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Gallery: 1970-1980

The Pricelist: Gallery 1970-1980

Please note: Not all pieces are for sale.

  1. Self Portrait and a vision of Saint John of the Cross, 1972. Oil on Hardboard, 90×70 cms. £25 000.00.
  2. Self Portrait at eighteen, 1974. Oil on canvas. 100×90 cms. £25, 000.00
  3. Self portrait with the agony in the garden, 1976. Oil on canvas. 100×60cms. Collection of Jane Bailey
  4. Lott and his daughters, 1977. Oil on canvas. 30×100cms. £25.000 00
  5. Chatham Hill, 1977. Oil on canvas. 60×50cms. £25,000.00
  6. View of Chatham, 1978/9. Oil on canvas. 130×150cms. £65,000.00
  7. Garden Gillingham, 1977. Oil on canvas. 90×50cms. £45,000.00
  8. Portrait of Melvin Keane, 1979. Oil on canvas. 90×50cms. Collection of Melvin and Pat Keane
  9. The Wanker, 1978/9. Oil on canvas. 100×70cms. £50,000.00
  10. The Gravedigger, 1980. Oil on canvas. 53×84 cms. £45,000.00
  11. Under Three Tower Blocks, 1979. Watercolour and ink on paper. 60×30cms. £1000.00
  12. Three Houses, 1979. Watercolour and ink on paper. 60×30cms. £1000.00

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Gallery: 1970-1980

Vincenzo Donlini Self Portrait These formative years saw Vincenzo Donlini not only finding himself but piecing together his ‘visionary’ experiences with those of the other artists he loves and admires. In Self portrait with vision of Saint John of the cross (1971) we see the influence of Dali and El Greco.

His first negative spiritual experience took place during the period when he painted the masterful Self portrait at eighteen where he paints exactly what he sees before him. He has become completely at ease with oil paint and the influence of early Flemish masters is also evident.

This negative spiritual experience (the “shiver”) was to permeate his work until his work of the late seventies ,Self portrait with the agony in the garden and Lott and his daughters to name two. Self Portrait with the agony in the garden was perhaps the template for his later work, friends called it “The Icon Painting” because of its ‘old fashioned’ reverential subject matter, influenced by early renaissance art, Pre-Raphaelite painting and the work of Stanley Spencer.

Lott and his daughters addresses the apparently unpunished act of incest between father and daughter, whereas Onan’s ‘spilling of seed’ merited a smiting, this biblical reading was deeply disturbing for the young virgin painter.

The paintings Chatham hill, View of Chatham and Garden Gillingham are painted without human figures, in an attempt to find the ‘divine’ in the unprepossessing urbanscape and to avoid the perplexing questions of sexuality? These urban landscapes do indeed possess an intense visionary aspect.

Portrait of Melvin Keane was perhaps the first commissioned portrait and is unusual in that the ‘sitter’ Melvin Keane (friend & poet) asked that he be painted naked.

The Wanker was painted during a period of artistic, sexual and spiritual frustration whilst the artist was working as a postman. It is a work unusual in the contrast between the ‘throw away’ title and the scrupulous painting of the figures and landscape.

The Gravedigger, Under three tower blocks and Three Houses were all painted whilst the artist was working as a gravedigger in Gillingham. A vision of a huge benign presence which seemed to be in ‘all things.’ saw his technique change to watercolour, in an effort to record everything quickly.

The number three seemed everywhere to the artist at this time, this he believed, to be the ‘holy trinity’ in tangible form seen in the ugliest of urbanscapes.

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