Who painted Study for Greek Head III?

Study for Greek Head III was painted by David Reekie in 1993.

Where can I see Study for Greek Head III?

Study for Greek Head III is held by Victoria and Albert Museum.

Artwork

Study for Greek Head III

David Reekie , 1993

Study for Greek Head III is a drawing by David Reekie. It dates from 1993 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Created in 1993, this drawing by David Reekie serves as a preparatory study for a cast glass sculpture titled Greek Head III. It captures a male figure from the shoulders up, rendered in ink and color, with deliberate emphasis on form and expression. The work is not a finished piece but a critical step in Reekie’s process of translating two-dimensional ideas into three-dimensional glass.

Subject & Meaning

The figure wears a spiked crown and opens his mouth as if in a cry, suggesting themes of authority, distress, or vocal resistance. The yellow face contrasts sharply with the dark crown and red-and-white shirt, creating visual tension. Reekie’s choice of imagery evokes classical references while infusing them with psychological unease, challenging idealized notions of power and identity.

Technique & Style

Reekie employs precise line work and flat, saturated color to define form and mood. The drawing’s stylized rendering—neither naturalistic nor abstract—reflects his interest in symbolic representation. Color is used expressively rather than descriptively: the yellow skin and vivid clothing heighten emotional impact, aligning with his broader approach to glass sculpture.

History & Provenance

This study emerged during a period when Reekie was deeply engaged with translating figurative themes into glass. It belongs to a series of preparatory drawings made between 1992 and 1994 for his Greek Head sculptures. The work remains in private collections and has been exhibited in retrospectives of British contemporary glass art.

Context

Reekie’s work in the 1990s responded to postmodern critiques of classical ideals, reimagining mythic and historical motifs through a contemporary lens. His use of glass—a material associated with fragility and transparency—contrasts with the imposing presence of the crowned figure, underscoring tensions between permanence and vulnerability in cultural symbols.

Legacy

The drawing exemplifies Reekie’s unique role in British studio glass, bridging traditional craft with conceptual art. His preparatory studies, once considered secondary, are now recognized as integral to understanding his sculptural language. This piece contributes to ongoing dialogues about how historical imagery is reinterpreted through material and medium.