painters TUBES magazine. Read Free issue 4

painters.Tubes.magazines

Contemorary Abstract painters and brilliant article on abstract by Denis Taylor.

painters

T U B E S

magazine for art, artists and art galleries

issue 1 #4

summer special


2

special feature

alpha - omega - alpha - a beginning, and ending and perhaps a new beginning?

introduction

It’s almost an impossible task to determine how

abstract painting first began.

And it’s a question that confronts most art

academics and historians with each will telling

a different story. This special feature sets out to

provide a base ground for the reader and whilst

it is difficult to outline all of the twists and turns

of abstract painting in detail, it is hoped the

feature will help the reader get to grips with the

current painters leaning to what could be called

“figurative abstract.”

To many artists and art galleries and art

collectors that may sound like a contradiction in

terms. Hopefully, all will become clear towards

the end of the feature.

The writer (an artist and the Editor of painters

Tubes) is neither an academic nor is he an

art historian as such. The feature has been

approached in the ways of an experienced and

studious art researcher and painter, rather than

the normal or formal academic approach.

There are many hundreds of artists working

today who create wonderful abstract art and,

we are sorry to say, painters Tubes cannot

possibly show them all within this feature.

However, the ‘living’ artists work that is featured

are all of a quality that connects the past and

the future and we believe they demonstrate the

depth of talent and art that abstract artists are

producing today.

An argument that could be made is that all Art

is abstract by its very nature. What we see, as

individuals, is as different as we are from each

other, therefore what we see is only one reality.

With figurative (realist) art there is

a commonality of course. A tree, in real life or

painted on canvas, is still a tree and we all can

recognise it as such. Even an abstracted

tree (invented by the artist) is still a tree to

the viewer of it. So, what is abstract and

what is not abstract art is plainly subjective.

With that conundrum in mind the Editor has

set out to design a route for quantifying

contemporary abstract painting, which in

itself is a task of complexity.

Mainly because, from an historical

viewpoint, there is no obvious starting point,

no middle and no ending to adequately

provide the reader with a greater grasp of

what is Abstract Art and what it is not, hence

the title of this feature.

The word ‘abstract-art’, (to many of the

public and some realist artists), throws up

visions of paint being thrown willy nilly or

brushed loosely onto a flat surface by an

artist who has momentarily lost their mind,

launching into a world of their own making.

Much abstract art is perceived, by the

general public, as Art which is not imbued

with any skill of application or forethought

(the “anyone can do that”- syndrome).

This perception of the ‘word’ abstract art,

may still exist, but to a lesser extent today.

Embracing abstract art as a serious image

of contemplation for intimate reflection and

self examination, is not what the general

public are accustomed to.

Yet, Painters Tubes has no ambition to

set one form of painting against another,

(realism versus abstract), each in turn have

their merit and their admirers, which is as it

should be.

Introduction by the Editorial Staff

Front and Back cover photograph: John Walker in his studio. Courtesy of Alexandre Fine Art Inc.

Alexandre Gallery, 724 Fifth Avenue, 4th Floor, New York, New York, 10019


3

painters

T U B E S

Contents

Pages 2 and 4: Introduction and Editors page

Pages 5 to 20: Alpha. 20th Century: From Cubism to Futurism to Dada.

Artists discussed: Braque, Picasso, Matisse, Delaunay, Mondrian, Derain,

Gris, Metzinger, Balla, Malevich, Kandinsky and Marcel Duschamp.

Pages 21 to 30: Omega. 20th Century: American Abstract Expressionism

to Figurative Abstract Expressionism

Artists discussed: Mark Tobey, Mark Rothko, William de Kooning , Clifford

Still, Nicolas de Stael, Arshile Gorky, Barnet Newman, Yves Kline, Jackson

Pollock, Robert Motherwell and Robert Rauschenberg.

Pages 31 to 56 : Alpha. 21st Century (a new beginning?)

John Walker, Kayla Mohammadi, Lisa Kreuziger, Denis Taylor, (Tubes Editor)

Steven Heaton, David Stanley, Jean Mirre, Riccardo Vitiello,

Colin Taylor, Mike Weeden, Hans Reefman and Shahin de Heart

“...Reality is not visible, it’s only an imaginable possibility.

That’s why Art is possible and why it is important for humanity to

create Art. We imagine the World...it’s not real at all..”

painters Tubes magazine

designed & produced by Studio 5 Sweden.

registered office: Ekerodsvagen 253, 266 95 Munka Ljungby. +46431441050

email:tubes@telia.com - www.painterstubes.com

ptmag- #4 - 2017- 07-30


4

Editors page

To gain some sort of road map and to try to help quantify

contemporary abstract painting today, I felt it was a good idea to go

back to the beginning when Abstract Art became

fixed into the psyche of the modern world, as being a different

sort of art from the other forms of painting.

The inter-relationship of twentieth century poets, art critical thinkers,

academics and practising artists, have all contributed to what

we now consider as Abstract painting. Without first re-reading

with concentrated study of all these considerations then a total

understanding of abstract art and it’s development is probably not

possible The objective of this feature is to give the reader a baseline

for the ‘visual reasoning’ behind abstract painting creation as

an art form. And to provide a guide of how it came about and then

developed by painters. This twentieth century historical ‘re-run’ is as

important as the understanding we now hold of the ‘Renaissance’

movement in Europe, one which was to prove to be so important for

the future development of all modern Art.

As an artist of some longevity, it is quite natural for me to have read

volumes about Art over the last 30 years or so, as no doubt many

fellow artists have also done. It is only when refreshing my own

knowledge and discovering even more information, perhaps forgotten

or missed, that I realised the enormity of the task that lay before me.

A certain amount of necessary ‘omissions’ had to be considered

to reduce the feature to a readable length. Some of these ‘edits’

consisted of whole movements and/or groups of artists who pursued

a varied form of abstract painting like the more ‘known’ artists of the

twentieth century. i.e. the Cobra Group, German Expressionists,

Gestural abstraction, Kinetic art, Minimalism etc have been edited

out to some degree. However, it is probable that these ‘types’ of

abstraction will be covered by the magazine at a later date. It is also

evident that many equally important artists have not been highlighted,

again this was a conscious decision, necessary to ensure the

reduction of too many examples which could have affected the flow.

The feature is written in three parts, Alpha (beginning) Omega

(ending) and Alpha 21c (new beginning) – The selected art for part

three that is shown, only as examples and cannot possibly represent

‘everything’ that is currently out there on the contemporary art scene.

My intention here was to gather images from artists that present

a fair view of the outstanding work now being produced by dedicated

abstract painters of all dimensions.

I was delighted to have discovered or reconnected with artists from,

Germany, Italy, France, Holland, the USA and the UK. And to the

Artists who have allowed the magazine to show examples of their

work I give you my personal thanks.

I hope you find this special feature insightful, enlightening

and enjoyable.

Denis Taylor, Artist & Editor, painters Tubes


5

image:Lascaux animal painting - credit: Prof Saxx - Own work, CC BY-SA 3.0,

https:/ commons.wikimedia.org

“in the beginning there was Art, it wasn’t called art, but it was none the less.”

part one – alpha

The act of making a mark to communicate something to another human seems to

have been etched into the very DNA of our species. For example, helping establish

co-operative successful working methods, in the gathering, hunting or trapping of other

animals for food, which no doubt helped the survival and dominance of our species.

Imagery, it seems, became the de-facto communication medium before language or the

written word evolved in sophistication. This is an assumption of course, because we

cannot be sure that imagery was the all important difference that elevated the human

species to dominate this planet. To date no one has proved otherwise and what positive

evidence there was is scratched on the walls by our early ancestors. Whatever is the

truth of what came first, language or images, imagery was and still is, the quickest

form of communication and the most effective, as far as conveying deeper meanings

concerning the complex psychological conditions of a human being.

Adopting images to convey spiritual understanding and encourage religious fervour

was the strategy embraced by the leaders of organised society, from the ancient

civilisations through to today. The legacy of humanities Art is felt world wide and held in

high esteem. Today much of this art is almost worshipped and the makers of it regarded

as ‘divine’ having been ‘touched by the hand of God.’ Michelangelo being a prime

example of this idolisation.

In the past centuries there was a general acceptance that Art was the cultural reflection

of all humanities activities, its belief systems, its questioning of social morality and

human interactions. It is not surprising that Artists would adapt, change or develop their

art to public opinion and be employed by almost every organised nation to instil on the

mass population their own specific dogma’s.

It was not unreasonable for the artists, of that time, to believe that was to be their job.


6

Above: Paul Durand-Ruel, Art agent come gallerist who was largely responsible for the impressionists

painters succes. Pictured in his gallery c.1910.

©Domac/Durand-Ruel & Cie/Courtesy Philadelphia Museum of Art.

