Paper

Student Artwork Guide

Wintergreens

Name Class Date

Frank Bowling, Wintergreens (1986), Royal Academy of Arts. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Frank Bowling artsdot.com/en/artists/frank-bowling/
Artist’s dates
1934 – ?
Painted
1986
Held at
Royal Academy of Arts artsdot.com/en/museums/royal-academy-of-arts-london/

In context

Wintergreens — Frank Bowling

When was this painted?

  1. 1930
  2. 1940
  3. 1950
  4. 1960
  5. 1970
  6. 1980

Shaded: the lifetime of Frank Bowling (1934–?) ▲ this work, 1986

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: artsdot.com/en/art/similar/frank-bowling-wintergreens-D49GPH-en/

Colours

Measured from the image

    Main colour

    Espresso #464437

    Catalogued palette

    • #464437
    • #37352B
    • #6E6C5A
    • #555344
    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Wintergreens — Frank Bowling

    One of the modern masterpieces in the RA Collection, Wintergreens was made in 1986, the year Frank Bowling moved to a studio with a view of the Thames in Limehouse, London. He’s referred to the city as “Turner’s town” and the scale of this painting has attracted comparisons with the ambitious landscapes of past artists such as Turner and Constable.The title refers to plants that keep their leaves throughout winter, also known as evergreens. With its colours and textures of winter vegetation, Tate curator Zoe Whitley has likened this work to “a network of bamboo, reeds, and cattails in a stagnant pond”.To make this work, Bowling added layer upon layer of material. Strips of acrylic foam (a material used in commercial packing) were attached to the canvas, creating a gridlike structure onto which he applied thick layers of paint and translucent acrylic gel. This weighed down the foam, pulling it into new shapes. Bowling then created a new substance by mixing gel and pigment, which he applied in thick layers with a spatula. The quick-drying properties of acrylic paint (as opposed to oil) allowed him to quickly pile on layers of paint. In among the paint, Bowling nested an assortment of unusual objects, including the cap of a film canister and even a plastic toy owl.In this painting and others, Bowling is exploring the complexity of the world rather than reducing it to legible images. The crusted, swamplike texture of the painting seems to challenge the possibility of seeing clearly altogether. The curator of Bowling’s Mappa Mundi exhibition Okwui Enwezor has written that Wintergreens provides a “deeply sceptical vision” of the sublime, far removed from the vastness and grandeur of artists such as Turner.

    Artist and museum

    Artist

    Frank Bowling

    Born in Bartica, Guyana

    The Architect of Abstraction: The Life and Legacy of Frank Bowling

    In the vast, textured landscapes of contemporary abstraction, few names resonate with as much profound authority as Frank Bowling. Born in 1934 in the riverside town of Bartica, British Guiana, Bowling’s journey is one of remarkable movement—not just across continents, but through the very layers of paint and medium itself. His arrival in Britain as a young man marked the beginning of a career that would fundamentally reshape the trajectory of post-war British art. As a pioneer of color field painting and lyrical abstraction, Bowling did not merely paint surfaces; he constructed worlds that evoke the geological, the cartographic, and the deeply psychological.

    Bowling’s formative years in the United Kingdom saw him immersed in the rigorous creative environments of the Regent Street Polytechnic and the Chelsea School of Art. By 1959, his talent earned him a prestigious scholarship to the Royal College of Art, placing him at the heart of a revolutionary generation. Alongside luminaries such as David Hockney and R.B. Kitaj, Bowling was part of a cohort that challenged the boundaries of British experimentalism. It was during this period that the echoes of American Abstract Expressionism—the monumental legacies of Mark Rothko and Barnative Newman—began to resonate within his work, inspiring a fascination with vast, immersive canvases that prioritize emotional resonance over representational clarity.

    The Cartography of Color and Materiality

    The mid-1960s heralded the emergence of Bowling’s most iconic contribution to the art world: the 'Map' series. These groundbreaking works eschewed traditional imagery in favor of a complex, fluid language of color and texture. In these paintings, the artist utilized the technique of pouring diluted paint onto canvas, allowing pigments to bleed, stain, and coalesce into shapes that suggest continents, oceans, and shifting borders. This approach transformed the canvas into a living topography, where the boundaries between land and sea, or self and other, become beautifully blurred.

    What truly distinguishes Bowling’s technique is his daring exploration of materiality. He famously incorporated industrial substances such as asphalt and resin into his compositions, creating heavy, tactile surfaces that possess a physical weight and geological presence. This use of non-traditional media was more than a stylistic choice; it was a deliberate gesture against the polished aesthetic conventions of his era. Through these rugged textures, Bowling explored themes of globalization, cultural displacement, and the anxieties of a post-colonial world, making his work as much about political identity as it is about formal beauty.

    A Modern Master on the Global Stage

    The historical significance of Frank Bowling extends far beyond the aesthetic realm. As one of the most distinguished Black artists to emerge from the post-war British art school system, his success represents a pivotal moment in the diversification of the British canon. His career has been defined by a series of monumental achievements that have cemented his status as a modern master:

    Royal Academy Recognition: Bowling holds the distinction of being the first Black artist to be elected a member of the prestigious Royal Academy of Arts.

