Julian
Trevelyan
Julian Trevelyan, a versatile British artist, left an indelible mark on 20th century printmaking and Surrealism. His experimental approach and involvement in social documentation projects set him apart as a visionary creator. If you're looking for Julian Trevelyan original prints and editions for sale or would like to sell, request a complimentary valuation and browse our network's most in-demand works.
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Biography
Julian Otto Trevelyan was born on 20 February 1910 in Dorking, Surrey. His grandfather Sir George Trevelyan was a liberal politician, and his uncle George Macaulay Trevelyan, a historian. These influential family figures had a significant impact on Trevelyan’s intellectual development, shaping his broad interests in history, politics, and culture, all of which are central to his artistic work.
In 1928, Trevelyan entered Trinity College, Cambridge, to study English Literature. During his time at Cambridge, he became a member of a Modernist group which published the student magazine, Experiment, an avant-garde collective that explored new artistic ideas. This pivotal experience aroused Trevelyan's desire to pursue a career in art.
Leaving Cambridge in 1931, Trevelyan decided to move to Paris, a hub of artistic innovation at the time. This move would prove transformative for his artistic development.
In Paris, Trevelyan immersed himself in the vibrant art scene, studying at Atelier 17, the renowned printmaking studio run by Stanley William Hayter. This exposed him to Surrealism and avant-garde techniques. During this period, Trevelyan worked alongside influential Surrealist artists including Max Ernst and Joan Miró.
Returning to England in 1935, Trevelyan became a founding member of the British Surrealist group, participating in the International Surrealist Exhibition in London in 1936. His work during this period reflected the dreamlike qualities and automatic techniques characteristic of Surrealism, establishing him as a key figure in the movement's British incarnation.
In 1937, Trevelyan became actively involved with the Mass Observation project, a pioneering social research organisation that aimed to capture the daily lives of ordinary Britons. His work in Bolton and Blackpool documented the experiences of working-class communities, marking a shift towards socially critical art. The project's emphasis on observing the mundane aspects of life influenced Trevelyan’s practice, leading him to produce socially engaged Surrealist works.
During World War II, Trevelyan served as a Camouflage Officer with the Royal Engineers. Tasked with redesigning ineffective European camouflage for desert conditions, he played a key role in concealing Allied operations from German forces. This experience later influenced his post-war work, particularly in his approach to landscape painting and his use of collage techniques.
After the war, Trevelyan's style veered away from Surrealism, towards a more lyrical and abstracted approach to landscape painting. He began teaching etching at the Chelsea School of Art in 1950 and later became Head of the Etching Department at the Royal College of Art, where he mentored prolific artists, including David Hockney.
In 1957, Trevelyan published Indigo Days, a memoir that offers deep insights into his artistic journey and the vibrant cultural scenes of 20th century London and Paris. The book retraces his early years as a radical young artist during the 1930s. Filled with intimate and entertaining anecdotes, the memoir captures the artist's experiences, offering a comprehensive understanding of his development as a central figure in the avant-garde movement, both before and after World War II.
Throughout the 1960s and 1970s, Trevelyan continued to innovate in printmaking, developing new techniques and approaches. His work during this period often featured whimsical, semi-abstract landscapes that combined elements of Surrealism with a distinctly British sensibility.
In 1986, Trevelyan was awarded a senior fellowship at the Royal College of Art, recognising his significant contributions to the field. The following year, in 1987, he was appointed a Royal Academician, further solidifying his esteemed position within the British art community. He died in July of 1988 in Hammersmith, London.