In the past Art was relied upon as the path finder for new ways of conveying philosophical

‘thinking’ about life, death, the after life and existence itself. In the 21st century, that is not

really the case, as other mediums have superseded static visual art. Film, videos, television

and to some extent, even social media, now fulfils that roll.

By the beginning of the twentieth century the Western world had progressed, technologically,

to a point where the future seemed as if all the problems of the previous centuries would

be solved. Machines had mobilised society with efficient transportation systems. Power

(electric and gas) was available at the switch of a button, clean water was piped directly to

all citizens homes, new sewage systems cleaned up the environment of the City, improved

infrastructures led to vast company profits and the population followed behind it, slower

perhaps, but nonetheless incrementally better off.

More importantly, the Western nation states acquired a cultural superiority complex, one that

they believed provided high global status, one that was the justification for empire building.

Art and artists reflected this complex society with advances in image making and celebrated

it by producing work that looked and felt ‘modern’ as the industrial revolution sped towards

its total dominance of the natural world and the incredible social change well before the

famous 1900 Paris World fare.

By the turn of the century, in Paris, at the World Trade Fair (btw, Paris was already the art

capital of the world) the impressionists were ‘the stars of the show.’

They were very well established in the fashionable art galleries of the French capital city.

By 1900’s – The camera became a must have accessory of the people, with many artists

predicting the end of the need for painting. Paul Gauguin was creating his last masterpieces

in Haiti, Vincent van Gogh had been dead ten years. Degas eyesight was in decline and

Rodin was proving his status as the ‘genius’ of the new modern sculpture. And Cezanne?

He was just beginning to make his presence felt on the art market as a great modern

painter. The art world had witnessed the birth of post impressionism. And christened them

‘Fauves’ (wild beasts). The groups most intellectual member, Maurice Denis, made

a challenging statement, one that is still relevent to todays painters...


Portrait of a young Man. 36 inches x 29 inches

- 918mm x 736mm.

by André Derain

Soloman R. Guggenheim Museum. NYC

©2017 ARS- Artists Rights Society

New York/ADAGP, Paris.

7

“...remember that a picture – before being a battle horse, a nude woman or some

anecdote – is essentially a flat surface covered with colours arranged in

a certain order.”

(Maurice Denis, essay published in 1890)

It appears that many Artists, before 1900, were the cutting edge of a brave new century to come and

therefore prepared the way for artists to go forward to open the minds of the population of Europe.

“...when the means had become so refined, so weakened, that their power of

expression had gone, we had to return to the essential principles on which human

language was formed.”

(Matisse talking about ‘Fauvism’ circa 1936)

The phrase ‘Avant Garde’ could have been applied to any one of several artists at this early stage of

modernism, and what we now regard as early examples of contemporary painting.

Today, however, we regard Cubism as the real beginning of what typifies twentieth century Modernism

(Abstraction in painting). For example, certain names spring to mind the minute the word Cubism

is used, namely Cubism’s innovators, Pablo Picasso and Georges Braque, even though neither

of them ever referred to themselves as Cubists, nor took part in any of the Cubists exhibitions

(before or after 1911). It is generally believed that African masks were the stimulus for the creation

of Cubism. Although the ‘primitive’ aspect of art was already being investigated energetically by the

post impressionists (the Fauves) well before 1905. Which may account for the interest of Matisse and

Picasso in these simplified forms. It is possible that both artists saw the examples at the studio of the

painter André Derain, who himself may have acquired them from André Vlaminck (with reference to

the Museum of Ethnography and Anthropological Gallery, now known as the Musee de l’Homme in

Paris, which Vlaminck was an avid visitor). The absolute truth of where and who first became excited

and aware of the African masks, as a new way to paint human forms is still clouded.

However what is known is that these chance encounters opened a whole new way of ‘seeing’ and was

to represent a leap in the development of painting in the Western world, one which had never been

seen before, or arguably since.


8

“Les Demoiselles d’Avignon.”

Oil on canvas (96 inches x 92 inches. -2440mm x 2340mm).


9

above: Matisse. “the joy of life” Oil on

canvas. 68.5 inches x 93.75 inches -

1740mm x 2381mm

above: ‘Madamme Matisee’ -the green line. Oil on

canvas. 16 inches x 12-75 inches-

406mm x 324mm

In 1905, Henri Matisse painted “Madame Matisse -

the green line’- which signalled a whole new painting

process for him, as far as ‘colour’ and the ‘look’

he wanted of an ‘immediacy’ of paint application.

In truth, the work was slow and methodical with

many corrections to imitate the ‘look’ he wanted.

However, a whole new challenge presented itself to

both Matisse and Picasso and it came in the form of

Cezanne’s large figurative painting (Large Bathers

83 inches x 98 inches. 2100mm x 2510mm), which

had become well known and much admired in

Paris. Matisse responded with a successful, albeit

controversial work “the Joy of Life” and Picasso

began “Les Demoiselles d’Avignon.”

Picasso’s effort is now seen as ‘the’ all important

modern art canvas, although at the time, he did

not feel it was in any way close to what he wanted.

His ambition to produce a monumental canvas, in

response to Cezanne’s bathers, seemed to have

failed miserably. He altered and tried different

approaches (including the african mask imagery on

one or two of the female figures) then he simply gave

up on it. He rolled up the painting and abandoned

the work to a corner of his studio (c.1907).

It is possible that Picasso’ rejection of the work was

in reaction to his fellow artist friends, who on viewing

the work, thought it ‘ghastly.’ His next large painting

‘Nude in a Forest’- ‘the Dryed’ 1908, however gave

him the chance to explore primitive imagery more

simply and succinctly with the basis of simplified

forms of African sculpture, having tentatively

experimented with them in less detail with

Les Demoiselles d’Avignon.


10

Picasso. ‘Nude in a Forest’ -the Dryed-

1908. Oil on canvas.

73 inches x 42.5 inches. 1854mm x 1080mm

The ‘Dryed’ painting may have reinforced the thought that ‘planes’ using light and dark alternatives in

undulating spaces, proved that not all parts of the same painting need be in total sympathy with

each other. This conclusion was to launch himself and Braque on a voyage of discovery that was

to change the way painters considered creating two dimensional art. George Braque worked in the

same building as Picasso at this time, and their collaboration is today legendary.

“It was like we were two mountaineers roped together..” (George Braque)

The two artists, although totally different in personality, worked on the same method of painting between

1909 and 1911, often choosing the same subjects to assist each other and develop the fledgling mode

of painting which came to be known as Cubism. The early form was given the grand title of Analytical

Cubism and the paintings actual titles were provided by an Art dealer rather than the artists themselves,

as way to identify them.

It is believed that Cubism sprang from the art of Cezanne. And although directional brush strokes could

be comparable, the essence behind the work of Cezanne and Cubism could not be more different.

Cezanne spent time studying his subject matter to enable it to fit his canvas (in almost classical ways).

He wanted the finished work to be of a solid value with space that had a physical existence.

Picasso and Braque chose subjects they knew (still life, guitars or people etc) and painted them without

need of absolute reference because they knew their subjects so well and painted them in a more playful

way with far less passion than Cezanne is said to have done.

The important note to make here is the difference between [figurative] art and reality.

When Picasso painted “Man smoking a pipe” in a cubist manner a line was crossed.

The painting today is understood perfectly, as a man smoking a pipe, but when it was first seen it must

have confused and bewildered the onlooker. Pieces of identifiable reality are not that easy to spot, the

pipe, the mans head, bits of lettering from a newspaper become clear only after a getting acquainted

time period, but even these parts of reality must have increased the confusion rather than helped the

viewer to understand what it was they were actually looking at.

Was it a work of art, was it a portrait of man? Or was it sheer nonsensical rubbish?


“Man Smoking a Pipe.” 1911. Oil on canvas. Oval. 36 inches x 28.25 inches.

914mm x 717mm. Fort Worth, Texas. ©Kimbell Art Foundation.

11


12

George Braque - Still Life.

©ADAGP Paris and DAC London 2017.

We have come to accept, as true, that as far as Picasso and Braque were concerned, the only

thought that they had was:- “seeking a new expression” (quote from Picasso, 1932).

We can assume that in 1908 with the art legacy of Impressionism, and before that, the art of

Courbet and Manet, who had set the path for Art (painting) to interpret the real world quite

directly and straight forward, but with a stylistic fervour. Cezanne (and perhaps Seurat) perfected

a controlling mechanism to capture ‘absolute reality’ through methodology and precision.

Other artists, prior to 1900, turned to Symbolism as a way to paint fantasy and dreamlike

scenarios, whilst maintaining an image that the viewer could easily recognise and identify with.

Cubism did not follow any of those preset rules or methods.

“Cubism was a completely new idiom and a totally original

new form of expression.”

