Page 36 - Studio International - January 1970

Council's and the Stuyvesant Foundation's
that can match it in this particular field.
The two paintings by Paul Huxley, though
both from the same year, are of contrasting
types, the one with blocks of colour set at
different intervals in depth or ambiguously
tilted in relation to the picture plane, and the
other with a sinuous band of colour that ap-
pears to flow diagonally across and down the
picture surface. John Hoyland's 13/12/66 has
something in common with the first of these
Huxleys but the large expanses of stained
saturated colour have a throbbing vehemence
which denotes that there is a more intense
emotional pressure behind the work. The two
paintings by Bridget Riley are both composed
of vertical undulating wave-like stripes which
appear to oscillate and shift disturbingly
before one's eyes: the earlier work has stripes
of various greys to black whereas the later one,
executed two years ago, introduces contrasts
of warm and cold colours, ranging from red-
brown to greyish green. Richard Smith's A
Whole Year and Half a Day comes from his
series of twelve canvases exhibited at Kasmin's
in 1967, in which the corners were cut off to a
progressively increasing extent; but it stands
on its own as a complete statement and its soft
radiant colours are of a most lyrical delicacy.
The picture by Jeremy Moon, Orange Queen
1964, is on a canvas of a cruciform format and
a large part of its effect derives from the con-
trast of this very insistent rectilinear shape
with a bold rhythmical pattern of lozenges of
colour which is cut off by the edges of the
composition (so that what we see seems to be a
section of a larger field). Mark Lancaster's
works are both divided into two halves which
are made to play off against one another in an
extremely subtle and ambiguous way. Even
Patrick Caulfield's picture, which is to some