    Global Institutional Presence: His works are held in the world's most esteemed collections, including Tate Britain, the Museum of Modern Art (MoMA) in New York, and the Metropolitan Museum of Art.

    Critical Retrospectives: Major exhibitions, such as his landmark 2019 retrospective at Tate Britain, have allowed the world to witness the evolution of his "New York Years" and his enduring influence on lyrical abstraction.

    Today, Frank Bowling remains a singular figure whose work continues to breathe and evolve. Whether through the vibrant energy of pieces like 'Who’s Afraid of Barney Newman' or the atmospheric depth of 'Wintergreens', he invites the viewer into a space where color is not just seen, but felt. His legacy is etched into the very fabric of modern art—a testament to the power of abstraction to navigate the complexities of the human experience.

    Museum

    Royal Academy of Arts

    On show in London, United Kingdom

    A Living Legacy within Burlington House

    To step into the Royal Academy of Arts is to enter a sanctuary where the pulse of creativity has beat steadily since 1768. Located in the heart of London, this is not merely a museum of silent relics, but a vibrant crucible of British art that continues to shape the national identity. Unlike many institutions that function primarily as scholarly archives, the Royal Academy remains a unique, artist-led bastion, dedicated to the very people who breathe life into canvas and stone. The institution’s genesis, rooted in the vision of King George III and the pioneering spirit of figures like Joshua Reynolds, was born from a desire to foster excellence and provide a platform for the fine arts to flourish through patronage and practice.

    The architectural grandeur of Burlington House serves as the perfect stage for this ongoing artistic drama. A magnificent Palladian masterpiece designed by William Chambers, the building itself exudes a timeless elegance that mirrors the sophistication of its holdings. As visitors wander through its symmetrical facades and light-drenched galleries, they experience an environment where history breathes alongside contemporary experimentation. From the expansive Main Galleries that invite deep contemplation of large-scale masterpieces to the intimate Schools and Studios where the next generation of talent is nurtured, every corner of this estate is designed to inspire awe and engagement.

    A Tapestry of Masterpieces and Modern Vision

    The collection held within these walls is a curated journey through the evolution of British aesthetic sensibility. It is a deliberate selection that avoids the overwhelming for the sake of the profound, focusing on works that capture the social nuances and emotional depths of their eras. One might find themselves captivated by the dignified portraits of the Georgian era, where the masterful brushwork of Reynolds captures the grace of the nobility, or moved by the intellectual clarity found in the canvases of Angelica Kauffman. The Academy’s strength lies in its ability to weave these historical threads with the sublime beauty of Victorian landscapes, such as those by John Constable, which evoke the enduring power of the English countryside through meticulous detail and evocative color.

    Yet, the Royal Academy refuses to be anchored solely to the past. It maintains a dynamic dialogue with the present, actively incorporating contemporary works that challenge conventional notions of beauty and form. This commitment to the "new" is perhaps most famously realized in the legendary Summer Exhibition. Since 1769, this open-call tradition has democratized the art world, allowing both established masters and emerging voices to stand side-by-side. For the collector or interior designer, this blend of historical prestige and contemporary edge offers an inexhaustible source of inspiration, making the Academy a vital hub where the stories of yesterday inform the masterpieces of tomorrow.

    An Immersive Destination for the Art Enthusiast

    Beyond its permanent treasures, the Royal Academy distinguishes itself through a program of temporary exhibitions that are nothing short of spectacular. By bringing together iconic works from global institutions like the National Gallery and the British Museum, the Academy offers rare, close-up encounters with some of the world's most celebrated art. These curated displays do more than show beauty; they delve into the technical brilliance and historical context behind every stroke, providing a rich educational experience that resonates with both the seasoned connoisseur and the curious newcomer.

    For those seeking to surround themselves with the essence of artistic excellence, the Royal Academy offers an unparalleled atmosphere. Whether it is through the stimulating lectures held in its historic theatre or the chance to witness the latest trends in a high-profile seasonal show, the institution remains a place where art is not simply observed, but actively debated and celebrated. It stands as a testament to the enduring power of vision, ensuring that Burlington House remains a beacon of cultural heritage and a cornerstone of the global art community.

    Where to read more

    Find this online

    QR code linking to the download page for Wintergreens

    artsdot.com/en/art/download/frank-bowling-wintergreens-D49GPH-en/

    Cite this artwork

    MLA
    Bowling, Frank. Wintergreens. 1986, Royal Academy of Arts. https://artsdot.com/en/art/frank-bowling-wintergreens-D49GPH-en/
    APA
    Bowling, Frank (1986). Wintergreens [Painting]. Royal Academy of Arts. https://artsdot.com/en/art/frank-bowling-wintergreens-D49GPH-en/
    Chicago
    Frank Bowling. Wintergreens. 1986. Royal Academy of Arts. https://artsdot.com/en/art/frank-bowling-wintergreens-D49GPH-en/
    Harvard
    Bowling, Frank (1986) Wintergreens. Royal Academy of Arts. Available at: https://artsdot.com/en/art/frank-bowling-wintergreens-D49GPH-en/

    Look closely

    Wintergreens — Frank Bowling

    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. Look back at Who's Afraid of Barney Newman (1968), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Frank Bowling was about 52 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

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