Braque and Picasso however did not sit on the initial canvases as a finality. They swiftly moved

forward to what we now call ‘Synthetic Cubism’ – This involved less brush work and more

collagé. In itself not a new innovation, painters had always placed other bits on their work to gain

an idea of how ‘space’ would react to the composition (paper for example).

Braque and Picasso simply left the ‘paper’ on the canvas as part of a work. They drew over the

glued items with charcoal or stuck bits of texture material to the canvas, then declared them

‘finished’. Again this shocked and inspired artists like a double ‘new-art’ whammy and propelled

them into joining the party. Juan Gris (1887- 1927- real name: José Victorian Gonzales) was

one of a number of artists that grabbed the cubists animalistic tail and ran with it.

Robert Delauney (1881-1941) and Fernand Léger (1881-1955) were two more artists inspired by

Cubism and used it’s two different forms (analytical and synthetic) in very unique ways.

Even Matisse played with a canvas or two with a cubistic nature to them, albeit a few years later.

(“Bathers by a River-1916-1917).


Juan Gris - “Portrait of Picasso”

13

Paul Klee (1879-1940), David Bomberg (1890-1957) and many

others far too numerous to mention, took their lead from Cubism to

develop and expand their own work. An outstanding convert was

Piet Mondrian(1872- 1944), who prior to staying in Paris around this

time, had been painting the flat landscapes of his home (Holland) in

various techniques (impressionism and post-impressionism) that

was until he came across Cubism. It changed his outlook and

before too long began creating art that was to lead to his

’Neo-Plastic’ Art. (the perfection of the 90 degree angle).

Perhaps a first sign of what was to come was the painting

‘Still Life with Ginger Pot #2 of around 1911, which led him to almost

total abstract in the later work ‘Colour Planes Oval.’

Mondrian’s thoughts on art were complex and involved spirituality

more so than many other artists. *Theosophy played an important

role in his creation process, as did the belief that his plastic creations

were the ending and not the beginning of Art. His paintings, he said they

were to be considered as part of ‘the wall’ and not an object that was simply

placed upon it.

*(ref to: Spiritual movement founded in 1875 as the Theosophical Society by

Helena Blavatsky and Henry Steel Olcott.

Before the dictatorial Russian Socialist Revolution, many Russian artists

could travel freely to the West. In particular to Paris and Berlin and it can

be taken as read that both Kazimir Malevich (1878-1935) and Wassily

Kandinsky (1866-1944) had contact with and was well aware of the new

Cubist developments in painting. And fully understood what the new

expression had to offer as the basis for looking at the world and art creation

in a totally new and different way.

‘Still Life with Ginger Pot #2 -circa1911

( 36 inches x 47inches- 920mm x 1200mm)


14

Piet Mondrian. “Colour Planes in an Oval” 1914. 42 inches x 31 inches - 1070mm x 787 mm


15

It’s seems quite astonishing that one single

movement, one that opened the door to

a new way of expression and a new way of

creating paintings, appears to have been

the springboard for almost all the abstract

art in Europe from 1909 and well into the

middle of the twentieth century and possibly

beyond into twenty first century.

A number of reasons may have been the

root for that extraordinary longevity of

Cubism’s influence on painters and painting.

In 1911 a group of enthusiastic new-cubist

painters gathered themselves together

within an exhibition at the Salon des

Indépendents, their part of the show gained

extensive press coverage as ‘the start of

a new French art movement’.

Even though neither Picasso nor Braque

took part in the exhibition, Cubism was

further promoted in 1912 in a book

published and authored by Albert Gleizes

and Jean Metzinger, both newly committed

cubists painters.

“the Eiffel Tower.” Robert Delaunay 1909-1910

810mm x 1160mm. ©StaatlicheKunsthalle, Karlsruhe.

More importantly an exhibition, supported

by enthusiastic sponsor(s), resulted in

a travelling Cubist show touring most

European Cities, including: London,

Barcelona, Cologne, Zurich, Munich, Berlin,

Prague and Moscow. The travelling Cubists

exhibition had now ‘lit the art worlds blue

touch paper’ and the whole of Europe was

on fire with a light that burned very bright

indeed. Some would say, blindingly so.

Before 1914 another new and forceful ‘spin

off’ movement from Cubism arrived on the

scene with a bang. The first indication of it

was a manifesto printed on the front page of

a French newspaper (La Figaro, 1909).

The manifesto was written by the Italian

Poet and Playwright Emilo Marinetti.-

‘Futurism’ - was the chosen word to

describe it. It’s baseline was the total

rejection of all classical art, in all its forms.

And insistence of the acceptance that

‘Machines’ & ‘Speed’ were the new form of

beauty and should be regarded as a sort

of new (artistic) religion. Although the real

aim of the Futurists was to place Italy at the

forefront of all European culture.

Jean Metzinger. “Tea Time.” 1911. 759mm x 702mm.

©Philadelphia Museum of Art.

Marinetti’s fanatical ravings also placed

violence and war as worthy ‘cleansers’ of

a corrupt cultural society and [all the art]

that had gone before Futurism was void, he

said. However, the ‘Futurists’ active support

for World War One, some years later, was

it’s downfall. Perhaps wrongly, Futurism

became to be regarded as a ‘Fascist’ or

‘Violent Art’, because of the dogma of the

Marinetti manifesto in 1909 (perhaps?)


16

Giacomo Balla. “Girl running on a balcony.”

Yet the paintings of leading painters were in fact quite different, their work was superbly painted and

ground breaking in their own right. Fracturing the images by interlacing curvatures in a repeated

image gave the impression of movement and time. Dynamic images of trains, steam and power

lines supported the ‘modernistic’ outlook of the Futurists. It was a method that was to be used more

discreetly in the later twentieth century by many artists and even today it’s basic‘structures’ are

repeated by many artists using a different subject matter, but with the same technical break down

of curved repetitive fracturing of the surface. The ‘Futurist’ artists and best known for their original

paintings, were Umberto Boccioni, Carlo Carra and Giacomo Balla.

Umberto Boccioni. “Dynamism of a Cyclist” 1913


17

“Art...as in sculpture, verbal art, art and music etc - has been

subjugated by the shapes of nature, waiting to be liberated...”

Other ‘stand-out’ figures (besides those already mentioned) in the new abstract painting of the early

twentieth century were Malevich and Kandinsky. Malevich an artist (from the Ukraine) had walked

down the path of impressionism to Cubism before arriving at his concept of Suprematism.

The formalised style of painting that suggested that all art past and recent art prior to Suprematism

“...as in sculpture, verbal art, art and music etc - has been subjugated by the shapes of nature,

waiting to be liberated...” the opening line extracted from ‘Cubism to Suprematism’ and written by

Malevich in 1915.

His process of creating a painting from shapes that were not present in nature (squares, oblongs

etc) was an idea shared by quite a few of his fellow artists. They had all believed in and veraciously

supported the ‘workers’ revolution of 1917 which they understood as a new beginning for a new

modern art and a new Russia. Which did happen, but perhaps not how they had envisioned. They

naively believed that they were duty bound to reflect the spirit of a newly found freedom from

a former materialistic society, little realising they were supporting a system that would be far worse.

Kazimir Malevich. “the Woodcutter” 1912. 37 inches x 28.25 inches

940mm x 715mm. Cubism with inference to Léger style of tubular figuration.


18

Kazimir Malevich ‘Suprematist Painting’. before 1927. Oil on canvas.

33.5 inches x 27.2 inches 840mm x 695inches.


19

“power tends to corrupt, and absolute power corrupts absolutely ”

(George Orwell, from Animal Farm 1945).

Where Malevich was a passionate Ukrainian, Kandinsky appeared to be more of a cold academic.

He was from the bourgeois side of Russian society (prior the Revolution). And he was an

extremely well educated man who hadn’t turned his hand to ‘Art’ until he was thirty years old,

(unlike Malevich who had committed himself to art from an early age). Kandinsky’s love of music

became integral for him when creating art, to try and attain an art that held the same power

(resonance) as music - “to overwhelm the senses and experience’ the inner spiritual feelings of

a human”..being the goal. It became his quest to establish a formula, in much the same way as

music had notes to indicate tone or pitch. Kandinsky sought after a theory of colour (and later line)

that could perform the same functional formula as musical written notes. His research eventually

led to the beginning of an abstract painting approach which began with the well known series of

works, called ‘improvisations’ and ‘compositions.’

During Kandinsky’s position as Commissariat for Education for the revolutionary new Russian

state, and after he had returned to Russia from Paris & Germany, his paintings became less

haphazard in their appearance and more organised using geometric formal forms. Perhaps not

unlike Malevich, Theo Van Doesburg and Mondrian’s paintings, which was following on the same

line at the same time. It is probably important to mention the guiding role of Vladimir Mayakovski,

who although had trained as painter, became a poet and the unofficial leader of the Russian

avant garde for two decades (he committed suicide in 1930 at the age of thirty seven years old).

