Scrapbook / Press cuttings*

Rosemary Taylor’s sports paintings were widely exhibited in the 1970s.  
These powerful studies of athletes in movement were greeted with much acclaim.

Here’s a snapshot of the positive comments from the media….

*(click images to enlarge)
		‘Rosemary Taylor was not a cricket fan, until she started watching the Tests on TV. Then something clicked, it was the most extraordinary movement, the sheer beauty and total concentration of the players.’ – Ian Jarrett, The Sun, Thursday, May 20th 1976.
		'Rosemary Taylor shows the bowler Lillee, almost disintegrating with speed and power, while the image of the solid umpire, ‘Dickie’ Bird, is superimposed upon this movement... Being attracted by the muscular power, speed and risk of cricket: her work has none of the pastoral calm of sporting prints.’ - D.A.N. Jones, The Listener, 17th June 1976
		‘The image of power and effort frozen for a second better than any action replay, contrasting with the calm of reflection in cricket’s most tranquil moments.’ Chris Kelly, Thames on Six, October 25th 1977
		Author Trevor Bailey suggests that Rosemary Taylor’s art is some of the most exciting work, ‘brilliantly interpreting the movement of several outstanding competitors. Her paintings suggestively breathes the pace of the Australian fast bowler, Jeff Thomson.’ Author Bailey writes that she is even more impressed by the pictures of the two Wimbledon Champions, Connors and Borg in action. Trevor Bailey, The Financial Times Saturday, December 10th 1977
		Images entitled ‘Summer ’75 on Canvas’ – showing two of 18 impressionistic paintings by Rosemary Taylor. Jeff Thomson & Marsh and Greig H.F. Ellis, The Cricketer, July 1976, pp.19
		‘Rosemary Taylor spent weeks at Lords and Wimbledon watch and photographing the body movements translating them into startling and evocative series of giant oil paintings’. – Good Housekeeping, April 1979. (Author of article unknown)
		Small article and image of Lillee ‘Rosemary Taylor is fascinated by pace and power, muscle and motion, and her subjects in cricket and tennis reflect the fact.... her canvases are vast and her idiom – rather like reflections in clear but rippled water – shows a clear understanding of movement, shape and angle... her tennis studies include Borg at the peak of his service and Connors stretching wide in characteristic crouch and explosive energy.’ (Author unknown) The Field, 1st December 1977
		‘Rosemary Taylor concentrated upon sport in her paintings because she is fascinated by the human body in disciplined movement; keeping her attention sharply focused on the human figure.’ With reference to Lillee and Thomson paintings: ‘even from Selected & Edited by John Bright-Holmes, The Joy of Cricket, 1984
		‘Movement bursts from the huge canvases, conveyed by streaking of background and blurring of outline.’ Rosemary Taylor is struck by the ‘extraordinary movement and balance of players.’ Image of Thompson approaching the wicket. - (Author Unknown) The Field, 13th August 1980
		‘Rosemary Taylor is not a sports type. She is interested only in “balance and body movement of leading athletes” paying a fortune to the touts every day at Wimbledon where she took in her sketch book and camera. At Lords, she had to rely on sketches for they would not let her take photographs. It obviously didn’t matter.’ – Frank Keating, Sports Guardian, Monday, October 17th 1977. (3 images - Marsh and Greig, Connors, Borg and Linesman).
		‘SA artist gains name for sport paintings’ – Article regarding Rosemary’s art exhibitions and Image (Borg and Linesman) in Pretoria News, Wednesday, November 23rd 1977. (Author unknown).
		features the image of Rosemary’s painting of the cricketer Lillee. - Tony Lewis, The Sunday Telegraph May 7th, 1978
		‘...Rosemary Taylor’s stunningly powerful studies of sportsmen in action...beautifully captures the tension and physical effort of sport, notably tennis and cricket, in motion.’ – John Sansom, pg.21 Bristol and West Country Illustrated, December 1977. Image of Rosie Casals.
		‘Rosemary Taylor’s interest was peculiar and seemingly brief. Concentrating on tennis and cricket she was fascinated by muscle in motion, power and pace but also pose. There is no questioning her eye for shape, angle and conformation.’ Jeremy Alexander, The Wisden Cricketer Article, January, 2008 pp19 (IJess Thomson).
		‘Looking at Rosemary Taylor’s technique in the action paintings the figures blur at the moment when tension and aggression start to spill. In contrast, Rosemary Taylor also enjoys the simplicity of images such as Marsh and Greig where the batsman is merely looking down, preparing himself for the bowler to begin his run.’ Alan Ross, The Times Literary Supplement, 9th December 1977
		Rosemary Taylor realises that semi-photographic replicas will not do and so draws in a deliberate blur.’ Alan Gibson, The Times, December 14th 1977.
		Samples of the forthcoming exhibition of cricket paintings – ‘Rosemary Taylor, some of whose impressionistic work has appeared in recent editions of The Cricketer. – The Cricketer International , December, 1977
		Talks about the expansive canvases of Rosemary Taylor ‘who specialises in action studies of sportsmen of all types. Two huge studies of Dennis Lillee, midway through his run, and then in delivery strikes, have green and grey bands as a background, with the flannelled figure and the sinister black hair and moustache dominant in the foreground. The delivery froths into jagged action, catching Lillee’s athletic menace superbly well.’ Murray Hedgcock, The Weekend Australian Magazine, August 30-31st, 1980
		Front cover page of London Magazine; Frebruary 1979.