To view Drawings and Paintings separately
Anthony's drawing is 22" x 29" drawn in New York in 1985 whilst he was suffering from hepatitis after a trip to India. The doctor told the person who was looking after him that he would not survive. It took a week to finish the drawing ... and Anthony survived!
“I started drawing on July 10th 1999 in India” Marian Fannon told me “.....I had never studied art or drawn a thing in my life before that. Just got the urge one day and when Anthony [Christian] saw the results, he encouraged me to carry on and so it went.......” What the artist Anthony Christian saw was a sense of form and a distinctive approach to the medium. One notices immediately a decorative skill, a facility for filigree detail, and a warm yet subtle sense of colour. If this were all Marian had to offer hers would be a very pleasant if minor talent, but look closer and you find a strong compositional sense and what I can only describe as a mystical insight. I was first attracted to Marian’s Mandala drawings because, while holding fast to the profound spiritual qualities of the traditional Mandala, her versions invested the old form with new life, a new-minted freshness, a vibrancy of colour. Her animal drawings have a similar appeal. Starting with the original beast, be it elephant, rhino, cockerel or some other creature, Marian launches into a surreal fantasia of colour and decorative detail. And yet somehow, almost miraculously, she remains true to the essence of the creature she sets out with. Recently she has been experimenting with floral and semi-abstract patterns. These are among her finest pieces because they retain and build upon the two pillars of her art, a strong sense of form and a joyous exuberance of colour and detail. The collaborative work with Anthony Christian adds yet another dimension to her art. The harmony of these pieces and their distinct quality are such they appear to be the work of another major artist, not the work of two. Should he/she be called Anthony Fannon or Marian Christian? You decide. Reggie Oliver
Ink drawing by Fanny Christian
40 x 30 ins
A witch in a hat had a cat in a plait
Who wandered all over the house
He crept up the stairs and leaped over chairs
In search of a juicy mouse.
On one of his jaunts, in one of her haunts
The cat saw a beautiful fish
A - hangin’ around, way high above ground
It looked like a tasty dish.
A sight to behold, its colours so bold,
The cat was enthralled by the vision,
There dangled some cheese, and a mouse if you please!
Oh no! What an awful decision
He now had to choose and both he could lose
Deciding on which he would pounce.
A mouse or a fish would both be delish
But which was the best ounce for ounce?
Enjoying the scene , a bird that was green
Was watching in anticipation
With string in its beak, it couldn’t much speak,
But would soon thwart the cat’s delectation!
The mouse will be spared from being ensnared
As soon as the bird takes flight
They’ll fly off together whatever the weather
Escaping the cat’s hungry bite.
And the fish? Oh the fish! That beautiful fish
Will hang there, despite the cat’s caper
Its cheek still aglow and the net down below
Are made out of Japanese paper!
And the cat? Well the cat still wears the fat plait
And lives with the witch to this day
He still roams the house in search of a mouse
And sometimes a fish comes his way…
Courtesy of the witch of course!
Despite all the vagaries of the modern art scene, the notion that draughtsmanship is the foundation of all good painting has never quite been abandoned. Good draughtsmanship is not simply about accurate representation - any halfway decent student in any halfway decent art school can achieve that - it is about developing the discipline to respond fluently and spontaneously to what you see before you. What characterised Anthony Christian’s drawings from a remarkably early age was not only an accurate eye, but a confident subtle line, delicate and yet powerful. Comparison with the drawings of Michelangelo and Leonardo are not out of place. Christian consciously modelled his drawing on theirs, sometimes copying actual drawings - like Leonardo’s Battle of Angiari study - with phenomenal verve and accuracy. More importantly he absorbed their dynamism and economy, together with their sense that a drawing is not simply a sketch or study for something bigger but a work of art in itself. Today Christian employs all kinds of medium, charcoal, sanguine, ink, and achieves a wide range of effects to suit his different subjects. His great tree drawings have a wonderful wiry vitality, his nudes a supple sensuality; while with his portrait heads and drapery studies he achieves an extraordinary sculptural quality in the modelling by the use of shading and highlights. In Christian’s drawings you find the key to his mastery of other forms. They are not a sideline; they are the heart and soul of his work. REGGIE OLIVER http://www.blackcathedral.co.uk/ right click to open in a new window
THE YOUNG DISCIPLE
INDIA (Jaipur) 1985
This young yogi was one of the most beautiful people Anthony ever saw; full of humility, radiant with his truth, he seemed to glow, and Christian hoped to work with him on some major paintings. But in case the opportunity didn't present itself. as transpired to be the case, he made this beautiful and simple, but very expressive portrait study. It was painted in one short sitting in a little Hindu temple, on the morning of St. Valentine's Day .
October 7th-9th 2010 the Art of Giving is hosting the largest ever sale of art for charity at the Saatchi Gallery London.