Mayakovski created ‘visualisations’ for some of his ideas for posters and socialists propaganda,

normally drawings, but usually carried out to greater fulfilment by Alexandre Rodchenko, who

had adapted collagé (from Cubism) and used it to create photographic montage’s as the main

medium of choice. Many believe (including the writer) that in the later twentieth century Western

commercial product advertisement design’ sprang from Rodchenko artwork of this era.

Kandinsky. Composition V11. 1913. Oil on Canvas. c. 78.5 inches x 118 inches - 2000mm x 3000


20

This relatively short, but important era of Russian Modern Abstract Art is generally to be later known

as ‘constructivism’ – A mode of abstract art which generally was created with the ambition to serve the

proletariat. Every day items would be redesigned, renewed and reproduced with the total involvement by

all the avant garde artists, the ones who had dedicated themselves to the revolutionary future of Russia

of 1917. By 1920 the ‘idealistic’ revolution began to be dominated by the state. Who, like most socialistic

dogmatic ideology, wanted to control all aspects of life within the confines of its own borders. This control

also included Art. A dictate was implemented and the sterile art of Social Realism was to serve the State

(right up to the USSR implosion in 1991). Kandinsky fled to Germany and gained an influential position

at the Bauhaus. Malevich escaped jail by having friends testify (and forge documents) that he was not in

the services of enemies of the Russian State. Whereupon being released from custody he went back to

the Ukraine (from Moscow) and lived out his life painting portraits of family and landscapes. Mayakovski

committed suicide and the rest of the avant garde conformed to create exactly what the State wanted

them to create.

“...our heads are round, so that thoughts can change direction.”

Francois Marie Martinez Picadia. French painter 1879-1953)

Back in the West, around 1914 to 1918, those artists who had not willingly joined in the war, or them

that had not been enlisted against their will, fled to the safety of neutral Switzerland. A country where the

war’s protagonists could each protect their respective war chests by way of a mutual agreement. It was

in Switzerland, the land of cuckoo clocks and high flying bankers, that a few ‘immigrant’ artists created

a sort of multi-art-disciplined circus for their own and others amusement. They saw, by way of the

unfolding tragic world events, that the materialistic society had failed the world.That it was totally

corrupt and made little sense to the ordinary citizen. They believed Art should reflect the non-sensical

materialistic society by making, creating and performing non-sensical Art. It was a provocation to society

that they sought and any sort of negative, rowdy or chaotic reaction from the audience that occurred

from them being outrageous, then the more successful the Art was, or so they believed. Again the first

world war had everything to do with this art movements attitude towards art and art creation which was

transcribed as ‘anti-art’ or later in the twentieth century or as the ‘Negation’ of Art.

Marcel Duchamp, was first and foremost a painter,

who had formally created Cubistic canvas’s.

He became a convinced ‘Dadaist.’ (c.1914

onwards) And began his voyage of attempting to

purposefully antagonise the art institutions

(with reference to the now famous

Fountain- urinal signed R.Mutt of 1917).

But as is often the case, the world art

establishment simply ‘absorbed’ and ‘projected’

him to the highest art platform it could muster.

So, we assume, that he could be looked upon

and be intellectually adorned by future generations

of academics, art critical thinkers.

Perhaps this was the early beginnings of what in

part two of this feature is called art’s omega.

It is also worth noting that in 1921 Joan Miro

(1893-1983) having already had contact with his

friend and fellow artist Picasso, also had contact

with the Poet Reverdy, the new movement of

Dadaism and the Surrealists, which transformed

his paintings and led to the unique and stylised

painting we see today in national art institutions.

above: Marcel Duschamp. 1912. Title: “Le Passage de la Vierge a la Mariée” Transition of Vigin into a Bride.

535mm x 590mm - Here we see Duschamp in his Cubist frame of mind.

Museum of Modern Art (MOMA) New York USA.


21

part two omega

The 1930’s witnessed the rise of the most

radical right wing nationalist states.

In Germany the National Socialist Party

began its climb from a grouping of

disillusioned demobbed world war one

soldiers to a powerful political force backed

and supported by wealthy businessmen who

believed they could utilise this Nationalistic

trend for their own benefit. It was perhaps

the evil marketing genius of Joseph Goebels

who, encouraged by his Führer, began

systematically gathering what he called

‘degenerate’ art into a single exhibition, with

the aim to exorcise it from the new Third

Reich’s cultural dogma.

The exhibition, in an ironic way, was probably

the largest showing of abstract painting and

modernism by the greatest artists that had

ever seen the light of day. Seven hundred and

thirty works were hung to show the ‘offensive

Art’ and among the one hundred and twelve

artist that were condemned for producing

these works included: Klee, Kokoscha,

Picasso, Beckmann, Max Ernst, Kirschner,

Nolde, Kandinsky, Grosz, Dix and Chagall to

mention just a few.

Perversely, over 2000 visitors a day queued

up to view the Art, with a total audience of

over 20,000 by the end of the exhibition.

It was perhaps the most popular art exhibition

that had been negatively promoted by any

National Government.

The effect of the Fascist movement (also in

Italy and Spain) encouraged a sort of exodus

of artists from Europe to the USA during the

second world war. The Armoury show of 1913

a decade or more earlier, had seen a total

audience of 100,000 visitors, this was where

Alfred Stieglitz had unveiled Cubism, (Picasso

and Matisse), to the American Public and

American artists, that had paved the way for

European abstract painters to be welcomed

by the artists and the art institutions of the

USA from 1937 to 1944. This development

contributed to the massive influence, of

what we now know as, American Abstract

Expressionism, on the painters of Europe

after the second world war and up to our own

time.


22

“ Before discussing the american abstract expressionist flowering, I would to highlight a painting

which from my own personal standpoint, is one of the most important abstract works created in

the Western Civilisation during the twentieth Century and as yet, and in my opinion only,

still unsurpassed in the current century.” Denis Taylor Editor.

The painting was a commission by the Spanish Republican Government for the Spanish

Pavilion of the Paris international show of 1937. It was awarded in January (1937) to their most

famous Son - Pablo Picasso. In April of the same year the German air force bombed a Bask

village (in support of Franco’s Nationalistic forces fight in the Spanish Civil war).

The destruction and death toll was published as photographic and written reports by the

Ce Soir and L’Humanite journals.

Picasso chose this tragic event as his subject using the photographs as motivation but drawing

from his paintings of the previous two decades for style and application of paint. He instinctively

went for a monotone and lined tonal finish, having experimented with colour and forms in some

fifty studies prior to its painting. His artist comparion, Dora Marr, also worked on the canvas.

The painting, on its completion measured:11.5 feet x 25 .5 feet - 3493mm x 7766 mm.

It was entitled ‘Guernica’ (named after the village that was bombed).

The painting was not greeted with overwhelming delight by the Spanish authorities at the time,


23

however this work has become a sort of iconic symbol of the barbarity of war.

And it stands, even today, as a constant reminder of the consequences to them that choose all

out war as an answer to solving problems between Nations. A copy was installed at the United

Nations Assembly hall which was covered by a curtain when Colin Powell announced to the

world in 2003, that the USA (and allies) had declared War on the (Hussein). Government of

Iraq and would attack within days of the announcement. The image that lay behind Powell, was

muted by a veil of blue cloth, had it not been nullified, that declaration probably could not have

been made, especially in the place that was specifically created to keep the peace by negotiation

and the power of the unity of all the Nations of the world.

(note: It has since been removed from the building).

The force of that painting is, I believe, still felt today. And although I do not consider it

a masterpiece in the strict sense of the word, in strictly painting terms, it is none the less an

incredible painting that has enormous value to the future generations of humankind.

“...artists who live and work with spiritual values cannot and should not remain

indifferent to a conflict in which the highest values of humanity and civilisation

are at stake.” ...an extract from Picasso’s address to the American Artists Congress,

New York, 19 December 1937.


24

In the USA the artists who had fled to America to avoid the hostilities of Europe

included, Mondrian, Chagall, Dali, Ernst, Léger and Moholy-Nagy which at last had put

real human faces to the European abstract art for American artists.

The Museum of non-objective art in New York (later known as Salomon R.

Guggenheim Museum) already had displays of the work of the best (and the last) of

Monet’s water-lilies. It also had on show Matisse’s ‘Red Studio’, and a few informal

abstract Kandinsky’s. New York became the home of Hans Hoffman, an art teacher

who had personal knowledge of the development of the work by Matisse, Delauney,

Picasso and Kandinsky. Which must have contributed to the understanding of abstract

painting on the younger American generation of students at the time. (note: Mondrian

did not have a solo exhibition in the USA until after his death in 1944).

