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As an artist, one has many influences and at certain times some have a special significance. At this stage in my career, Peter G. Ray is a painter who I consider both a catalyst and a major figure in painting today. I first became aware of these extraordinary works about six years ago on Kenworth’s Moffett’s Art Letter website and shortly after this I saw three of Ray’s works in the flesh, when visiting Moffett. On this occasion one painting stood out for me; a small black and white one. The two other larger and colourful ones did not grab my eye other than just liking certain parts of the pictures. I also saw some in print reproductions, which again, did not spark much interest. On seeing these paintings a year or so later and the prints also, the difference in my perception was remarkable. Now seeing and liking the coloured paintings and the prints, a time of influence had begun. During the intervening period, some experimentation in using fluid paint had been going on in my own painting along also with a particular interest in the paint work of Bruce Piermarini and Irene Neal. But for now focusing on […]

“Early Morning-The Fisherman’s Home” c.1858. Irish born Danby is best known for his large-scale narrative works: a famous one being “The Deluge” which is usually on show at Tate Britain. Associated with the Romantic period along with the likes of John Martin and Turner, he is less noted for his later works. The art establishment found these more experimental pictures too rich in colour, and still today they are held in lower regard than his grander pieces. It seems that the current lack of awareness in aesthetic quality is not just limited to modern art. Auction prices reflect a shocking disregard for visual attributes in all periods, successful sales are determined by big names and their associates. Yes, often many of these high value works are great, but quality is not the price barometer. “Early Morning-The Fisherman’s Home”, by Francis Danby is a jaw dropping beauty. Its initial appearance can be deceptive. If you first sight it from a distance, though immediately striking, it looks minimal for a landscape – a bit Turner-like. The ethereal and opulent colour is matched with such precise arrangements. On getting closer, much more detail is revealed, while losing none of its overall effect. It […]

It wasn’t until November of 2007, when, at the Bernard Jacobson Gallery in London I first saw some Bram Bogart paintings. I had seen reproductions, but only about a year earlier. Despite his strong profile in Europe, having numerous shows over a period of more than fifty years, it is shocking that he is not better known in the UK and America. Having met Bogart at the opening of another display at Bernard Jacobson in September 2009, which focused mainly on larger works, it is even more surprising that at eighty-eight the frailties of his advanced age have not dampened his creativity. There were two new smaller pieces that offered sumptuous colour and a mind-boggling power of simplicity, which can only come with experience. In Bram Bogart we have an artist who has been going strong for half a century. The heavy plaster-like material has served him well throughout this time. There have been many changes, but the distinctive style has remained. This is an unusual achievement, which I can only partly explain by pointing to the influences he has incorporated into his art. Throughout, there has been the strong adherence to a European Matter painting aesthetic, but much influence […]