Panter & Hall

Mike Bernard ‘Recent Paintings’, Panter & Hall, 11-12 Pall Mall, London, SW1, until 13th March 2015

Mike Bernard RI Piccadilly, Evening mixed media on canvas 16 x 20 ins (41 x 51 cms) (C)

Mike Bernard RI
Piccadilly, Evening
mixed media on canvas
16 x 20 ins (41 x 51 cms)
(C)

This is Bernard’s first solo show for three years. He has a distinctive, original style in which he uses mixed media –watercolour, oil and a collage of cut printed paper. The result is a rich mixture of light, texture and the semi-abstract which combine together bring a great sense of place. It is no wonder that other artists copy his techniques.

Mike Bernard RI Portofino, Summer mixed media on canvas 20 x 30 ins (51 x 76 cms) (C)

Mike Bernard RI
Portofino, Summer
mixed media on canvas
20 x 30 ins (51 x 76 cms)
(C)

 

http://www.panterandhall.com

Installation View, Mike Bernard RI (C)

Installation View, Mike Bernard RI
(C)

British Library

Lines in the Ice: Seeking the Northwest Passage, British Library, 96 Euston Road
London NW1, u
ntil 19th April 2015.

Boat-Cloak or Cloak-Boat, Peter Halkett (1848) on display in Lines in the Ice - this boat, developed in London and tested on the River Thames, was an early inflatable dinghy that doubled as a cloak (with a sail that doubled as an umbrella). Photograph courtesy of the British Library.

Boat-Cloak or Cloak-Boat, Peter Halkett (1848) on display in Lines in the Ice – this boat, developed in London and tested on the River Thames, was an early inflatable dinghy that doubled as a cloak (with a sail that doubled as an umbrella).
Photograph courtesy of the British Library.

The news of the discovery of one of Sir John Franklin’s lost ships (HMS Erebus) last year in the words of Philip Hatfield, the chief curator of this show, ‘has reminded us of the pull the Arctic has on our imagination. For centuries explorers have searched for routes through and resources in the Arctic, and while men like Frobisher sought gold today’s searches are for black gold. Lines in the Ice looks at this long history of exploration, the threads that link it together and the reasons we are still interested in the Arctic today.’

A map of the North Pole and parts adjoining’, Moses Pitt, from The English Atlas (1680) - the personal atlas of King Charles II.  Photograph courtesy of the British Library.

A map of the North Pole and parts adjoining’, Moses Pitt, from The English Atlas (1680) – the personal atlas of King Charles II.
Photograph courtesy of the British Library.

Indeed the show makes the point well, concentrating on the three leading Arctic explorers who sought to find the legendary Northwest Passage – Martin Frobisher, Sir John Franklin and Roald Amundsen. The exhibition uses items and objects, some of which are quirky, from Europe, Canada and the Arctic to give a good idea of life there.

A photograph taken during the Arctic expedition of 1875-76 on display in Lines in the Ice.  Photograph courtesy of the British Library.

A photograph taken during the Arctic expedition of 1875-76 on display in Lines in the Ice.
Photograph courtesy of the British Library.

http://www.bl.uk/

The world we live in, c. 1958, on display in Lines in the Ice.  Photography courtesy of British Library.

The world we live in, c. 1958, on display in Lines in the Ice.
Photography courtesy of British Library.

Robert Motherwell

Robert Motherwell: A Centenary Survey of Major Works, Bernard Jacobson Gallery, 28 Duke Street, St. James’s, London SW1, until 28th March 2015

 

Installation View showing: Motherwell, Robert A View No.1 1958 81.1 x 104 inches / 206 x 264.2 cms  Oil on canvas (C)

Installation View showing:
Motherwell, Robert
A View No.1
1958
81.1 x 104 inches / 206 x 264.2 cms
Oil on canvas
(C)

What better way to mark the opening of their new gallery in a very impressive space created from a car park by Nick Gowing architects, just opposite the side entrance of Fortnum & Mason and the perfect place for exhibitions?

Motherwell, Robert Untitled (New England Elegy No.5) 1967 116 x 140 inches / 294.6 x 355.6 cms (C)

Motherwell, Robert
Untitled (New England Elegy No.5)
1967
116 x 140 inches / 294.6 x 355.6 cms
(C)

Robert Motherwell, born on 24th January 1915, was a major figure of the Abstract Expressionism Movement which emerged in New York in the 1940s. By the 1960s Motherwell was also working on other ideas – collages, series of paintings and printing prolifically.

 The show includes many notable works including Elegy to the Spanish Republic No. 130, which was part of a series he first started in 1947 and continued working on until his death in 1991.