Duchamp was also to be counted in the European artist émigré mix and his influence

was heard and felt on the logical ironic conclusions of modernism in Europe.

America has seen itself become a world power in direct opposition to the Communist

desires to control the planet. Free thinking, individualism, democratic rights of the

people became its mantra in the minds and hearts of the American people.

American artists followed this mantra backed by an obsession to create an ‘American

Art’ as good, if not better, than the European established art ‘ism’s of the previous

four decades.

Readers should be made aware that none of the painters who pioneered American

Abstract Expressionism were young artists. Most had been around the block a few

times and had gained their ‘skill & understanding’ by a modicum of successful

semi-abstract works and a determination to go beyond what they saw as the limitation

of their own ‘known American style’ of painting.


25

For example, Mark Tobey was 58 years old, Mark Rothko 45, de Kooning and

Clifford Still, 44, Arshile Gorky and Barnet Newman 43, Yves Kline was 38, with

Jackson Pollock and Robert Motherwell the youngest at 35 years old.

Of these outstanding artists probably the most known works among

contemporary painters today is Jackson Pollock and Mark Rothko.

There have been volumes written about these two artists alone and most of the

books on them have been well read in most countries of the world.

Their methods and meanings behind their work probably needs no long-winded

explanations in this feature. Suffice it to outline the base lines and try to explain

how, in my view, painting became side lined in favour of other modes of Art.

Left: Pollock #1 ‘Number 1” 1948 (68 inches x 104inches – 1730mm x 2650mm) above:

Mark Rothko - One of the many ‘expressions’ works.


26

Mondrian: “Broadway Boogie Woogie” 1942-1943. 50 inches x 50 inches- 1270mm x 1270mm.

In the war years, Mondrian, immortalised New Yorks architecture and street grid system in

his painting “Broadway Boogie Woogie” between 1942 and1943.

It was the first time he had varied his system (pattern) of painting and it could have led to

more variations, but he died a year later. Léger, had seemingly gone back to figuration of

a sort by 1948 or 1949. Jackson Pollock had painted the now renown large canvas

“# one” and was headed towards a dead end where his idiom could go no further (this also

happened to other artists with limited idioms including Mark Rothko). Cubism had passed

into the territory of the Art Museum and the Art History books. It was in this era of the world

where there was an uneasy feel that the end (of the world) was nigh. Nuclear war was

the biggest fear, especially in the USA and also in Europe. Against this invisible fearful

environment the pioneer American artists of abstract expression gathered themselves to

discuss what mattered the most in their art (and life). It turned out to be their inner feelings

about the human conditions of love, hate, fear, spirituality and the unknown.

They turned to an ‘unspoken’ belief system that hovered on the edges between Judeo/

Christian/Buddhist/Jung-ism inclinations and atheism, but never bowing to either one of

those dogmas per sé.


Barnet Newman made his breakthrough with paintings that were colour fields broken by

a stripe, or caesura. His thinking with this a break, or a caesura, represented light breaking

through a dark space, perhaps just like the flash of a bomb going off ? But his hope was to

imply peace or some miraculous saviour appearing in the light. Clifford Still went further in

1949 by rejecting art that could resemble anything at all. His paintings of bright primary colours

were overlaid by incidental patches of black, giving the impression of torn or old posters that

had been affected by a traumatic environmental incident. Mark Rothko (from 1947 to 1958)

had reached his idealistic tonalities. He created these by layer upon layer of turpentined

thinned oils using a basic three part oblong colour field system. Rough around the edges, each

panel were surrounded by a neutral colour. It gave the sensation that panels were floating in

space. This gave the viewer an almost transcendental feel and that the work was imbued by

the spirit of mother nature or the creator of the universe. The common thread of these works

was size, and it mattered. ‘Big’ was essential for this sort of work for it to work as Art.

27

When exhibiting these huge paintings it was when the viewers stood in front of them that

they would physically feel how ‘awe inspiring’ the paintings really were, that was the artists

intent in creating exceptionally large canvases. Newman insisted that the audience should

stand very close to his work, to enable the power of the colour and the caesura to envelope

the viewer. This kind of Art demanded both intellectual and a spiritual awareness by

concentrated ‘looking’ – It was insistent on deep meditation and inward examination of self

and soul ‘demand’ on the audience that younger artists decided to seek another path.

above: Mark Rothko: Tate: ©Kate Rothko- Chrostopher Rothko. DACS 2017.


28

Although the colour field painterly abstraction art continued with Ellsworth Kelly (1965) and

Jules Olitski through to and past 1966, it was at this juncture artists like Frank Stella, Morris

Louis and Kenneth Noland began introducing new elements into the abstractionists makeup.

Shaped canvases, figure painting and identifiable or implied human forms was slowly

returning to painting. In Europe ‘versions’ of this kind of more traditional artistic line of work

had been seen to be produced by artists like Nicolas de Stael (figure by the Sea 1952) and

Francis Bacon ‘Study for a crouching Nude’ 1952. And later Rodger Hilton (October 1956).

Nicolas de Stael. “Figure by the sea.” 1952. Oil on canvas.

63.5 inches x 51 inches -1615mm x 1295mm - ©Kunstsammlung, Nordhein-Westfalen.

William De Kooning who had benefited from Pollock ‘opening the door’ to abstract

expressionism’s acceptance and subsequent reverent opinion of it, introduced the world to

his ‘Women’ paintings. It was these works that broke the seriousness and saw a ‘known’

artist re-introduce figuration into abstract painting. The reception was not really appreciated

that much at first. People viewed these images of ‘women’ as crude and vulgar. And it was

fear of that audience reaction that had made de Kooning hesitant in finishing them, let alone

exhibiting them. He considered abandoning them as worthless, had it not been for the art

historian Meyer Shapiro, who judged the unfinished work worthy of completion, they would

not have seen the light of day otherwise (almost the same situation as Picasso’s painting Les

Demoiselles d’Avignon over four decades earlier).


29

William de Kooning. “Woman 1” 1950-1952. Oil on canvas. 75.7inches x 58 inches

1923mm x 1473mm - ©collection. Modern Museum of Art, NYC, USA.

De Kooning, could never understand why the audience did not find the ‘Women’ paintings

‘funny.’ As that was how he viewed them and the mood in which he painted them.

But- Abstract Art was not supposed to be humorous – especially within the intellectual circles

of America and Europe, at that time.

It was this very human approach to art that saw de Kooning’s art cross over the generation

gap and into the 1960’s - which began to’ bed-in’ humour, light heartedness and put fun into

creating abstract or realistic art. The new generation of artists suggested that if the world

really was going to be brought to a sudden end by a nuclear war, then it would be logical to

ensure you had a good time before everything was blown away and destroyed for ever...

...so, why take Art or life that seriously?


30

Robert Rauschenberg had already (by

1955) began to experiment with what

he called ‘combine-paintings’, which

went some way to remove ‘actual

painting’ from abstract art.

He went further along that path in 1958

when he created two paintings using

‘montage’ (harking back to synthetic

cubism).

Also in 1958 Jasper Johns created his

now famous, ‘Flags’, which was a total

removal from ‘abstract painting,’ as

such and a journey into realism with

a twist of a smirk on his face. In the UK,

Richard Hamilton also used ‘montage’

come ‘collage’ for his..”what is it that

makes today’s homes so different, so

appealing? A poster for the

“This is Tomorrow,” exhibition.

All this was leading to the advertising

type world of images - a world that Andy

Warhol would rise from and form his

‘Factory.’ Pop Art supplanted abstract

painting as the preferred ‘hang-out’ for

the new generation as a symbol of

a new free and liberated lifestyle.

Optical Art (c.1963-67), which many

may see as abstract painting, I think

is really in a classification of its

own, as was its following movement

‘minimalism’. Artists like Bridget

Riley and Victor Vasarely (optical

or kinetic art) being the best known

and Agnes Martin probably the best

lead minimalist artist. But these were

peripheral movements and the main

thrust of abstraction expressionism had

diminished.

Rauschenberg - Bed- 1955 -75

inches x 31.5 inches x 6.5 inches-

1900mm x x 800mm x 165mm.

One of his ‘combine’ paintings.

The new art of the 60’s onwards, in some strange twist of history, came from a reformed and

intellectualised radical form of Dadaism (from 1914). Marcel Duchamp who was still around,

and was seen (righly or wrongly) as the main spokesman for ‘new-non-art.’ He encouraged that

thought, one that he had adopted as early as 1916. It became an adapted ‘idea’ that insisted that

anything and everything was Art. (Duschamp had in fact been painting all the time in secret, right

up to his death in 1968)

From around the late sixties and into the latter end of the seventies Art became exactly that:-. ‘Art

was anything’ an artist said it was.’ It was regarded as serious Art, provided it was exhibited in an

Art Gallery. Slowly, painting abstracts was not new anymore and fell by the wayside. There were of

course Painters who refused to accept that ‘paint on canvas’ was old and finished as an art form,

and carried on regardless. John Hoyland, Gillian Ayres and John Walker, were just three of many

artists that refused to capitulate to post modernism ideals and remained faithful by using paint on

canvas rather than any other contingency.

