Large Oil Painting After Picasso Cubist-Influenced Cascading Hillside Village





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Description


Terry Kane (British, 1970–2015)

Cascading Hillside Village, 2002

Large Signed Original Oil on Canvas | Liverpool Artist | Cubist and Expressionist Influence

Highlights

• Large original oil painting by Liverpool artist Terry Kane.

• Signed “Terry Kane” and dated “02” on the reverse.

• Painted in 2002.

• Cubist-influenced hillside village composed from interlocking architectural forms.

• Central church spire, bridge or viaduct and luminous waterway.

• Rich palette of red, ochre, green, cream and atmospheric grey.

• Strong relationship with Cubist structure and German Expressionist colour.

• Substantial statement scale measuring 99 cm high.

• Provenance from a recognised Lark Lane antiques dealer.

• Offered unframed on its original stretcher and ready to hang.

Introduction

An impressive large-scale original oil painting by the Liverpool artist Terry Kane, signed and dated 2002 on the reverse.

The composition depicts a village cascading down a steep hillside, its red-roofed houses arranged in overlapping blocks around a tall central church spire. A bridge or viaduct spans the valley while a bright river or stream cuts through the lower composition beneath dense, rounded trees.

Rather than recording a specific place with topographical precision, Kane reconstructs the village through colour, compressed perspective and interlocking form. The result is a powerful architectural landscape positioned between Cubist structure and Expressionist atmosphere.

Catalogue Details

Artist: Terry Kane, also known as Terence Matthew Kane

Nationality: British

Dates: 1970–2015

Title: Cascading Hillside Village

Date: 2002

Medium: Oil on canvas

Signature: Signed “Terry Kane” and dated “02” verso

Style: Modern British, Cubist and Expressionist influenced

Presentation: Unframed on its wooden stretcher

Catalogue Note

The painting is constructed around a sequence of stacked houses descending through the hillside. Their façades and roofs are simplified into rhythmic geometric planes, compressing conventional perspective and giving the village a powerful sense of movement.

At the centre, the church spire rises above the surrounding buildings and provides a visual anchor. The bridge or viaduct establishes a strong horizontal counterpoint, while the pale waterway leads the eye through the lower valley.

Kane uses colour structurally as well as descriptively. Warm red and ochre roofs advance against deeper greens, while pale buildings and water introduce light into the densely assembled scene.

The rounded masses of the trees contrast with the sharper angles of the architecture. This relationship between natural and constructed forms prevents the painting from becoming rigid and contributes to its atmospheric character.

Viewed from across a room, the work has immediate decorative impact. At closer range, its compressed space, interlocking forms and subtle tonal relationships become increasingly apparent.

Cubist And Expressionist Influences

Kane’s published artistic profile records Pablo Picasso, the Cubists and the German Expressionists among his influences.

Those interests are evident here without the painting copying a known Picasso composition. The village is divided into angled, overlapping planes, while colour is used to organise space and communicate emotional atmosphere.

The scene remains recognisable, but natural perspective is deliberately compressed. Buildings lean and overlap, producing the impression of a place reconstructed through memory rather than observed with literal precision.

The description “Cubist-influenced” refers to this method of pictorial construction. It should not be interpreted as an attribution to Picasso or as evidence that the painting was executed after a specific work by him.

The Artist

Terence Matthew “Terry” Kane (1970–2015) was a Liverpool artist known principally for painting in oils, frequently on canvas.

His work explored people, places and urban or architectural environments through confident brushwork, simplified form and expressive colour. Published accounts identify both Cubism and German Expressionism as important influences upon his artistic development.

Kane exhibited at several Liverpool venues, including the Liverpool Academy of Arts and Urban Coffee Lounge.

A retrospective exhibition was held at Bridewell Studios, Liverpool, from 5 to 10 October 2015. His work was also included in a posthumous exhibition at Misty 21 Gallery, Liverpool, during 2016.

A tribute by Gayna Rose Madder, published through Liverpool’s Nerve arts magazine in May 2016, remembered Kane as a distinctive and uncompromising presence within the city’s cultural community.

Provenance

Acquired from Gordon of Remains to be Seen, Lark Lane, Liverpool.

Provenance supplied as stated by the previous dealer.

Subsequently curated by Cheshire Antiques Consultant LTD®.

Dimensions

Canvas and stretcher: 99 cm high × 64.5 cm wide × 2 cm deep

Presentation

Offered unframed on its wooden stretcher.

A hanging wire is fitted to the reverse, allowing the painting to be displayed immediately without an additional frame if desired.

Its narrow stretcher profile also permits straightforward bespoke framing according to the collector’s preferred interior style.

Condition Report

The painting is presented in acceptable overall condition.

The canvas remains stretched and visually presentable. There are areas of foxing-type spotting and age-related surface marks. Small areas of white paint staining are visible along the side edges.

The reverse displays studio and handling marks together with visible staples consistent with its stretched-canvas construction. A hanging wire is fitted.

Please inspect all photographs carefully, as they form an integral part of the condition description.



Reserve: $3,780.00

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