“He was hailed as an Eastern Degas, referring to his portrayal of Kandyan and Low-country dancers of his native Ceylon. Beven never lost his skill to capture movement in his paintings…

Later in London, he further experimented and created his famous monotone pictures, a process of flicking Indian ink off a toothbrush onto cartridge paper, creating the most beautiful and often haunting portraits of men and women, often celebrities, who autographed their portraits.” Ruwini Jayawardana

George Beven, the celebrated Sri Lankan-born British artist, is known for his bold experimentation, distinctive techniques, and vibrant portrayals of iconic figures, the human body, and ordinary people. His artistic journey began in adversity; as a young artist, he lacked the financial means to afford brushes and would instead apply oil paints directly onto rush mats or hard boards. This unconventional beginning foreshadowed the fearless innovation that would later define his oeuvre.

A pivotal influence in Beven’s artistic development was the renowned Sri Lankan painter David Paynter, under whom Beven studied. Paynter’s own work was marked by a classical sensitivity to the human form, particularly the male body, a focus inherited from his teacher Glyn Philpot. This lineage of artistic mentorship — from Philpot to Paynter to Beven — created a stylistic and thematic continuity, particularly in the pursuit of mastering the male form in painting.

Beven’s most prolific and perhaps most iconic period came during the 1970s to 1990s, known as his “monotone period,” where he employed toothbrushes and sometimes even his fingers to create dynamic, textured portraits. These works often featured legendary figures from ballet and Hollywood: Margot Fonteyn, Rudolf Nureyev, Mikhail Baryshnikov — all of whom signed their portraits — as well as screen legends like Marlene Dietrich, Judy Garland, Liza Minnelli, Marilyn Monroe, James Dean, and Sylvester Stallone. His portrait of Princess Margaret remains the most celebrated, now housed at Kensington Palace.

He did not limit himself to drawing the famous. His body of work included portraits of ordinary people of Sri Lanka – fishermen, thambili sellers, residents of Negambo, his hometown – and landscapes of the many lands he visited in his extensive travels. Throughout his life, George Beven never ceased to experiment with technique and color, always pushing the boundaries of what portraiture could be. His legacy endures in the vitality and emotional depth of his art, and in the boldness with which he redefined modern portrait painting.