Page 45 - Studio International - July 1966
P. 45

It may seem odd to equate Bridget Riley and  Paul
                                                                                    Klee, but they do  I  think have more than a little in
                                                                                    common. London is rich in Klees at the moment—there
                                                                                    are some on show at the  MARLBOROUGH GALLERY,  and
                                                                                    more at the BROOK STREET GALLERY.  What is impressive
                                                                                    is not only the range of Klee's invention, but the way that
                                                                                    each work is triggered off, spontaneously generated, by
                                                                                    the means which the artist is using. Few painters can
                                                                                    tell us so much about technique—every work that Klee
                                                                                    makes has a commentary on the way of making em-
                                                                                    bodied in it. And this, I think, is also true of Miss Riley—
                                                                                    here too we get an extreme consciousness of the means
                                                                                    being used.
                                                                                     It's a far cry from this kind of approach to that adopted
                                                                                    by the other artist whom the Marlborough are now
                                                                                    showing—Emil Nolde. Nolde wants to lose all conscious-
                                                                                    ness of the act he is engaged in. He wants to lose himself
                                                                                    in the picture, to become the thing he paints. The
                                                                                    opulent watercolours of flowers are particularly beauti-
                                                                                    ful—they have such a free, spontaneous, sensuous response
                                                                                    to the colour and texture of things. But  I  find Klee's
                                                                                    method more absorbing in the end. It has a more varied
                                                                                    range of satisfactions to offer.
                                                                                     I've chosen to talk of the capricious and playful ele-
                                                                                    ments in art, and these in turn have led me to speak of
                                                                                    the artistic process, and the way in which certain artists
                                                                                    seem to be able to stand away from it, treating it as a
                                                                                    kind of dialogue with the self—I'm thinking, here, of
                                                                                    such things as Klee's drawing entitled Stadtperspective at
                                                                                    the Marlborough: the outcome of his youthful visit to
                                                                                    North Africa, perhaps, but also an exclamation of
          Ian Hamilton Finlay  Little fields long for horizons  Concrete poem
          formerly at Glenfield Farmhouse, Ardgay, Ross-shire







































          Emile Nolde                          Paul Klee
         Im Reisetracht (In travelling clothes) 1907   Above Nicht durch zu fuhren 1940
          Coloured lithograph 19 1/4 x 12 5/8 in.   Pencil and coloured crayon 11 3/8 x 8 1/4 in.   Stadtperspective (View of the town) 1928
          Marlborough Fine Art Ltd              Brook Street Gallery                Pen and wash on paper 18 x 13 7/8 in. Marlborough Fine Art Ltd
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