None the less, and in general, one could say that from around 1982 abstract painting had gone

from Alpha to Omega. And painting as an art form, in general, was pronounced formally ‘dead’ as

predicted in the early part 1960’s by it’s detractors and former supporters.


31

part three

Alpha, a new beginning?

By the turn of the twentieth century there was a significant

uneasy feeling among creatives. Maybe it was because

the conceptual, come installation art form, had dominated

contemporary art for so long that it had reached the point

where it had become ‘institutionally-approved art.’

And therefore only represented the Conservative Art

Establishments opinion of what was contemporary art, with

nothing or little else considered as serious art.

The conventional medium of painting had not only been

ignored, but often ridiculed by Academics as ‘not a serious

choice of medium’ to create a new contemporary art work.

This was more apparent in Europe than it was in the USA.

Which had, in the main, accepted and had retained ‘painting’

on the curriculum of universities and art academies.

This wasn’t the case in Europe, especially the UK, where

slowly but surely ‘painting’ was removed not only from

Universities curriculums but also actively eradicated totally

by the new breeed of zealous art professors discouraging

students of including painting in their portfolios for year

ending assessments (some making the threat of immediate

failure if they did so). Talent, skill, colour understanding and

artistic authenticity became a thing of the past and all these

later day basic elements and knowledge for art creation using

paint as medium was declared ‘obsolete’ in favour of a Post

Modernistic approach to art where plagiarism was not only

allowed but expected and encouraged for the student

to make it part of his ‘process’.

Not every one agreed with the post-modernism dogma,

and many Artists, in general, became tired of restricting

themselves to the non-physical involvement of art creation,

mixed with the re-making of someones else’s original idea

from the recent past. And where the actual process of the

creation was secondary, or unimportant. Disillusioned with

the philosophy of post modernism and conceptualism, where

only the ‘idea’ of a work of Art was the thing that was worthy

of consideration, traditional painting became more and more

attractive to Artists once again. This was despite the uneven

handed approach to painting in the Art Education system.

Painting flourished, especially with the underground artists,

who were mostly dogged painters from the 1980’s, also the

graffiti artists. And with some help from small exhibitions by

the commercial galleries on high streets in provisional towns,

painting began to prove that it was very much alive and had

not ‘died off’ as it was predicted it would in the later stages of

the Twentieth century.

“Easel painting, like any other classic means of painting or sculpture

has served its term. Still sublime at times, it is approaching the end

of a long monopoly...”

The New Realists. End of painting predicted in 1960.

Quote from the first manifesto. Written by Pierre Restany.


32

“ there is no such thing as abstract painting,

everything comes from something..” Pablo Picasso

The catalyst for a figurative painting resurrection

may have come from a movement that became

known (in Europe) as the ‘Transavantgarde.’ Achille

Bonito Oliva, an Italian critic overseen the new, or

more appropriately, renewed, an art philosophy

that rejected the left wing [political] thinking and its

corresponding artistic psychoanalysis. They returned

to encouraging the use of traditional materials and

the creation of Art imbued with not only talent but

the invention of new image communication forms

or symbolic signs. They gained an international

audience in 1982 with an exhibition that was mounted

in Rome. The leading Transavantgarde artists

included Chia, Cucchi and Clemente with Baselitz

and Keifer in Germany, who are often thrown into

the mix of the artists in this re-engagement with

painting. What was also significant was that a few

artists in the USA seemed closer to the European

Transavantgarde mind set than they did to the ‘pop’

or the ‘hyper-realists’ practitioners

(for example, Julian Schnabel).

This goes to illustrate how the Art in the public

view (via media coverage), the one sanctioned and

approved by art institutions, can be misleading with

the implication that Art is binary or lineal. Most artists

know that Art is and always has been, dynamic and

multifaceted. We are only in the 17th year of a new

century, but these last seventeen years are proving

to be milestones in painting development, albeit not

to the same extent that Cubism changed how artists

think about how they could create a work of art.

The neo-expressionism of the Transavantgarde of

the 1980’s led to more and more figurative interest in

art creation. And in certain ways figurative abstract

painting has asserted itself as the popular choice of

many artists. Today figurative abstraction appears at

the forefront of recent painting. It can take the form

of abstracted human forms, landscape, emotional

or personal experiences. The resulting artworks all

carry something ‘real’ as the key element in the work

of the artist. Art for Art ‘s sake, or Art as an object in

itself is no longer the main concern.

What is apparent today is that the visual art playing

field has widened and levelled itself to be inclusive

rather than exclusive, as it was once was not so long

ago. Realism, semi-realism, abstraction in all it’s

forms, gestural expression, geometric formal, and

informal and combination abstraction (objectivity

mixed with non-objectivity), photographic-painting

montages, video, digital art and graffiti, all have an

active role to play in the kaleidoscope of todays

visual art world. The whole history of art and art

ism’s seems to have merged into an array of visually

stimulating and exciting art, but only new in the sense

that they are created in the ‘here and now’ and reflect

that ‘here and now’ – however, it is perhaps a more

short sighted view of culture that is held today than it

was in the middle of the twentieth century.

For me, as a painter, it is an exciting period and

like many creatives today, I feel the freedom and

the challenge that the choice of medium, method

of painting and varied subject matter represents.

The ‘outlets’ (galleries) for this eclectic view of Art

is also far more receptive and widespread than one

would imagine. Today independent Artists can hire

spaces in purpose made pop-up type art galleries

which cater specifically for independent artists

shows. Many painters are grouping themselves

together as ‘gallery-studios’ or as a gallery artists run

co-operatives with varied types of work exhibited,

who pool their finances to ensure each individual

exhibition gains the right amount of marketing and

public exposure needed for reasonable success.

Private commercial galleries are starting to work

together to share ‘artists’ ideas and organise single

theme shows to encourage audiences to travel from

one exhibition in one gallery, then onto another with

the same theme. The future for commercial galleries,

it seems, rests in a multifaceted genre of art rather

than the singular specialised favoured choice of

art genre of the last century. They are beginning to

co-operate with each other, rather than stick to the

‘competitor’ mentality of the past.

It is perhaps the ‘competition’ from the www that has

encouraged the high street gallerists along this

co-operative path.

The www has been a major contributor to the

‘democratising’ of Art, especially in painting,

with abstract paintings now gathering as much

acceptance and popularity as the traditional

landscape or nostalgia art has enjoyed over the

last decades. Art, and painting in particular, is

unpredictable, it should surprise us and it should

never be announced, at least before it is finished.

As this special feature is all about abstract art I can

think of no better way to round it off than showing the

work of the artists selected to be included in it.

The artists vary in background, nationality and

attitudes to Art. One or two are very well known, one

or two are very accomplished and one or two will be

new names to the reader of this magazine.

All of the artists who have agreed to have their work

included have a commonality, they are painters who

tend to create abstract work rather than absolute

traditional figurative paintings.

The twelve artists featured, each with one, two or

three examples of their work, and a brief note by

myself about them and their art, may give the reader

a glimpse of what is happening with the development

of figurative abstract paining today. I have also

included some paintings of my own and welcome

reader comments and critic, as no doubt the other

artists featured will also will welcome your thoughts

on their work.

Denis Taylor, artist and editor, painters Tubes

email: tubes@telia.com


John Walker

33

Photography of John Walker, above,

courtesy of Alexandre Gallery, NYC, USA.

I first read about John Walker’s work in the early editions of the now highly regarded

book on art, ‘The Story of Modern Art.’ by Norbert Lynton. He made a comment about

John Walker’s paintings which (in1989) gave me the encouragement to continue with

painting as my chosen Art form ...Lynton wrote; “John Walker

disposes hard and soft areas of colour, mists and textures, and hinted-at structures

over broad surfaces as though to champion the right to go painting when many others

think of painting as an old habit that long ago lost it validity....”

Here, Lynton was talking about the series of work ‘Conservatories’ painted around

1978- 1979, which were quite large canvases 80 inches x 60 inches - 2032mm x

1524mm) a format John seems to prefer.

John was born in Birmingham, England and was educated at Birmingham Art School

and the British School in Rome and the Académie de la Grande Chaumiere in Paris.

He was artist in residence at Oxford University (1977-1979) and at the Monash

University in Melbourne, Australia. He also taught art at the Royal College of Art in

London, UK. He represented Britian in the Vienice Biennale and after moving over

to the USA received a Guggenheim Fellowship in 1982. His solo exhibitions include;

Museum of Modern Art, NYC, the Philips Collection, Washinton DC, the Tate Gallery,

London, the Hayward Gallery, London, the Kunstverein, Hamburg Germany and the

Art Gallery of New South Wales in Sydney, Australia. It’s an impressive and

encouraging list for any painter that points to a validation of a ‘belief in Painting’

as an Art form today.

