Page 36 - Studio International - April 1967

Fig. 2
Ben Nicholson
Coin and Musical Instruments 1933
Oil on board
42 x 48 in.
Coll: R. S. Ziesler, New York
Although the basic form and subject matter derive from 'synthetic' cubism—and especially
Picasso still lifes of the early '20s—the fluid treatment of the picture space and the working
of the surface herald Nicholson's move away from cubism towards free form and space. Only
the vestiges of the table-top plane are preserved and the life of the composition depends upon
the entirely free swinging lines, etched through into a plaster ground, upon which the still life
forms are suspended like counterweights
Facing page
Fig. 3
Ben Nicholson
Painting (milk and plain chocolate) 1933
Oil on board
53 x 32 in.
Coll: C. S. Reddihough
Compare with Calder's 'Dancing Torpedo Shape' Fig. 5.
Under the liberating influences of Mira, Calder and Arp, Nicholson sets his forms free from thE
box-space of late cubism. C. S. Reddihough was one of the small circle of enlightened
friends and patrons upon whom Nicholson depended largely for support