painters TUBES magazine. Read Free new issue 12

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6 For a few short years in the late forties and early fifties The Borough Group of artists (David Bomberg 1890 - 1957, Cliff Holden (1919 - ), Miles Richmond (1922 -2008), Dorothy Mead (1928 -1975), Dennis Creffield (1931 - 2018) and others, engaged in a creative laboratory that acknowledged the deployment of all the senses, and championed the idea of painting as an emotive response to the world around them. Bomberg is the most prominent name, but at the time, he hadn’t painted a landscape in ten years. After a summer in a tent in Cornwall, he returned to Andalucia and found his voice through collaboration and a mutually productive relationship with his students. However you rate their creative output, and here I readily acknowledge my own allegiance, it was a committed’ articulated methodology and produced a focused body of visual research at a time when there were few, if any, alternatives. The problem was that nobody listened to what they had to say. Kenneth Clark, would publish his broad survey of the genre, ‘Landscape into Art’ in 1949 and whilst he declared that the ‘landscape’ had liberated painting from its former religious obligations, but he offered no suggestion for its future trajectory. Later in 1956 ’This is Tomorrow’ the seminal exhibition curated by Bryan Robertson of the ICA looked across the Atlantic for traction. With hindsight we know that landscape painting, as a predominant theme in post WW2 British art would soon lose its position to be replaced by figuration and ‘kitchen-sink’ imagery. above: ‘Zahara’ by Miles Richamond. 39” x 31” Oil on canvas. collection of Colin Taylor For quite some time, I was perfectly content to subscribe to the to the phrase, that my work was, not an optical expression, but an emotional one. And I used it within exhibition material. It evolved out of a friendship with both Creffield and Richmond and it neatly tidied up my arts practice in half a dozen words. “but I couldn’t shake off a nagging doubt that it was incomplete.” What was different between their allegiance and my self-doubt? It was exactly a not a road-to-Damascus moment but I realised that everything was different. The philosophical, physiological, environmental,economic and technological terrain in which we perceive the landscape in which we inhabit had shifted irrevocably. If light and matter have a common factor in ‘experience’ then how is that presented to the imagination. above: ‘Sky Blue Cut Edge’ 24” x 18” Acrylic pastel, charcoal with card relief on linen. ©Colin Taylor 2017.

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