Keith Vaughan (1912-1977)

Born in Selsey, Vaughan attended Christ’s Hospital school. He was employed in an advertising agency until the war when, as an intending conscientious objector, he joined the St John’s Ambulance; in 1941 he was conscripted into the Non-Combatant Corps. Vaughan was self-taught as an artist. His first exhibitions took place during the war. In 1942 he was stationed at Ashton Gifford, near Codford in Wiltshire.

Also during the war Vaughan formed friendships with the painters Graham Sutherland and John Minton, with whom he shared a studio after demobilisation in 1946. Through these contacts he formed part of the neo-romantic circle of the immediate post-war period. However, Vaughan rapidly developed an idiosyncratic style which moved him away from the neo-romantics. Focusing on male figures, his work became increasingly abstract.

Vaughan taught at the Camberwell College of Art, the Central School of Art and latterly at the Slade School.

Vaughan is known for his journals, selections from which were published in 1966 and more extensively in 1989, after his death. As a rather private man, troubled by his sexuality, he is known largely through these journals. He was diagnosed with cancer in 1975 and committed suicide in 1977, recording his last moments in his diary as the drugs overdose took effect.

Keith Vaughan (1912-1977), Yorkshire Farm Labourers, 1946


Gouache, pen, ink and wash
6 ¼ x 7 ½ in (16 x 19 cm)
Signed and dated; inscribed with title (on reverse)

Collections: Redfern Gallery 1969; P.M. Ingleton and E.M Fyfe.

Exhibited: Olympia, London Keith Vaughan 2002 (KV 453)

During the second half of the war, Vaughan worked as a clerk at a prisoner of war camp near Malton in Yorkshire using his knowledge of German to act as an interpreter. He was demobilised in March 1946, moving to London to share a flat with John Minton and to start work as a teacher at Camberwell.

Professionally he was doing well and his gouaches were selling for £21 at his exhibition at Reid and Lefevre in 1946 but, within a year, his meticulously kept account books show that he was getting almost four times as much.

The present gouache is a good example of the lyricism and tenderness of Vaughan’s work at this period. It is in particularly good, unfaded condition.

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