The Art of Alexander Rose-Innes (Martin Bekker)

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Please check images for condition.

Dustwrapper is shelfworn and torn.  Slight age toning. Spine faded. Boards are bumped and worn.

The Art of Alexander Rose-Innes

(Martin Bekker)

Published by Perskor, South Africa (1991)

The Art of Alexander Rose-Innes.his style is not a true-to-life camera likeness, but a lyrical, romantic realism, an interpretation of reality which tempers post-impressionism with a colourful decorative naturalism. His tones are warm and muted, the choice of his subject matter speaks of his concern with people and the beauty he finds in every day subjects.

http://www.johansborman.co.za/artist-biographies/rose-innes-alexander/: "Alexander Rose-Innes (1915 – 1996)
Rose-Innes initially began working as a sign-writer for a Johannesburg-based company, Neon-Fluorescent, in order to make a living in the Cape. Shortly thereafter he befriended the curator of the Michaelis Collection, Matthys Bokhurst, who encouraged him to continue painting and exhibiting his work.

Rose-Innes had his first solo exhibition in 1958, having previously participated only in group shows in the Eastern Province. In 1962 he exhibited in a group exhibition at the South African Association of Arts Gallery – together with Ruth Prowse, David Botha, Gregoire Boonzaier, Carl Büchner, Nerine Desmond and Frank Spears (Bekker, 1991).

Rose-Innes was a painter of “everyday situations like women selling flowers, people sitting in pubs and girls chatting” (Bekker, 1991: 28). He had particular interest in the scenes of the Cape Malay Quarter and District Six, figures and portraits of common people such as blacksmiths and fishermen, as well as the simplicity of still life compositions, Cape landscapes and domestic interiors. Rose-Innes portrays sensitivity towards his subject matter – always rendered in warm, subdued tones and following realistic conventions. The absence of strong colour notes, together with the use of close-up views, contributes to a sense of intimacy in his work. The subtle gradation of tone and the creamy thickness of paint application are prominent characteristics of his technique (Berman, 1996).

“It is impossible to distinguish between Alex the man and Alex the artist: his role as an artist dominates his whole life, while his deep-seated humanity permeates his whole art” writes Bekker (1991:24). His work was greatly influenced by both Russel Harvey and Gregoire Boonzaier – both of them close friends and colleagues. Esmé Berman (1996) argues that Harvey was of great influence, specifically with regard to his sombre colour palette and soft colour modulations.

Rose-Innes’ work can be accurately described as forming part of the Cape Impressionist tradition, influenced by the major exponents of that idiom. With regards to his subject matter, Bekker notes, “Alexander Rose-Innes is a conservative artist. He did not pursue innovation for the sake of innovation; nor did he follow fashionable trends. Yet his particular brand of painting has not only survived, but steadily grown in popularity.”

Alexander Rose-Innes passed away in 1996."

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