Photograph of Artist E.C. CORBITT
E.C. CORBITT
Bergen Norway, Norway - Norway



Original Artworks (4)

E.c. Corbitt; THE MEAGER MEAL, 1996, Original Printmaking Serigraph, 13 x 20 inches. Artwork description: 241 Serigraph 20 color printed in Olso Norway on300 Grm.  Chnson paper with out door induatrial paints in 1996...
E.c. Corbitt
Original Serigraph, 1996
13 x 20 inches (33.0 x 50.8 cm)
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E.c. Corbitt; Old Friends, 1997, Original Printmaking Lithography, 14 x 21 inches. Artwork description: 241  11 colour hand finished 150 limited editionlithograph...
E.c. Corbitt
Original Lithograph, 1997
14 x 21 inches (35.6 x 53.3 cm)
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E.c. Corbitt; The Waiting, 1997, Original Printmaking Lithography, 14 x 23 inches. Artwork description: 241 Hand finished in gouache 11 colour hand colour finished limited edition 150 lithograph...
E.c. Corbitt
Original Lithograph, 1997
14 x 23 inches (35.6 x 58.4 cm)
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E.c. Corbitt; Good Morning, 1994, Original Printmaking Lithography, 26 x 30 inches. Artwork description: 241 Hand finished in gouache Linited edition 9 color lithograph printed on Arches paper 250 Grm. ...
E.c. Corbitt
Original Lithograph, 1994
26 x 30 inches (66.0 x 76.2 cm)
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Artist Statement

E.C. Corbitt - The Comedian of Horror
If one accepts the current Postmodernist perspective on the development of “modernism” in painting, several faulty assumptions about its history become evident. The popular view that painting passed through a series representational phases – Impressionism, Post-Impressionism, Fauvism, Cubism, etc., only to triumph in the achievements of pure abstraction, now appears historically naive and dominated by a Western European bias.

Very few artists, whether in their vision or their work, have so successfully challenged the simplicity of this view as E.C. Corbitt. A few international painters – Francis Bacon, Paul Cadmus, Lucien Freud – while deeply influenced by trends in twentieth-century art, have also remained committed to representation of the human figure.
Corbitt, who spent the last twenty-five years working in Europe, also retains the centrality of the figure, while incorporating aspects of the American art scene – the various forms of Pop, Op, and Conceptual Art – that consolidate his American experience and give his work a unique vision. His technical ability, use of colour, and refreshing sense of wit – combined with a healthy dose of sarcasm (derived, it appears, from an early exposure to Mad Magazine) - involve the viewer in a stimulating journey.

His work, therefore, challenges the legitimacy of certain classifications in contemporary art; it draws from the past, yet ridicules and even mocks many of its pretensions. Whether confronting contemporary events, reflecting on themes in classic modern literature, or indulging in pure fantasy, he brings a freshness of approach to a field that has grown weary of obvious imitation and tiresome redundancy. Any attempt to summarize his work within the traditional forms of dialogue fails to convey the richness of his approach or the impact of his genius.

Rev’d Michael Cunningham FRSA
November 2000...

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