Solo Exhibitions

2003 New Millennium Gallery, St Ives

Trevor Bell: A British Painter in America, Florida State University Museum of Fine Arts, Tallahassee, Florida

2003 Gillian Jason, Modern & Contemporary Art, Stand 51, ART2003

2002 Lydon Fine Art, Chicago

Galerie Pelar Ltd, Greenport, New York

Seven Worchester, Bath

2001 Lydon Fine Art, Chicago

New Millennium Gallery, St. Ives

2000 North Light Gallery, Huddersfield

1999 Stephen Lacey Gallery, London

1998 Hodgell Gallery, Sarasota, Florida

Falmouth College of Arts, Falmouth

1996 Illinois Centre, Chicago

1995 Art Collectors Gallery, Coral Gables, Florida

Mercantile Exchange Building, Chicago

Marsha Orr Contemporary Fine Art, Tallahassee, Florida

1994 Lydon Fine Art, Chicago

1993 Division of Cultural Affairs, Tallahassee, Florida

Lydon Fine Art, Chicago

Lin & Keng Gallery, Taipei, Taiwan

1992 Foster Harmon Gallery, Sarasota, Florida

Lydon Fine Art, Chicago

Jaffe/Baker Gallery, Boca Raton, Florida

620 Gallery, Tallahassee, Florida

1991 Gloria Luria Gallery, Florida Center for the Arts, Vero Beach, Florida

Lydon Fine Art, Chicago

1990 Foster Harmon Gallery, Florida

Lydon Fine Art, Chicago

Eve Mannes Gallery, Atlanta, Georgia

Gillian Jason Gallery, London

1989 New Art Centre, London

Museum of Art, Fort Lauderdale, Florida

Gloria Luria Gallery, Bal Harbour, Florida

1988 Atlantic Center for the Arts, New Smyrna Beach, Florida

Charleston College, South Carolina

1986 Foster Harmon Gallery, Sarasota, Florida

Cummer Museum, Jacksonville, Florida

1985 Metropolitan Museum, Coral Gates, Miami, Florida

Gloria Luria Gallery, Bal Harbour, Florida

1984 Big Magenta installation, Florida State University Center for Professional Development, Tallahassee, Florida

1983 Shaped Work from the 60's Florida State University, Tallahassee, Florida

1982 National Academy of Science, Washington DC

Artspace, Miami, Florida

1981 Intimate Works on Paper, Virginia Miller Gallery, Coral Gables, Miami, Florida

Artspace, Miami, Florida

University of Central Florida, Orlando, Florida

1980 Five Bar exhibited, Florida State University, Tallahassee, Florida

Four Arts Center, Institute for Contemporary Art, Florida State University, Tallahassee, Florida

