Paper

Student Artwork Guide

May 1956 (hendrifter)

Name Class Date

Ben Nicholson OM, May 1956 (hendrifter) (1956), Arts Council Collection. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Ben Nicholson OM originaluniqueart.com/en/artists/ben-nicholson-om/
Artist’s dates
1894 – 1982
Painted
1956
Medium
Painting
Original size
36 x 43 cm
Movement
Abstract Art Abstraction built strictly from squares, circles and straight edges rather than free gesture.
Period
Modern
Held at
Arts Council Collection originaluniqueart.com/en/museums/arts-council-collection-london/
Artistic style
Abstract
Subject or theme
Geometric abstraction

In context

May 1956 (hendrifter) — Ben Nicholson OM

How big is it?

The original measures 36 × 43 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1890
  2. 1900
  3. 1910
  4. 1920
  5. 1930
  6. 1940
  7. 1950
  8. 1960
  9. 1970
  10. 1980

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 88 at death.

Painted when the artist was 62. The artist lived to 88. 100 of the 104 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Ben Nicholson OM (1894–1982) ▲ this work, 1956 every dated painting, decade by decade

First works: up to 1930 Main working years: 1930–1943 Late works: from 1943

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #c5b183

    Catalogued palette

    • #C5B183
    • #81612A
    • #745017
    • #A17C22

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Ben Nicholson OM over the last twelve months — 9 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 72.8%5,900 visits
    2. 2 France 7.4%600 visits
    3. 3 United States of America 7.4%600 visits
    4. 4 United Kingdom 3.7%300 visits
    5. 5 Japan 3.7%300 visits
    6. 6 Greece 1.2%100 visits
    7. 7 Netherlands 1.2%100 visits
    8. 8 Russia 1.2%100 visits
    9. 9 Singapore 1.2%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Ben Nicholson OM

    1. 1 1946 (still life), 1946 7.8%800 visits
    2. 2 1969 (Holkham Sands No. 1), 1969 6.8%700 visits
    3. 3 1924 (first abstract painting, Chelsea) 4.9%500 visits
    4. 4 1934 (relief), 1934 3.9%400 visits
    5. 5 c.1946–1947 (3 circles), 1947 2.9%300 visits
    6. 6 1940 (Cornish Landscape), 1940 2.9%300 visits
    7. 7 1930–1936 (composition still life), 1936 2.9%300 visits
    8. 8 1932 (painting), 1932 2.9%300 visits
    9. 9 1925 (landscape), 1925 2.9%300 visits
    10. 10 1927 (Winifred and Jake), 1928 1.9%200 visits
    11. 11 1932–40 (still life), 1940 1.9%200 visits
    12. 12 1945 (still life with flag), 1945 1.9%200 visits
    13. 13 1924 (Bertha no.2), 1924 1.9%200 visits
    14. 14 c.1928 (Cumbrian landscape), 1928 1.9%200 visits
    15. 15 1933 (St Rémy self portrait with Barbara Hepworth), 1933 1.9%200 visits
    16. 16 c.1922 (Balearic Islands), 1924 1.9%200 visits
    17. 17 1948 (still life), 1948 1.9%200 visits
    18. 18 August 1956 (Val d'Orcia), 1956 1.9%200 visits
    19. 19 1936 (white relief sculpture version 1), 1936 1.9%200 visits
    20. — May 1956 (hendrifter), 1956 this painting 0.0%0 visits

    Together these works take 56.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 114 works by this artist, of which 63 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    May 1956 (hendrifter) — Ben Nicholson OM

    The Geometry of Modern Serenity: Exploring May 1956

    To stand before Ben Nicholson’s May 1956 (hendrifter) is to encounter a moment of profound, almost crystalline stillness. This work does not shout its presence; rather, it invites the viewer into a quiet dialogue between form and space. The composition, rendered in crisp geometric divisions against a vibrant yellow field, speaks volumes about the artist’s dedication to abstraction—a language that finds beauty not in representation, but in pure structure. It is an exercise in balance, where every line and angle seems meticulously placed by an unseen hand guiding the eye through its intricate pathways.

    A Dialogue with Form and Space

    Nicholson's mastery here lies in his ability to distill complex visual information into elemental shapes. The overall structure presents a compelling interplay of squares and triangles, creating an illusion of depth that pulls the viewer inward. Notice how the larger square is segmented by internal triangular forms, which in turn define a smaller, perfect inner square. This nesting effect—the contained within the containing—is central to the piece's meditative quality. It suggests layers of perception, inviting us to look beyond the surface pattern and contemplate the underlying mathematical harmony that governs our visual world.

