During the 1950s, the small harbour town of St Ives in Cornwall played host to an astonishing group of painters that included some of the leading modern artists of the time. Among them were Alan Davie, Terry Frost, Patrick Heron – and Peter Lanyon. Of them all, only Lanyon was actually Cornish.
He died too young – a fact underlined by Soaring Flight, the superb exhibition currently showing at the Courtauld Gallery which gathers together a considerable number of his paintings inspired by gliding, the pastime which ended up taking his life.
Well I tried, didn’t I? I have to admit, I’ve always had a blind spot where Jackson Pollock’s concerned. So I was not that keen on seeing Jackson Pollock: Blind Spots at Tate Liverpool. But I was persuaded by my daughter – who was blown away by the Pollocks she saw in MoMA a few years ago – to give it a go. I came away still unconvinced. Continue reading “Jackson Pollock at Tate Liverpool: wrestling with a blind spot”→
Just as the Red Queen in Through the Looking Glass asks, ‘What do you suppose is the use of a child without any meaning?’ so the question might arise, ‘What is the use of art without meaning?’
Should a person enter the room at Manchester’s Whitworth Gallery in which the work of Gerhard Richter is currently on display, and should that person have read no advance publicity about the Richter/Pärt show of which it is a part, they would find themselves confronted by four large abstract paintings in which thick layers of paint have been squeegeed across the surface – scorched black on white, smears of bloody red, and patches of disintegrating green. They might then ask, ‘What does this mean?’ Continue reading “Richter/Pärt at the Whitworth, Manchester: no broken hallelujah”→
For true believers, the Bruegel room in Vienna’s Kunsthistorisches Museum must be the holy grail. Though paintings by the artist occupy two rooms in the Museum of Fine Arts in Brussels, they are interspersed with works by his two sons. But the room in Vienna is a concentrated showcase of the whole spectrum of Bruegel’s work: The Tower of Babel and The Procession to Calvary are major examples of works with a religious theme, while the three pictures from the seasons cycle illustrate Bruegel’s skill as a landscape painter. Then there are the depictions of everyday life portrayed in The Peasant Wedding and The Peasant Dance for which Bruegel is particularly renowned. Without question this was the high point of our pursuit of Bruegel across Europe. Continue reading “Bruegel in Vienna, part 1: through the seasons”→
One morning in 1934, Eric Ravilious set off with a sketch pad from his home in Brick House, Great Bardfield, Essex. He didn’t go far – just around the corner, in fact, to where a repair yard for steam engines was filled with derelict farm machinery and abandoned vehicles of all kinds. In one corner an old Talbot-Daracq motor car stood rusting, its engine and tyres cannibalised and the fine upholstery of the seats in stark contrast to the jumble of metal objects scattered around. Continue reading “Ravilious at Dulwich: dot and speck and dash and dab”→