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Cecily Brown

Two Palms is pleased to present The Calls of the Hunting Horn, a new series of monotypes by Cecily Brown. Made in response to the art and artifacts within Blenheim Palace, where in 2020 Brown became the first English artist to exhibit, this new body of work evolved from an exploration of British heritage in the context of Brexit and Britain’s imperialist past.

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Drawing on the paintings of hunts that are traditionally associated with British country estates, as well as the work of seventeenth-century Flemish master Frans Snyders, Brown constructs lush compositions that fluidly combine rich landscapes with the chaotic motion of dogs overtaking their prey. Coats of arms, ships at sea and symbols of the Church remind of an empire that no longer exists. In several works the bounty of the hunt emerges on a table overflowing with an abundance of game, the limp carcasses of deer hang, ready for a feast. In each richly referential piece, imagery emerges from layers of vivid color, slowly revealing itself to the viewer.

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Cecily Brown, Untitled (Still Life in a Landscape), 2020

Untitled (Still Life in a Landscape), 2020
Monotype with watercolor, watercolor crayon
46 3/4 x 67inches
CB1408

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Cecily Brown, Untitled (Still Life in a Landscape), 2020

Untitled (Still Life in a Landscape), 2020
Monotype with watercolor, watercolor crayon
46 1/2 x 63 3/4 inches 
CB1409

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Cecily Brown, Untitled (Nature Morte) 2020

Untitled (Nature Morte), 2020
Monotype in two parts with watercolor, watercolor crayon
36 3/4 x 58 3/4 inches each 
CB1410

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Cecily Brown, Untitled (Nature Morte after Frans Snyders), 2020

Untitled (Nature Morte after Frans Snyders), 2020
Monotype with watercolor, watercolor crayon 
23 x 37 inches
CB1413

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Cecily Brown, Untitled (Nature Morte after Frans Snyders), 2020

Untitled (Nature Morte after Frans Snyders), 2020
Monotype with watercolor, watercolor crayon
22 7/8 x 37 inches
CB1412

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CB reveal quote

Brown working on monotype plates at Two Palms

The interesting thing about all these juicy subjects is their utter relevance to today—death and destruction are timeless and nothing has really changed. Using art—and often art of the past—can be like a bridge to talk about difficult things in the present. I’ve always used grand themes but that felt a little out of step until recently. It’s funny to be feeling topical for the first time in my life.

- Cecily Brown, The Art Newspaper

New Content

Untitled (The Calls of the Hunting Horn), 2019

Untitled (The Calls of the Hunting Horn), 2019
Monotype with watercolor, watercolor crayon
46 3/4 x 66 3/4 inches
CB1393

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Untitled (The Calls of the Hunting Horn), 2019

Untitled (The Calls of the Hunting Horn), 2019
Monotype with watercolor, watercolor crayon
22 3/4 x 36 3/4 inches
CB1398

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Untitled (The Calls of the Hunting Horn), 2019

Untitled (The Calls of the Hunting Horn), 2019
Monotype with watercolor, watercolor crayon
22 3/4 x 36 3/4 inches
CB1404

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Untitled (The Calls of the Hunting Horn), 2019

Untitled (The Calls of the Hunting Horn), 2019
Monotype with watercolor, watercolor crayon
22 3/4 x 36 3/4 inches
CB1405

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One of the main things I would like my work to do is to reveal itself slowly, continuously, and for you to never feel that you’re really finished looking at something.

- Cecily Brown

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