cyprus War, 1964, marking the start of his career as a photographer of war and other human disasters. Between 1966 and 1984, McCullin worked for The Sunday Times Magazinewhich was at the cutting edge of investigative, critical journalism, leading McCullin on assignments including Biafra, the Belgian Congo, the Northern Irish ‘Troubles’, Bangladesh and the Lebanese civil war. Sir Don was awarded a knighthood in the 2017 New Years Honours list.


Peter Beard

Peter Beard is an American artist known for mastering a range of mediums from photography to collage, notebooks and portraiture. With the help of a family fortune, he purchased a home in East Africa and his pictures from the area have made up his published work since the 1960’s. In the 1970’s, Beard began to make artworks from his journals and photographs, incorporating his own blood and other materials in artworks of all sizes. These two 1996 large format collages are some of the most imposing and monumental of his later pictures. Whilst Beard’s exhibition history includes impressive institutions from as early as 1977, and his continuing popularity is a testament to the enduring visual power of his pictures. 


Helmut Newton 

Over the years, Newton's work centred primarily on fashion, nudes, and portraits, with the three categories often mixing. With the encouragement of his wife June he began to photograph more overtly erotic nudes, sometimes in his studio, and other times in the jet-set retreats of Europe and The Americas. His black-and-white photographs combine the feel of 1930s noir photojournalism with aspects of New Wave films, reflecting his directorial mastery. Newton challenged conventions with his provocative, hybrid photography that embraced fashion, erotica, portrait, and documentary elements, producing a highly stylized interpretation of elegant and decadent ways of life. 


Robert Mapplethorpe

Mapplethorpe was part of a group of artists which became essential to the New York Art scene in the 1970’s and 80’s. Though he studied graphic arts, his acquisition of a Polaroid camera in 1970 changed his course forever. Only three years later, he purchased a medium-format camera and began photographing his circle of friends including other artists, socialites, and those in the New York underground community. His appreciation of the nude physical form challenged traditional models of the sensual and sensitive – instead focusing on the power and structure of male and female bodies.

With nearly fifteen years of success behind him, Mapplethorpe was diagnosed with HIV/AIDS. Thereafter, his nudes became even more statuesque, paying homage to a Classical aesthetic. The picture of Lisa Marie in the exhibition incorporates the artist’s continued appreciation for the human body’s physical power and flexibility as well as his later passion for the Classically eternal, almost marble-still form.