    Historical Echoes: Nicholson in Mid-Century Abstraction

    Created in 1956, this painting sits at a fascinating juncture in modern art. While abstraction had been evolving for decades, works like this demonstrate a continued refinement of geometric purity. Ben Nicholson, deeply rooted in the traditions of English modernism yet constantly pushing its boundaries, found immense resonance in the clarity offered by non-objective art. His early fascination with the geometry inherent in activities like billiards seems to have matured into a sophisticated visual vocabulary here—a celebration of line, plane, and the satisfying logic of pure design.

    Symbolism and Emotional Resonance for the Contemporary Collector

    For the collector or designer seeking an anchor piece for a modern interior, May 1956 (hendrifter) offers more than mere decoration; it offers intellectual calm. The bright yellow background acts as an optimistic burst of energy, counterbalanced by the cool, rational structure of the white and implied lines. Symbolically, the composition can be read as a map of order emerging from potential chaos. It speaks to the human desire to find pattern, balance, and enduring beauty within the flux of daily life. Owning this piece is acquiring a visual philosophy—a commitment to clarity.

    Whether reproduced for a gallery wall or used to elevate a sophisticated living space, the crisp execution and timeless geometry of this work ensure that it remains both historically significant and immediately relevant, offering a touch of structured serenity to any room.

    Artist and museum

    Artist

    Ben Nicholson OM

    Born in London, United Kingdom

    Ben Nicholson OM: A Life in Abstract Art

    Born: April 10, 1894, Denham, Buckinghamshire, United Kingdom

    Died: February 6, 1982, London, United Kingdom

    Early Life and Artistic Training

    Ben Nicholson was born into an artistic family; his father, Sir William Nicholson, and mother, Mabel Pryde, were both accomplished painters. This environment fostered a deep appreciation for art from a young age.

    He received early education at Tyttenhangar Lodge Preparatory School, Seaford, Heddon Court, Hampstead, and Gresham's School in Holt, Norfolk.

    Nicholson formally studied at the Slade School of Fine Art (1910-1911), where he was a contemporary of notable artists like Paul Nash, Stanley Spencer, Mark Gertler, and Edward Wadsworth. Anecdotally, he spent considerable time playing billiards during this period, finding aesthetic appeal in the game's geometry and movement.

    Artistic Development and Influences

    Early Works: Nicholson’s initial artistic endeavors involved naturalistic still lifes, influenced by his father’s style.

    Cubist Influence: Around 1926, he began to explore abstraction, heavily influenced by Synthetic Cubism and the work of Pablo Picasso.

    Neoplasticism & Primitive Style: A meeting with Piet Mondrian introduced him to Neoplasticism, while his encounter with Henri Rousseau sparked an interest in a primitive style. These influences significantly shaped his artistic direction.

    Key Movements: Nicholson became involved with several important art movements of the time, including the Seven and Five Society (of which he was chair), Unit One, and Abstraction-Création.

    Major Works and Artistic Style

    Reliefs: Nicholson is particularly renowned for his abstract reliefs, beginning in 1933. These works combined painting with sculptural elements, creating a unique visual experience. The white reliefs of the mid-1930s are considered among his most significant achievements.

    Still Lifes and Landscapes: While known for abstraction, Nicholson also produced compelling still lifes and landscapes, often incorporating geometric forms and muted colors.

    The Nicholson Wall: A notable public work is the "Nicholson Wall," a mural created for the garden of Sutton Place in Guildford, Surrey, demonstrating his belief that abstract art should be accessible to a wider audience.

    Materials & Techniques: He experimented with various materials and techniques, including oil paint, pencil, gravel, and masonite, often combining them in innovative ways.

    Legacy and Historical Significance

    Modern British Art: Ben Nicholson is recognized as a pivotal figure in modern British art, contributing significantly to the development of abstraction and relief sculpture.

    International Recognition: His work garnered international acclaim, with exhibitions at prestigious venues like the Venice Biennale and retrospectives at major museums worldwide. He received numerous awards, including the Order of Merit in 1968.

    Auction Records: Nicholson’s paintings command high prices at auction, reflecting their artistic merit and historical importance. For example, "Sept 53 (Balearic)" sold for $1,650,500 at Christie's New York in 2011, and “Fiddle and Spanish Guitar” fetched €3,313,000 at Christie’s Paris in 2012.

    Influence on Subsequent Artists: Nicholson’s innovative approach to abstraction and his exploration of form and space have influenced generations of artists.

    Museum

    Arts Council Collection

    On show in London, United Kingdom

    A Living Legacy: The Pulse of British Creativity

    To encounter the

    Arts Council Collection

    is to step into a vibrant, breathing narrative of British artistic evolution. Unlike traditional institutions that confine masterpieces within the silent, static halls of a fortress-like museum, this collection operates as a "museum without walls." Founded in 1946 amidst the transformative shadows of post-war austerity, it was conceived not merely as a repository for aesthetic contemplation, but as an active conduit of cultural vitality. Its very essence lies in its movement; it is a curated circulation of inspiration that breathes life into universities, hospitals, and public buildings across the United Kingdom. This democratic approach ensures that exceptional art is never sequestered away from the public eye, but instead becomes an integral part of the communal landscape, fostering a deep-seated appreciation for the creative spirit that defines the nation.

