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Philip Reeves

biog | works | critics
1931Born Cheltenham
1947-49Cheltenham School of Art
1951-54Royal College of Art, London
1951Associate of Royal Society of Painter-Etchers and Engravers, Lecturer, Glasgow School of Art
1959Member, Royal Scottish Society of Painters in Watercolour
1963Fellow, Royal Society of Painter-Etchers and Engravers
1965Member, Society of Scottish Artists
1967Founder member, Edinburgh Printmakers
1970Head of Printmaking, Glasgow School of Art
1971Associate, Royal Scottish Academy
1972Founder member, Glasgow Print Studio
1976Member, Royal Scottish Academy
1981Member, Royal Glasgow Institute of the Fine Arts
1998President, Royal Scottish Society of Painters in Watercolour
2001Philip Reeves at 70; Hunterian Art Gallery, Glasgow; Talbot Rice Gallery, Edinburgh; I 2 - eye two gallery, Edinburgh
2002Fine Art Society, London; Peacock Printmakers, Aberdeen
2003Bankside Gallery, London
2003Scottish Art Club, Edinburgh

Aberdeen Art Gallery, British Government Art Collection, Lillie Art Gallery, Milngavie, Contemporary Art Society, Dundee Art Gallery, Edinburgh University, City Art Centre, Edinburgh, Fleming Wyfold Art Foundation, Glasgow Art Gallery & Museum, Hunterian Art Gallery, Glasgow, Paisley Art Gallery,Paintings in Hospitals, Edinburgh,Perth Art Gallery, Royal Scottish Academy, Scottish National Gallery of Modern Art, Stirling University, Strathclyde University, Victoria and Albert Museum.

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Bridge Malmo Horizontal Code Interior Morning Key
Plinth Primary Three With Black Shore Container Stave Structural Duo
Vertical Group Chord Northern Strata Reclamation 1 Reclamation 2
Reclamation 3 Tor Riddle Vertical Form Promontory 1
Torso Verso Chamber Guard Stack Hedge Row
Screen Fragment 2 Tower Block Sea Tide Belt
Blue Steel Box Caithness Shore Crypt Embankment
Green Piece Hexagonal Fragment Military Fragment Northern Coastline Occluded Front
Plate '06 Shift Shutter The Drop-Gate Viaduct - Elevation
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the critics ...

Reeves' work today is the result of a long-developing vision. It is as crucial in its 'rightness' as the engineering of a bridge.

Christopher Andreae| Christian Science Monitor| 1998

the peerless geometric abstraction of Philip Reeves...

Iain Gale| Scotland on Sunday| 1998

He works by a process of reduction, of isolating the essential ingredients of his subject, distilling it down and re-building the image around it. The result is a very subtle sort of art that works very slowly on the brain. They are contemplative images, lingering and very satisfying.

Richard Ingleby| The Independent| 1997

Reeves commands 'open sesame' to new experience. He is more linear than that other magician Howard Hodgkin, creating his effects by more structured orchestration, but the music they make come from the same poetic sources. Almost oriental in subtlety, mentor for many modern artists.

W. Gordon Smith| Scotland on Sunday| 1993

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