The reputation of near-forgotten English painter Keith Vaughan (1912-1977) began to rise a bit this year, with a modest flowering of
fresh attention to mark the centenary of his birth. The abstracted figures – styled after Cezanne and Matisse – tend almost always to be male and half-merged with landscape, their faces and genitals consistently obscured. Vaughan's published
journals document a lifelong internalized war between self-expression and self-repression – an inheritance shared by numerous gay artists of his era.
Leaping Figure, 1951
Harvest Assembly, 1956
Two Standing Figures, c. 1956
Landscape with Figures: Morelos, 1959
Aegean, 1960
Seventh Assembly of Figures: Nile Group, 1964
Musicians at Marrakesh, 1966
Illustration for Rimbaud's Illuminations, 1975