Major Works Virginia Miller Gallery, Coral Gables, Miami, Florida

1975 Southern Cross exhibited, Bundestag, Born, Germany

1973 Whitechapel Art Gallery, London

1970 Richard Demarco Gallery, Edinburgh

Arts Council of Northern Ireland Gallery, Belfast

Mappin Art Gallery, Sheffield

Park Square Gallery, Leeds

1969 Lancaster University Greenwich Gallery, London

1964 Waddington Gallery, London

1963 Bear Lane Gallery, Oxford

1960 Waddington Gallery, London

1958 Waddington Gallery, London

1957 Wakefield City Art Gallery

Selected Group Exhibitions

2002 Seven Worchester Terrace, Bath

1999 Tate Gallery, St. Ives

Harewood House, Yorkshire

1998 Galerija Keleia, Celje, Slovenia

Harewood House, Yorkshire

Tate Gallery, St. Ives

1997 Gallery Arni, Seoul, S. Korea

Harrogate Festival, Mercer Art Gallery, Harrogate

New Millennium Gallery, St. Ives

Museum Celje, Slovenia

1996 Tate Gallery, St. Ives

Manif International, Seoul, S. Korea

1995 Tate Gallery, St. Ives

Jason & Rhodes Gallery, London

John Moores Exhibition, Liverpool

1994 Art Collectors Gallery, Coral Gables, Miami, Florida

British Abstraction Flowers East Gallery, London

ISIS Gallery, Leigh on Sea

1993 Foster Harmon Gallery, Sarasota, Florida

Abstrategies, Dunedin Art Center, Dunedin, Florida

Summer Exhibition, Eve Mannes Gallery, Atlanta, Georgia

Inaugural Exhibition, Tate Gallery, St. Ives

1990 St. Ives Exhibition, Tokyo and Kyoto, Japan

1989 Eve Mannes Gallery, Atlanta, Georgia

Gloria Luria Gallery, Bal Harbour, Florida

1988 Gloria Luria Gallery, Bal Harbour, Florida

1987 Museum of Fine Art, Fort Lauderdale, Florida

Gloria Luria Gallery, Bal Harbour, Florida

1986 Adventures in Image Making: Selections from E.F. Hutton Collection, Metropolitan Museum, Coral Gables, Florida

1985 Painting 1984-5 Florida State University, Tallahassee, Florida

St. Ives 1939-64 Tate Gallery, London

1984 Major Florida Artists Invitational

1983 Major Florida Artists Invitational

1982 Florida Art Fellows, Museum of Fine Arts, St. Petersburgh, Florida

Major Florida Artists Invitational, Foster Harmon Gallery, Florida

Florida Painting, Jacksonville Art Museum, Florida

1981 Major Florida Artists Invitational, Foster Harmon Gallery, Florida

Drawing International, Valencia College, Orlando, Florida

1979 Florida State University, Tallahassee, Florida

1978 Spoleto Festival International, Charleston, South Carolina

1977 Curwen Press Prints Exhibition, Tate Gallery, London

Arts Festival, Jacksonville, Florida

1976 Works on Paper, Santa Barbara Museum of Art, California

1974 London Group, Whitechapel Gallery, London

1973 Corcoran Gallery, Washington DC

1962 The Gregory Fellows, Leeds Art Gallery

Selected Public Collections

Abbot Hall Gallery, Kendal

Aberdeen Art Gallery

Arts Council of Great Britain

American Express

Astra Zeneca, Boston, Massachussetts

Balliol College, Oxford

Barnett Bank, Florida

British Council

British Museum

Broward County Courthouse, Florida

Clearwater Federal, Clearwater, Florida

Coca-Cola World Headquarters, Florida

Contemporary Arts Society

Department of Management Services, Tallahassee, Florida

Department of Transportation, Fort Lauderdale, Florida

Deutsche Morgan Grenfell

Education Authority, Hull

Federal Reserve Bank of Atlanta, Georgia

Florida House of Representatives, Tallahassee, Florida

Florida Power and Light, Miami, Florida

Florida State University Museum, Florida

Getty Center for the History of Art, Los Angeles, California

IBM Collection, Atlanta, Boca Raton, Florida and New York

Laing Art Gallery, Newcastle

Leeds City Museum

Leicester Museum and Art Gallery

Leon County Civic Center, Tallahassee, Florida

McMaster Museum of Art, Hamilton, Ontario, Canada

Museum of Art, Fort Lauderdale, Florida

Northwest Regional Data Center, State University System, Florida

Orlando Aviation Authority, Florida

Park Bank, Sarasota, Florida

Pegasus Solutions, Dallas Texas

Philips International, Eindhoven, Holland

Phoenix Art Museum, Arizona

Playboy Corporation Collection, Chicago

Polk Museum, Florida

Prudential Insurance Collection

Regency Group Collection

Rouse Company Collection

Rugby Library, Gallery & Museum

Shearson Lehman Hutton Collection, New York

Slaughter and May, London

Southern Bell, Jacksonville, Florida

St. Anne's College, Oxford

St. Catherine's College, Oxford

Tate Gallery, London

Trinity College, Oxford

University of Leeds

University of Stirling

University of Sussex, Brighton

U.V.U Keleia Collection, Ljubljana

