weissbort george the white coffee pot with fruit and wine

GEORGE WEISSBORT (1928-2013)

The white coffee pot, with fruit and wine

Oil on canvas laid onto board 50.2 x 61cm; s. & d. 1962

Handmade replica of our Italian 18thC painted ‘Salvator Rosa’ frame

Overall framed size 65.1 x 75.2cm

Click on image to view at larger size

This painting is closely related to Chardin’s Still life with teapot, grapes, chestnuts, and a pear (Boston MFA), mirroring and undercutting its composition (coffee pot facing the other way, red instead of white grapes, draped instead of bare table). Chardin is the sine qua non for many still life painters; his compositions possess both concrete reality and a metaphysical quality hinting at the Platonic ideal; many of them also managing to transcend their historic period, as in this case. Weissbort’s fascination with Chardin’s achievements underpins many of his still life paintings, rooting them in the long tradition of European still life artists, and drawing in the spectator, who often experiences a similar fascination with this apparently modest genre of painting.

Biographical details

George Weissbort (1928-2013) was born in Belgium and moved to London at the age of 7.  He attended the Central School of Art & Design (now St Martin’s) where he was taught by Ruskin Spear and Rodrigo Moynihan. He was influenced by Arthur Segal to move from the abstract expressionism of the 1940s to realism, and by Bernard Meninsky, who taught life drawing at the Central School, to study the Old Masters.  He turned first to artists such as Cézanne and Matisse, and later to Vermeer, Chardin, Velasquez, Corot, Titian, Holbein, and Piero della Francesca, amongst others.

He exhibited regularly at the Royal Academy, the Royal Society of Portrait Painters and the Fine Art Society. In 1964-65 he had a large exhibition in Paris, and in 2006 he had a one-man retrospective at the Chambers Gallery, London, followed in 2008 by another at the Denise Yapp Gallery, Whitebrook, Monmouth.

He wrote essays on art and criticism which look both at the techniques of making a painting, and of appreciating a work of art. The latter skill he believed came only after years of consciously training the eye to see as the artist saw, considering for example the ‘negative’ spaces around and between objects. He also discussed the work of specific artists, such as Lucien Freud and Vermeer.

His obituary in The Independent quotes Brian Sewell, a friend, as saying of him that Weissbort ‘painted the right pictures at the wrong time’. His appeal was to those who understood his models and influences; he could be described as a painter’s painter, and the same obituary quotes Paula Rego describing him as ‘a truly honest artist who knows so much about painting’.

Publications: George Weissbort, Paintings and Drawings (Parnassus, 2008), ill. 130 colour plates; includes transcripts of a filmed interview; essays by Tony Rudolph, David Lee and Bernard Dunstan RA.

YouTube video: A tribute to George Weissbort by John French.