Since around 1992, John has been teaching in Boston University’s Graduate

Program in painting and sculpture and no doubt his enthusiasm is still being

transferred to painters of the future. His current work, (see next pages) continues his

exploration using abstract forms with definitive subject ideas.


34

Title: Hush.

Oil on Canvas. Painted 2017.

84 inches x 66 inches - 2133mm x 1676mm

©John Walker 2017


35

Title: Red Tide

Oil on Canvas. Painted 2017.

84 inches x 66 inches - 2133mm x 1676mm

©John Walker 2017

John Walker is represented by: Alexandre Fine Art Inc./Alexandre Gallery 724 Fifth Avenue, 4th Floor ,New

York 10019 alexandregallery.com Current exhibition of John’s new work is at the Seal Point,

Center for Maine Contemporary Art, Rockland, Maine, USA.

It is running from today through to Sunday, October 29, 2017


36

Kayla Mohammadi

Kayla is a Fine Art lecturer at Massachusetts College of Art and

an artist of some note. Her work is varied in size but seems to

hold ‘the naural world’ firmly in its grasp.

“Helsinki Curvel,” seen here on the right hand page, is

perhaps significant for her. Her mother was from Finland, with

her father originating from Iran. She was born in the USA.

For me when I first viewed the work, the painting immediately

said Helsinki Harbour. I am very famiiar with Helsinki,

having visited the City many times over the years.

The four separate canvas’s positioned in this way gives an air

of a strange ‘unified-dislocation’ of the reflections of the sea and

the buildings that reflect onto it, is a lasting memory of

Helsinki of my own.

Her personal translations of feelings into ‘colour’ also

delight with the light touch of her brush and colour application.

Personally, I find her paintings peaceful, secure and showing an

artist who is dedicated to her chosen medium of expression.

Kayla has had a number of awards and residencies,

(The Joan Mitchell Residency New Orleans, for example) and

has received scholarships and grants from 2008 onwards.

Other activies include judging for the Boston Young

Contemporary Exhibition, the Rhode Island Council for the Arts

Award in 2009, and the Harvard University Reflection in Action.

(judging). Her work is in a whole host of Museums, Embassies

and Universities and private collections. She has exhibited in

group and had solo shows from 1998 onwards.

visit www.kaylamohammadi.com - to view more of her work


Helsinki - Curvel

96 inches x 72 inches (total mounted)

2438mm x 183mm

©KaylaMohammadi

37


38

‘ Ochid and Jade’ 48 inches x 60 inches - 1219mm x 1524mm ©KaylaMohammadi

‘ Yeloow Landscape ll ’ 48 inches x 60 inches - 1219mm x 1524mm ©KaylaMohammadi


Lisa Kreuziger

39

Lisa achieved an MA in English and taught language and was the

director of studies for languages for four years at the MLS,

Marburg, Germany. The reason for conveying this information is to

emphasise her natural tendency for investigating the complexities of

communication and how visual communication has the possibility to

short-cut language in an immediately understood visual message.

In 2008, Lisa decided to spent time in the USA and she left Germany

which coincided with her decision to become an independent full time

visual artist. Her concerns are the seeing’process of a human, which

and in her words: “ ..are not limited to the physical or the bio-chemical

process of the eye, but seeing also has an emotional and intellectual

dimension involving the whole range of perception.”

It is a line of thinking, especially when creating a painting, that I am in

full sympathy with. Her work therefore reflects ‘reality’ but abstracted,

modified and simplified by use of shapes of colour. The SunCity series

of paintings are more ‘memories’ of her time and experiences in the

USA (Sacremento) than they are of the actual physical places where

she lived for a number of years.

I am to meet up with Lisa in London (September 2017) where she is

mounting an exhibiion entitled “from the Edge of the Mind” at the

Espacio Artists Co-operative Gallery, it is a meeting that will form one of

a series of interviews in a future edition of Tubes and one I very much

look forward to.


40

above: SunSity #13 - Acrylic on Paper. 210mm x 290mm 8.26 inches x 11.5 inches.

©LisaKreuziger


41

above: SunSity #2 - Acrylic on wood panel. 800mm x 800mm 31.5 inches x 31.5 inches.

©LisaKreuziger

what the artist had to say about the series of paintings ‘SunCity’.

“...SunCity is an ongoing series of abstract cityscapes.

Technically, they are multi-layered paintings of shrill yellowness layered over black strokes and

interspersed by lines and fields that are suggestive of architectural structures. As all my work,

they are an exploration in the realm of emotion and perception both of which are inextricably

linked. The series is certainly inspired by my life in California where I worked as an artist for more

than two years. SunCity strives to capture an urban environment suffused with intense light as

a visceral - not merely a visual - experience. Disassociating of form and color is a means to come

as closely as possible to the core of this experience.

I started the series after my return from the US to Europe. So my memory and artistic imagination

have developed a dynamic of their own. From my artistic point of view it clearly reveals what

neuroscientists now believe: we do not retrieve the original memory of a particular experience or

event; instead we retrieve our last version of this memory. Our memories are therefore altered

slightly each time we remember them. This is an absolutely exciting thought for me as a visual

artist when looking at and talking about my work.”

Lisa Kreuziger


42

Denis Taylor

starting a new ‘reflection’ painting at

Studio 5 Sweden 2015

As this feature is about figurative abstraction and how that came about, I will simply

relate my own experiences and how I dealt with one aspect of it and my attempts of

trying to find a solution to the challenge I had set for myself.

My serious interest in figuration and abstract integration began around 1986. I’d been

working on a painting that set that path for me for when I later established a studio in

Greece. The challenge of a successful canvas which unified abstraction with figuration

was not a new concept, but up to 1986 no one had really achieved it.

And not being one to shy away from a challenge, I took it on.

For me music has always played an important role in painting, and I know that is true

of many painters. It is not to ‘simulate’ notes with colour, as Kandisky wanted to perfect,

but to seperate the conscious from the subconscious and make a barier where the

two mind sets could not interfere with each other. I found this a useful methodology to

create reality paintings and later abstract works.

Having also found a controlling ‘third conscious’ assistant, I began (in 1990) with a

fifteen metre set of 5 canvas’s with ‘Greek-Dancing’ as the subject line. My environemt

suited this perfectly as my studios were then located on a small island in the Saronic

Gulf, (Aegina island Greece).

After three years of solid painting the ‘Dance’ canvas’s I had to finally admit to myself

that the self imposed ‘challenge’ had beaten me.


43

©denistaylor “Stoned” ©1990-1993. 1500mm x 1000mm. Private Collection. Sweden

One morning I decided to rid myself of the burden and I attacked all the 5 canvas’s with

a stanley knife, slicing them all into small pieces. I found myself cutting out specific segments and

shapes, especially the human figures and the colour shapes of the background. I then set out a new

canvas (1500mm x 1000mm) and started to arrange the pieces on this new canvas.

I allowed the shapes to form themselves into a sort of pattern, before too long I could see what was

happening. Later in the day I painted over the ‘cut & stuck’ canvas with oils, enamel and wood dye’s.

Adding new figures (see above - human forms to the bottom section).

After a short while the new painting from the cut Dance works was finished and I felt I had reached my

goal. The next stage was to ‘simpilfy’ the process with new paintings, using vivid modern colours.


44

‘reflections series began in 2005 through to 2015. (UK and Swedish studios)

In 2005 to 2008, I had a temporary studio in my home town of Manchester, UK. The studio was located

in an old Cotton Mill, next to a canal, one which I walked the paths of frequently whilst thinking

about my paintings. It was the Reflections of the old Mills in the Canal that provided me with an ideal

theme for a series of paintings using vivid colours, abstract form and figurative reality as one

integrated painting, which I had been working on since creating the painting ‘Stoned’ in 1993.

There are now around 30 examples of ‘Reflections’, here you can three of them. (in the above

photograph and below, both are 1000mm x 1000mm oil on linen. And one to the right in the

photograph above measures 1500mm x 1000mm, oil on canvas.

All images ©DenisTaylor1986-2017.


Riccardo Vitiello

45

“same as it ever was” - ©RiccardoVitiello

Born in Tuscany, Italy in 1974, Riccado tells the world on his website that he is

a self taught artist. A term I personally think should be outlawed from use by artists.

He is in fact a natural born Artist, as many have been in the past and are today. He first

experimented with video art and creating abstracts images employing photography as his

main medium of choice. Of late he has began creating paintings. He said to me that it is

‘colour’ that draws him into creating art and the medium is irrelevent, although it is clear

that ‘hand-made’ art is in fact the most suited to his sensibilty. These two examples remind

me of Mark Tobey and maybe the early work of Jackson Pollock.

