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Durand Chronology
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D U R A N D 
C H R O N O L O G Y :1 9 9 6 - 2 0 0 0
Early Work
1986-1995
1996-2000
New
La Vittoria
(detail)
1996
London
London, HOODWINKERS, three allegorical portraits
a l l e g o r y
LA VITTORIA
Eric Hebborn, forger; Anthony Blunt as a cardinal
Bacon
(detail)
BACON'S SELF-PORTRAIT AS INNOCENT X
WITH JOHN PAUL II IN THE STYLE OF DURAND
Francis Bacon, painter
Salieri's Dream
(detail)
SALIERI'S DREAM
Brian Sewell, critic
a l l e g o r y
ECLIPSE
Diana Princess of Wales as the Roman goddess Fortuna,
unveiled at the Belvedere in Holland Park, London.
Aria
Time & Art
(detail)
1998
London
BBC OMNIBUS, September
The Art Of Diana
Durand appears first on the program and the prophetic nature of his allegorical portraits of Diana Princess of Wales is discussed.
Exhibition ITALIANATE SUBJECTS, Albemarle Gallery
Dedicated to Durand's friend, teacher and colleague Craig Funke.
Sixteen pictures painted in Florence and London demonstrating the persistent influence of Italian renaissance art and neo-platonic philosophy on Durand's work.
ARIA
THE DIVE
INTERMEZZO
LUTEMAKER'S DAUGHTER
MEZZOGIORNO
SAINTS COSMOS & DAMIAN
TIME & ART
Sacred Conversation
Padre Pio
1999
London
SACRED CONVERSATION 2000
A sacra conversazione commemorating the beatification of Padre Pio, the Vatican, 2 May 1999.
Exhibited at the Jesuit Church, Farm Street, Mayfair, June - December.
p o r t r a i t
Official portrait of H H JOHN PAUL II on temporary loan to the Brompton Oratory, courtesy of the Sovereign Military Order of Malta.
Spartan Girl Dancing
450BC
Kallimachos
Staatliche Museen zu Berlin
Girodano Bruno Burning
(detail)
2000
London
ART'S CONTENT - ELITISM - THE PUBLIC
Artist's Residency and Exhibition
Stanley Picker Gallery , Kingston University
FORTUNA and PEGASUS are both mythological pictures but there is an obvious difference. Durand seeks to involve a wider audience with Fortuna for the goddess has the face of the 'people’s princess'. The few square inches that render Diana, Princess of Wales’ profile, are what makes this essentially mythological picture accessible to the public in a way that the unknown face of the hero mounted on Pegasus can never do.
The media is the surrogate patron of FORTUNA. An earlier, similar composition by Durand, ECLIPSE, was unveiled in 1996 and was reproduced worldwide, even on the front page of The Times of India. Some of Durand’s doubts about the accessibility of mythological subject matter must have been answered by the broadsheets and redtops, which reported that it was not just any sea nymph or princess of the waves they had identified in ECLIPSE. No. Even without her cornucopia and rudder – obscure symbols to be sure, but customary to this deity, they had recognised the heraldic apparition dancing on a crystal ball in mid ocean with or without, her entourage of tritons, dolphins and hippocamps as Fortuna herself: She has played the blushing bride, the dutiful wife and the patron saint of a thousand good causes. Yesterday the cartoon life of Diana, Princess of Wales, took a classical turn when a new portrait cast her in an altogether new role: the Roman goddess Fortuna (The Guardian 2nd October 1996).
Armando Bayraktari, painter and curator
T O P
H O M E
P R O J E C T S
D U R A N D C H R O N O L O G Y
Early Work
1986-1995
1996-2000
New