Page 48 - Studio International - February 1965

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drawings we see the large background of white becom­ The Beaux Arts Gallery (soon to close) has made
ing the space on which the motive plays its almost under the direction of Mrs. Helen Lessore a name in the
marginal role of intricately worked design. In the draw­ archives of post-war British art that is associated with a
ing reproduced, the interior picture is linked to and realism not always of the social kind. John Bratby,
framed in the floral network. Fascinating as the draw­ Derrick Greaves, Jack Smith, Frank Auerbach, Edward
ings are, many seem as no more than the ideatic images Middleditch and Michael Andrews are painters who
that have not yet reached finality in either scale or first showed their paces from this stable. In more recent
design. We await the paintings that will grow out of years, Shiela Fell has come to full pitch in her exhibitions
these germinal essays with the certainty that enlarge­ at the Beaux Arts. Her latest and unfortunately her last
ment will give them their mature stature and large in this gallery demonstrates a growing involvement
colour areas a more dramatic impact. with the material. Her surface is ridged and pitted and
textured so that the figures in the fields take on a solid
modelled form as does the contour of the sloping
fields and skies full of cumulus cloud. Overall, the
colours retain the moist, soft greenness of the artist's
native Cumberland which is still the atmospheric setting
of these luminous landscapes.
Peter Coker is another English painter of landscape
who recently held a one-man show at the Zwemmer
Gallery. His vertical tree trunks in the woodland scenes
of Suffolk are among the best plastic equivalents of
solid form that are to be seen in this idiom today, aFld he
builds up his ridges of pigment in an evocative relief
for foliage, grass and the hatching of natural growth in

1 Patrick Heron, showing his recent paintings and the contours of fields and hills that harks back to
Jasper Johns
Numbers in colour. 1958/9 gouaches at the Waddington Galleries, will represent Courbet with authoritative truth to reality.
Encaustic and collage 67 x 49½ in. Great Britain with Victor Pasmore at the Sao Paulo Ronald Copping showing at the John Whibley
Whitechapel Art Gallery
Biennial in 1965. His c0mpositions are themselves open Gallery makes from the architecture of Paris a poetic
2 to the accusation of being formula paintings, based as summary in light and warm tones. It is a deserted city,
Richard Sladden they are on the disc and the straight edge defining peopled with ghosts in daylight and dark and the
Two/One
Portland Stone. 30 in. colour areas of varying intensity in contrast and storied squares and quais of the fabulous city of the
New Vision Centre Gallery harmony. At their best they set up a tension and Seine live in pale, shimmering transparent light that
throbbing visual equilibrium that can be extremely conjures up memories and dreams with uncanny magic.
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Bernard Cohen moving. Certain it is that in the bleaching and shrinking At the New Vision Centre Gallery, Richard Sladden
Drawing. 1964
Kasmin Gallery conditions of Brazil, Patrick Heron will carry the better. showed a satisfying selection of carvings in Portland,
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