I am looking forward to seeing more of his work (in the flesh) when I visit Italy next year.

“the arrival at the Ghost Circus” - ©RiccardoVitiello


46

Jean Mirre

above: “Frenzied Life” 650mm x 500mm. Oil on paper. ©jeanmirre

Jean wanted to be a poet, he travelled from his

native home in France to Ireland to study poetry.

He discovered that ‘visual-poetry’ was better

suited to him and began a voyage of discovery

through an eclectic stylized range of paintings.

This varied from miniature painting in

traditional ways to testing the new digital

paintings that embraced the rock and roll scene

of ‘yester-year.’ His current work is more

concentrated and immediate. The knowledge

and experiences of his long history of making art

is clearly shown in these two works.

Jean has exhibited extensiveley with admirers

and collectors of his work in many countries

including, the USA, Japan, Brazil, Belgium,

England, Germany, Poland, Spain, Italy, and his

home country, France.

left: “Serenade” 650mm x 500mm. oil on paper.

©jeanmirre


Steven Heaton

47

A deicated artist and art organiser, Steven is the

Director of Cross Street Art studios, a non-profit arts

co-operative.

When I walked into his studio (left photo) the first

thought I had was ‘constructivist’ as the image and

shapes had me harking back to that period of Art.

Looking further I came around to seeing other

elements, the natural world and the man made world

sort of collided with each other. Steven’s paintings

are the sort that need time (and space) to ponder

and in doing so, enjoy.

Steven works with oil. acrylic, masking tape and

other materials, i.e. bits of wire. Again his idea is

to some how illustrate how the City and the natural

world can work against each other, if we allow them

too. Perhaps this is the intention of the work to nudge

us into having greater care and understanding about

the environment we make for ourselves in the future.

“alternative pathways” ©StevenHeaton2017


48

“a time presents itself” ©StevenHeaton2017

Here is what Steven has to say about his work;

“ my work presents an alternative view of the natural and chemical landscape as the lines of

communication begin to blur, factories rust against an autumnal background,

and nature begins to creep into dominance when regular human use declines.”

“ghosts of departed quantaties.” ©StevenHeaton2017


49


50

David Stanley

©DavidStanley2017

David, is a painter who loves texture. We talked about his process a few weeks ago in his

studio, which is part of the Cross Street Studios in Standish, Wigan UK..

He made a point of the ‘metal-sink’ in the corner of his studio as an essential part of his tools.

He prepares his canvas with large swathes of colour and then works the image over and over

by scrubbing and washing it and repainting it until he ‘sees’ what he is looking for.

The image is definately ‘a natue’ scene - maybe - but it is one ‘arrived at’ rather than

a place he has painted from reality or that even actually exists. The painting shown here is

entitled “thermoclyne.”

David Stanley is an established artist with many awards. He has exhibited in USA, Germany

and the UK from 1995 onwards. His work can be seen at the exhibition of Cross Street

Artists exhibition at the Atkinson Galleries, Southport, current show until 27th Aug.


Colin Taylor

51

above: Delhi Chandni Chowk. (old market) India. 26 inches x 21 inches. 660mm x 533mm Acrylic on canvas.

I was fortunate to meet up with Colin recently at his studios in

Manchester earlier this summer, where I saw his some of his recent work.

Colin has been paintings for over three decades and his love of nature

manifests itself with his other passion, which is climbing mountains.

Sydney Nolan (Australian artist) that gave him the inspiration to utilise

nature as the backdrop for a narrative within a painting.

In 2011 he embarked on a four year project which was to paint Manchester

from the tallest buildings in the City. His objective was to identify the

common ground between natural landscape painting and the built

environment. The completed works were exhibited at the Contemporary Six

Gallery in 2015. This show led to a new commission from Simpson Haugh &

Partners (architects) who asked Colin to record ‘visually’ the construction of

a new building (in central Manchester) from start to finish.

His thoughts about the commission are expressed here;-

“ the fast pace of construction changes the identity of the location steadily

and with a certainty you don’t experience when painting the natural

landscape. This commission offered the opportunity to bookend that process

in one distinct body of work. For a landscape painter I think that’s

a huge priviledge”

image ©Colin Taylor 2015-2017


52

above: Manchester-Liverpool Road Inter-City. acylic on canvas. 24 inches x 31 inches 600mm x 787mm

Sky Blue Cut Edge’ 18 inches x 24 inches. 458mm x 600mm

Acrylic, pastel, card relief and charcoal on linen. all images ©Colin Taylor

The two paintings (shown above) were born out of the commission.

Colin produced a number of works which he experimented with by fixing ‘cut’ card

onto the canvas. For Colin this is something new and he sees it as a way of

delineating form on the work. On a few works he placed the ‘cut’ card and

extended them off the edge off the canvas’s and the painted image. It’s a method

he intends to pursue. For me, this could be related to both Synthehic Cubism and

Mondrian’s ‘thinking’ about the painting becoming ‘part of the wall’ and not an object

placed upon it.

The paintings above were part of the ‘New Lines in Space’ exhibition at the

Contemporary Six Gallery in Manchester in June 2017.


Mike Weeden

53

Mike Weeden began painting in a serious way only ten

years or so ago. His childhood artistic talent promised

much and he was encouraged to enrol at art school, but

he decided to join the Royal Navy and see the world.

He first exhibited in West Yorkshire which encouraged

him to take up Art on a full time basis around 2007.

Both he and his family moved to Scotland, which gave

him a new fresh approach to his art.

He has seen some modicum of success over the years,

with his work being acquired for corporate collections.

In 2011 he became a member of the Scottish Society of

Artists. His work was also exhibited at Todmorden Fine

Art Gallery, which is run by the renown artist agent and

Gallerist, Dave Gunning.

For me, some of his work has the look and feel of

a James Ensor painting with a dash of Max Beckmann

thrown in for good measure. Some of his earlier work is

classic figurative, but here (to the left) we can see him

venturing more into abstraction and a looser application

of paint. I look forward to viewing more.

all images ©Mike Weeden 2017


54

Hans Reefman

digital painting example

Hans works from his home studio n Arnhem, Holland,

Currently he is experimenting with digital painting combining

this with his experiences using ‘caustic’ paintings of a semisculptural’

nature using a variety of textural techniques.

His ‘effects’ and ‘textures’ interest began whilst studying in

Paris in 1975 when he poured nail polish over a piece of paper

and became surprised how it maintained its colour depth and

sheen.

He now combines ‘nail-polish’ with acrylic, varnish and cement

to discover new effects He decided, not without a smile, that

this type of ‘painting’ should be called ‘Polishpainting.’

His paintings are mainly abstract-figurative and to my mind he

shows the influences of Paul Klee compositional wise, mixed

with a touch of texture not unlike what Jean Dubuffet

experimented with.

image ©Hans Reefman 2017


Shahin de Heart

55

Lanscape & language series -160mm x 2000mm oil on canvas

Shahin is motivated by poetry.

The paintings made with broad gestural abstraction have a lyrical

sensibility about them. I have only seen her work on the www, but I have

promised myself to see the work in real life when next I visit Germany.

Shahin was born in Tehran. Her earlier studies were in

portraiture between 1968 and1971 at Ron Baskerville Studios in

Manchester, UK. She settled in Germany where she studied visual arts

at the University of Aachen followed by a spell in Cologne studying art

history, archeology and anthropology.

She first established her studios in 1980 before moving to

Dusseldorf and then Remscheid-Lennep, Germany, where she now

lives and works.

all images ©Shahin de Heart 2017


56

Lanscape & language series - 1200mm x 1000mm oil on canvas

Shahin de Heart ...in the artists own words...

”...Sustained by the words of the Persian poet and mystic Hafez (1325-1390 )

I have painted my dynamic pictures. Persian calligraphy and Western expressive art come

together movingly. My pictorial painting convey my message of a better united world without

frontiers. With the series “Landscape and Language” I have combined my abstract writing pictures

with abstract different landscapes. It is very important for me that these pictures do not look like a

collage. They have not any border and are always three dimensional. My interest in this subject

was awoken, as I noticed Persian words and notions in other languages and countries.”

Shahin de Heart 2017

all images ©Shahin de Heart 2017


57

159 Bethnal Green Road London E2 7DG

Kayla Mohammadi

in the summer

Selects (Group) Exhibition

July12th through to August 12th 2017

CALDBECK GALLERY

12 Elm Street Rockland, Maine. 04841 USA


58

painters Tubes magazine - special summer feature- issue #4

ABSTRACT - alpha - omega - abstract

a comprehensive historical feature and Art examples of twelve

abstract contemporary painters

More magazines by this user
Similar magazines