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Richard Hamilton
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Early Days:
Richard Hamilton born into a working class family, Richard Hamilton grew up in the Pimlico area of London. Having left school with no formal qualifications Hamilton got work as an apprentice working at an electrical components firm. Here he discovered ability for draughtsman ship and began to do painting at evening classes at St Martin's School of Art which eventually led to his entry into the Royal Academy Schools. After spending the war working as a technical draftsman he re-enrolled at the Royal Academy Schools but was later expelled on grounds of "not profiting from the instruction", loss of his student status forcing Hamilton to carry out National Service. After two years at the Slade School of Art, University College, London, Richard Hamilton began exhibiting at the Institute of Contemporary Arts (ICA) where he also produced posters and leaflets and teaching at the Central School of Art and Design. |
Career:
Hamilton's early work was much influenced by D'Arcy Wentworth Thompson's 1913 text On Growth and Form. In 1952, at the first Independent Group meeting, held at the ICA, Hamilton was introduced to Eduardo Paolozzi's seminal presentation of collages produced in the late 1940s and early 1950s that are now considered to be the first standard bearers of Pop Art. Also in 1952, he was introduced to the Green Box notes of Marcel Duchamp through Roland Penrose, whom Hamilton had met at the ICA. At the ICA Hamilton was responsible for the design and installation of a number of exhibitions including one on James Joyce and The Wonder and the Horror of the Human Head that was curated by Penrose. It was also through Penrose that Hamilton met Victor Pasmore who gave him a teaching post based in Newcastle-Upon-Tyne which lasted until 1966. Among the students Hamilton tutored at Newcastle in this period was Rita Donagh, Tim Head, Roxy Music founder Bryan Ferry and Ferry's visual collaborator Nicholas De Ville. Hamilton's influence can be found in the visual styling and approach of Roxy Music.
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