Portret van Chris Gollon

Schilderijen van Chris Gollon: De 9 bekendste, door de ogen van een galerie

Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 9 werken van Chris Gollon in onze catalogus

Kortom

Volgens de visie van de galerie is het beroemdste schilderij van Chris Gollon ‘Big fish eat little fish’ (right section) (2001), waarvan het origineel in het River - Rowing Museum in Thames hangt. ‘Big fish eat little fish’ (left section) (2001) en ‘Big fish eat little fish’ (centre section) (2001) maken het trio compleet dat elk oog herkent. Van de 9 werken van Chris Gollon in onze catalogus presenteert de galerie hieronder de 9 bekendste werken, elk een origineel met de jaartal, het museum en wat het uniek maakt.

1953 – 2017 Meeste werken: River - Rowing Museum

De top 10 schilderijen van Chris Gollon in de galerie

De musea waar de originele werken van Chris Gollon worden bewaard

De 2 musea met de meeste schilderijen op deze pagina.

Museum Stad Werken van Chris Gollon Schilderijen uit deze lijst
River - Rowing Museum, ThamesRiver - Rowing Museum Thames 4 ‘Big fish eat little fish’ (right section), ‘Big fish eat little fish’ (left section), ‘Big fish eat little fish’ (centre section)
Durham University, DurhamDurham University Durham 4 The Gregorian Singer, In the Beginning, Human

Chris Gollon, de kenmerkende schilderijen van elk jaar

Ongeveer tien jaar, van 2001 tot 2011, waren genoeg voor Chris Gollon: de galerie loopt er jaar voor jaar doorheen, een beroemd origineel na het andere.

Werken per jaar

Selecteer een jaar om de originele werken te bekijken.

Schilderijen van Chris Gollon: de galerie geeft antwoord

Welk schilderij van Chris Gollon is het beroemdste van allemaal?Onthul het antwoord

‘Big fish eat little fish’ (right section) (2001), River - Rowing Museum, Thames. ‘Big fish eat little fish’ (left section) (2001) en ‘Big fish eat little fish’ (centre section) (2001) volgen.

Hoe oud was Chris Gollon bij de voltooiing van ‘Big fish eat little fish’ (right section)?Onthul het antwoord

48 jaar oud: ‘Big fish eat little fish’ (right section) dateert uit 2001, en Chris Gollon werd geboren in 1953.

Hoeveel werken heeft Chris Gollon gemaakt?Onthul het antwoord

Onze catalogus bevat 9 werken van Chris Gollon, daterend van 2001 tot 2011.

Waar hangen de beroemdste originele werken van Chris Gollon?Onthul het antwoord

Voornamelijk in River - Rowing Museum (Thames) en Durham University (Durham). De bovenstaande museumtabel bevat een volledig overzicht.

Wanneer creëerde Chris Gollon de beroemdste schilderijen?Onthul het antwoord

In 2001: 3 van de 9 werken op deze pagina werden toen gemaakt, waaronder ‘Big fish eat little fish’ (right section).

Wat zijn de vroegste en laatste beroemde werken van Chris Gollon?Onthul het antwoord

Op deze pagina is het vroegste ‘Big fish eat little fish’ (right section) (2001) en het laatste Still Life (I), St Mary's Series (2011).

Welke originelen van Chris Gollon zijn in de collectie van het River - Rowing Museum?Onthul het antwoord

‘Big fish eat little fish’ (right section), ‘Big fish eat little fish’ (left section) en ‘Big fish eat little fish’ (centre section): het River - Rowing Museum, Thames herbergt 4 van de werken op deze pagina.

Chris Gollon: de kunstenaar

A Life Interwoven with Music, Faith, and the Old Masters

Chris Gollon (1953–2017) was a British artist whose work resonated with a unique blend of technical mastery, spiritual inquiry, and an unconventional approach to artistic boundaries. Born in London, his journey wasn’t one of strict adherence to tradition but rather a dynamic exploration where the techniques of Old Masters seamlessly intertwined with the immediacy of printmaking and the evocative power of music. Gollon didn't simply paint; he constructed visual narratives that invited contemplation on themes of faith, knowledge, and the human condition. His life, though ending in 2017, left behind a legacy of paintings that continue to captivate and challenge viewers with their depth and complexity.

Early Influences and Artistic Development

Gollon’s early artistic development was marked by a fascination with both historical painting techniques and the possibilities of contemporary media. He wasn't content to replicate the past; instead, he sought to integrate its lessons into his own visual language. This led him to master acrylic painting while simultaneously embracing printmaking methods – an unusual combination that allowed for a remarkable degree of detail and layering in his work. The 1980s saw Gollon honing his skills and beginning to exhibit, culminating in his selection as a finalist in the prestigious Spectator Prize in 1989. This early recognition signaled the emergence of a distinctive voice within the British art scene. However, it was the late 1990s that truly ignited his most compelling artistic trajectory—a nineteen-year period dedicated to exploring the intersection of music and visual art. He wasn’t merely inspired by music; he actively collaborated with musicians and songwriters, allowing their creative energy to inform and shape his paintings.

The Crossover: Art and Music in Dialogue

This exploration reached a pivotal moment in 1998 with his participation in ‘ROOT’, an exhibition curated by Thurston Moore of Sonic Youth at the Chisenhale Gallery in London. Moore challenged Gollon, along with other artists like David Bowie and Yoko Ono, to respond to a 52-second tape through either music or art. Gollon’s response, a painting entitled ‘House of Sleep’, became emblematic of his artistic boundary crossing—a testament to how one art form could illuminate another. As Thurston Moore himself noted in the retrospective catalogue for Huddersfield Art Gallery in 2019, Gollon's work moved “beyond painting as singular expression,” creating an environment where "music and its essence of spiritual sentience comes into accord.” This period wasn’t simply about aesthetic fusion; it was a profound investigation into how different creative disciplines could enrich each other, opening new avenues for thought and feeling.

Major Commissions and Spiritual Themes

Gollon's willingness to engage with challenging subject matter led to significant commissions that further defined his artistic identity. In 2000, he received an unusual request from the Church of England: to create fourteen Stations of the Cross paintings for St John on Bethnal Green, a Grade I listed church designed by Sir John Soane. The commission was controversial given Gollon’s lack of formal religious practice, but it also presented a unique opportunity. He collaborated with Fr Alan Green, the Rector of the church, to navigate theological complexities and produce a series of paintings that were both deeply personal and profoundly moving. These works weren't traditional depictions of biblical scenes; they were reinterpretations infused with Gollon’s distinctive style and his exploration of human suffering and redemption. Later projects included an exhibition at the River & Rowing Museum in Henley-on-Thames, inspired by his connection to the river Thames, and a series of paintings focusing on Albert Einstein, prompted by the centenary of the General Theory of Relativity.

Legacy and Historical Significance

Chris Gollon’s work occupies a unique space within contemporary British art. He wasn't easily categorized—his paintings defied simple labels, blending figurative realism with symbolic depth and technical innovation. His willingness to collaborate across disciplines, his engagement with spiritual themes, and his masterful use of acrylic and printmaking techniques set him apart. The inclusion of his works in museum collections, including the British Museum, is a testament to their enduring quality and historical significance. Gollon’s legacy lies not only in the beauty and complexity of his paintings but also in his demonstration that art can be a powerful vehicle for dialogue—a bridge between tradition and innovation, faith and reason, music and visual expression. He left behind a body of work that continues to inspire contemplation and challenge conventional notions of artistic boundaries.