Victoria & Albert Museum, London

Wakefield City Art Gallery

Whitworth Art Gallery, Manchester

Private Collections

Numerous private collections in Europe, Canada and the United States

Selected reviews and critical writings

These paintings have evidently been forged with difficulty, by trial from within and after correcting errors by sheer intuition. "From within" is not a careless phrase. They are pregnant with meanings that art criticism cannot turn into words……..meanings that only paint can express and only the eye can interpret. Eric Newton, The Guardian, February 1960

Trevor Bell's biggish designs are painted with all the brio say, of Terry Frost's, and at the same time with a controlled handling of sumptuous colour.. Neville Wallis, The Observer, February 1960

The spontaneity that we have idolised since the coming of Romanticism as the hallmark of sincerity and creative drive is here replaced by a tactical skill that marshals pictorial elements and firmly controls them without denying them their individual life. Norbert Lynton, New Statesman January 1964

One of the most important painters working anywhere today is Trevor Bell. …..As far as I am concerned [Bell's paintings] are far and away the most original and successful shaped canvas paintings - which remain paintings - to have been produced anywhere. But the task of justifying this judgement and of explaining, even to myself, the reasons for their very great power and beauty is daunting in the extreme, because so much about their construction, their literal appearance and colour, is unique and therefore outside existing terms of formal comparison and analysis. Patrick Heron, Studio International, December 1970

In a large retrospective at the handsome Demarco Gallery [Trevor Bell] emerges as a mature and maybe important painter. Nigel Gosling, The Observer June 1970

Bell's enormous, declamatory, high-keyed canvases are stunning, almost heroic in feeling, but not bombastic, as if in a way he were looking back through the cooolness of the 1960s to, say, Newman and Rothko as emotional, if not stylistic, exemplars. Benjamin Forgey, The Sunday Star and Daily News, Washington DC June, 1973

…works on paper and studies for paintings stand up well on their own, showing the careful thought that underlines the blazing paintings in the main room, with their disarming appearance of irresponsible sponaneity. A tough, experienced and travelled sensibility has been at work, making light-filled glowing paintings which flirt interestingly somewhere between stridency and serenity. Marina Vaizey, Financial Times, November 1973

Throughout Bell refuses to relinquish an atom of intelligence. The prime consideration in any painting is not pleasant colour, shape, variation, or the balance of this with that. Thus, although abstract, he does not decorate. Always he is trying to communicate, in the most economical, potent way, an extension of consciousness. And in doing so, he can resolve polarities…..Emotion and tranquillity. Merete Bates, The Guardian, November 1973

The new darker colors and heavy, rocking shapes, like boats swinging at anchor in a rough English sea, show this new attitude toward color: it has become more structural and specifically related to paint quality and to form, rather than to the earlier concern with light pulsation as an end in itself. But the colors are as always an essential ingredient in Bell's work. Their more subtle interactions on the canvas still proclaim this artist as one of the foremost colorists of our day. Leslie Judd Ahlander, Art Critic of the Miami News, catalogue introduction April 1987

Bell has chosen to set before us images which, in part, are to do with the energy of the human touch set against a pictorial space which evokes the painting tradition of evocations of the sublime. In this way, encouragingly and honestly naïve in our contemporary culture which values such feelings below the cynical and the pessemistic, Bell reflects the optimism which has always underpinned the best abstract art. Michael Tooby, Director, National Museum & Gallery, Cardiff, catalogue introduction for Tate Gallery St. Ives exhibition March 1999

Mr. Bell's immediate surroundings, and the craggy Cornish coastline in particular, provided important stimuli for his abstractions. Like the early Kandinsky, he often derived his motifs from the landscape, then distilled them to the point where their origins are obscured but not lost. Helen A. Harrison, The New York Times, June 2002