    The collection’s historical journey is one of profound growth and intentionality. What began as a modest inheritance of paintings bequeathed by earlier councils has blossomed into a monumental holding of nearly 8,000 works by over 2,000 artists. This vast archive serves as a chronicle of the twentieth and twenty-first centuries, capturing the shifts in societal values and the radical transformations in visual language. For the collector or the art enthusiast, the collection offers an unparalleled window into the soul of British modernism, tracing the lineage from the visceral, psychological depths of

    Francis Bacon

    to the luminous, sun-drenched landscapes of

    David Hockney

    . It is a place where the monumental weight of

    Henry Moore’s

    sculptures meets the unflinching, textured intimacy of

    Lucian Freud’s

    portraits, creating a dialogue between form and emotion that transcends time.

    Innovation and the Contemporary Vanguard

    What truly distinguishes the Arts Council Collection is its fearless embrace of the contemporary and the emerging. It does not merely look backward with nostalgia; it actively shapes the future of art through visionary initiatives like the

    Frieze Acquisition Fund

    . By empowering curators to procure groundbreaking works from the prestigious Frieze London art fair, the collection ensures that the voices of the next generation are woven into the permanent fabric of British heritage. This commitment to innovation means that visitors—and those inspired by its works for interior curation—are always encountering the cutting edge of sculpture, photography, video, and installation. The collection thrives on tension and discovery, often presenting challenging or controversial pieces that provoke thought and ignite debate.

    Beyond its physical holdings, the institution’s impact is amplified through a sophisticated program of touring exhibitions and global partnerships. Through collaborations with entities such as the

    Coventry Biennial

    , the collection explores themes of urban identity and community outreach, bringing curated excellence to regional galleries far beyond the central hubs of London. This spirit of accessibility is further extended into the digital realm via the

    Google Arts & Culture

    partnership, allowing a global audience to wander through its treasures from any corner of the world. For the interior designer seeking to evoke a sense of sophisticated modernism or the scholar tracing the threads of artistic lineage, the Arts Council Collection remains an inexhaustible source of profound beauty and intellectual rigor.

    Where to read more

    Find this online

    QR code linking to the download page for May 1956 (hendrifter)

    originaluniqueart.com/en/art/download/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/

    Cite this artwork

    MLA
    OM, Ben Nicholson. May 1956 (hendrifter). 1956, Arts Council Collection. https://originaluniqueart.com/en/art/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/
    APA
    OM, Ben Nicholson (1956). May 1956 (hendrifter) [Painting]. Arts Council Collection. https://originaluniqueart.com/en/art/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/
    Chicago
    Ben Nicholson OM. May 1956 (hendrifter). 1956. Arts Council Collection. https://originaluniqueart.com/en/art/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/
    Harvard
    OM, Ben Nicholson (1956) May 1956 (hendrifter). Arts Council Collection. Available at: https://originaluniqueart.com/en/art/ben-nicholson-om-may-1956-hendrifter-D4JU6F-en/

    Look closely

    May 1956 (hendrifter) — Ben Nicholson OM

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: abstract geometry, yellow background, geometric pattern. Do you agree? What would you add, or take away?
    4. Look back at 1946 (cerulean abstraction) (1946), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Abstract Art: Abstraction built strictly from squares, circles and straight edges rather than free gesture. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    May 1956 (hendrifter) — Ben Nicholson OM

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary background color described for the artwork 'May 1956 (hendrifter)'?

      • A Blue
      • B Yellow
      • C Green
    2. 2. Which artist created the work titled 'May 1956 (hendrifter)'?

      • A Sir William Nicholson
      • B Ben Nicholson OM
      • C Mabel Pryde
    3. 3. The composition of the artwork is noted for creating a sense of:

      • A Chaos and movement
      • B Depth and balance
      • C Vertical imbalance
    4. 4. In what year was 'May 1956 (hendrifter)' created?

      • A 1910
      • B 1956
      • C 1982
    5. 5. The geometric elements within the painting include a larger square containing what shape formed by three smaller triangles?

      • A A circle
      • B An inner square
      • C A rectangle

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3A · 4A · 5A

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How does "May 1956 (hendrifter)" balance light and dark?

    "May 1956 (hendrifter)" is bright overall, and its luminance is gentle luminance.

    Can I see "May 1956 (hendrifter)" by Ben Nicholson OM on my own wall before buying?

    "May 1956 (hendrifter)" has an augmented reality preview: the artwork's AR Preview page shows it in your own space on a compatible device.

    Can I preview "May 1956 (hendrifter)" by Ben Nicholson OM before ordering?

    A preview of "May 1956 (hendrifter)" by Ben Nicholson OM is available on the artwork's Preview page.