Page 50 - Studio International - September 1967

LONDON sion given was eclectic—but a lot less wishy- over the art of their time has yet, I think, to be
Peter Blake are also impressive. The total impres-
properly explored. One must remember, for
commentary by washy than English painting is sometimes sup- example, that Loie Fuller in her flowing draperies
posed to be. became one of the central images of the later
Edward Lucie-Smith epoch of art nouveau. But Rodin himself was prob-
At the REDFERN GALLERY there's another `Sum- ably their most significant conquest, and Isa-
mer Exhibition' which impresses by its sheer size — dora's romantic ideas of total 'freedom' fitted in
a vast bazaar of paintings, drawings, prints and very well with some aspects of Rodin's rather
Mixed show at Robert Fraser; Summer sculptures, where nearly every modern tendency amoral personality, which may be one reason why
exhibition at Redfern; Rodin at Roland, is represented. In such a throng it's hard for any her dancing attracted him.
Browse & Delbanco; Hubert Dalwood at artist to make any kind of a decisive impact. The
Gimpel Fils; Bernard Cohen at Kasmin; honours probably go to the two kinetic pieces by At the GIMPEL FILS GALLERY there was a show of
Soviet artists at the Royal Academy; Alfred Dunn. One reason why these score is the new sculpture by Hubert Dalwood,—this made an
Erté at Grosvenor; Jon Thompson at simple fact that they make noises, and these interesting comparison with the exhibition of new
Rowan. noises are part of the total intention. One piece, scultures by Paolozzi which I reviewed in my
indeed, is entitled `Quiet Noises'—a little ball on a last commentary. Dalwood, like Paolozzi, makes
string makes a random chinging and ringing images that hover between the architectural and
within a metal framework. The other piece, called the organic. Like Paolozzi he seems to have
London galleries estivate, rather than hibernate— `A Forest' is a thicket of pieces of beechwood, been influenced by his juniors—the St Martin's
and there's not much to be seen at the drowsy which are made to crepitate like the forest in a trained sculptors who made their impact in the
season except a plethora of formless 'Summer fairy-tale. `New Generation' show at the Whitechapel. And
Exhibitions'. One unusual mixed show, however, like Paolozzi, Dalwood likes the effects to be gained
is that at the ROBERT FRASER GALLERY— a tribute Next door, ROLAND, BROWSE AND DELBANCO from silvery metal—though he prefers the finish
to the owner in his misfortunes. There are some staged one of the season's last major shows—of matt rather than shiny. If the titles are to be
works by American artists whom the gallery has small bronzes cast from the plasters and terra- taken as a guide, Dalwood is now after a kind of
exhibited previously: Dine, for instance, and cottas which are in the Rodin Museum in Paris. pop romanticism. One piece was called Venus
Oldenburg, and Warhol. But basically, this is a These are demonstrations of Rodin's dynamism, Berg, another (which looks like a set model for a
collective statement made by the London avant- his ability to fill even the oddest shape with life. Cecil B. de Mille Biblical epic) was labelled Ideal
garde. The main emphasis lies with figurative Particularly interesting are the small figures of City. But the trouble is that architectural models—
painting—this is in line with Fraser's own policy. dancers—not the rats de l'Opéra whom Degas drew even models subtly altered and perverted from
The best picture is probably the Kitaj, which is and sculpted, but dancers in the uninhibited their original state—are not really sculpture. Or
wonderfully sure and firm in draftsmanship. The tradition of Isadora Duncan and Loie Fuller. not to my mind. Most of the pieces in the show
unfinished Richard Hamilton, and the unfinished The influence which these two dancers exercised were curiously lacking in scale, and in relation-

Installation shot at Robert Fraser, showing Bridget Riley
Untitled painting 1967, oil on canvas, 85+ x 85+ in.

Right Peter Blake After the 'Monarch of the glen' by
Sir Edwin Landseer 1966
oil on canvas (unfinished), 48 x 48 in.