An installation view showing from the right: Motherwell, Robert California 1959 Oil and charcoal on canvas 69.75 x 89.3 inches / 177.2 x 226.8 cms; Open 22: In Charcoal with White 1968 Acrylic and charcoal on canvas 89.6 x 129.1 inches / 227.6 x 328 cms; Elegy to the Spanish Republic No .130 1974-75 Acrylic on canvas 96 x 120.5 inches / 243.8 x 304.1 cms; (C)

An installation view showing from the right:
Motherwell, Robert
California
1959
Oil and charcoal on canvas
69.75 x 89.3 inches / 177.2 x 226.8 cms;
Open 22: In Charcoal with White
1968
Acrylic and charcoal on canvas
89.6 x 129.1 inches / 227.6 x 328 cms;
Elegy to the Spanish Republic No .130
1974-75
Acrylic on canvas
96 x 120.5 inches / 243.8 x 304.1 cms;
(C)

jacobsongallery.com

GUY BOURDIN – 2 “TAKES”

Here is “take” 1

Guy Bourdin: Image Maker, Embankment Galleries, South Wing, Somerset House, London WC2, until 15th March 2015

Guy Bourdin  Vogue Paris, May 1970  © Guy Bourdin

Guy Bourdin
Vogue Paris, May 1970
© Guy Bourdin

In this show, the largest ever held in the UK, Guy Bourdin’s career as a fashion photographer is delineated from his early days as a protégé of the Surrealist photographer Man Ray to a master craftsman who photographed fashion for magazines such as Vogue Paris and brands like Charles Jourdan and Chanel creating a world both colourful and strange. This was achieved by making the product play the second leading part to the image.

Guy Bourdin British Vogue, September 1975  © Guy Bourdin

Guy Bourdin
British Vogue, September 1975
© Guy Bourdin

This is encapsulated through colour and black-and-white images and Super-8 films (he was among the pioneers of fashion film). As well as being a self-taught photographer he had always been a painter and a selection of paintings, sketches and working drawings illustrate how this helped his approach to his photographic images. A highlight of the exhibition is the 1979 Walking Legs’ campaign for Charles Jourdan which is being shown in full.

 

 

 

 

 

 

 

This brings us to “take” 2

 

Guy Bourdin ‘Walking Legs’, Michael Hoppen Gallery, 3 Jubilee Place, London SW3, until 28th March 2015

Guy Bourdin  Charles Jourdan, 1979 © Guy Bourdin Estate. Courtesy Michael Hoppen Gallery

Guy Bourdin
Charles Jourdan, 1979
© Guy Bourdin Estate. Courtesy Michael Hoppen Gallery

The gallery compliments the above show with this one focusing on the 1979 Charles Jourdan campaign. The locations were photographed on a car journey from London to Brighton – other than the locations all that can be seen is a pair of mannequin legs and Charles Jourdans’s creations.

 

 

www.somersethouse.org.uk

 

michaelhoppengallery.com

Richard Long: The Spike Island Tapes

Richard Long: The Spike Island Tapes, Alan Cristea Gallery, 31 & 34 Cork Street, London W1, until 2 April 2015

Richard Long Love Minus Zero/No Limit, 2014 A two panel carborundum relief printed on Hahnemühle Etching White 350 gsm paper 121.5 x 388 cm Edition of 2 Courtesy Richard Long and Alan Cristea Gallery, London

Richard Long
Love Minus Zero/No Limit, 2014
A two panel carborundum relief printed on Hahnemühle Etching White 350 gsm paper
121.5 x 388 cm
Edition of 2
Courtesy Richard Long and Alan Cristea Gallery, London

Richard Long has been printmaking for over forty years – etching, lithography, silkscreen and offset – but for this his first solo exhibition at the gallery he has produced a series of monumental carborundum relief prints. An artistic first for him in size and technique!

Richard Long Guitars, Cadillacs, 2014 A two panel carborundum relief on Moulin Du Gue 350 gsm paper 232 x 209 cm / Image diameter 173 cm Edition of 12 Courtesy Richard Long and Alan Cristea Gallery, London

Richard Long
Guitars, Cadillacs, 2014
A two panel carborundum relief on Moulin Du Gue 350 gsm paper
232 x 209 cm / Image diameter 173 cm
Edition of 12
Courtesy Richard Long and Alan Cristea Gallery, London

The Spike Island Tapes (the name comes from the contemporary arts centre near him in Bristol and the titles of music and songs ‘he just likes’) are a colourful series of seventeen new works formed from a dozen 4 x 8 foot aluminium plates. His working technique allows him to work using his hands on the plate.

Richard Long Fingers on Fire, 2014 A two panel carborundum relief printed on Moulin Du Gue 350gsm paper 248.5 x 242.5 cm Edition of 7 Courtesy Richard Long and Alan Cristea Gallery, London

Richard Long
Fingers on Fire, 2014
A two panel carborundum relief printed on Moulin Du Gue 350gsm paper
248.5 x 242.5 cm
Edition of 7
Courtesy Richard Long and Alan Cristea Gallery, London

http://www.alancristea.com

Rubens and His Legacy

Rubens and His Legacy: Van Dyck to Cézanne, Main Galleries, Royal Academy of Arts, Burlington House, Piccadilly, London W1, until 10th April 2015    

Peter Paul Rubens The Triumph of Henri IV, 1630 Oil on panel, 49.5 x 83.5 cm Lent by The Metropolitan Museum of Art, Rogers Fund, 1942 (42.187) Photo c. 2013. Image copyright The Metropolitan Museum of Art / Art Resource / Scala, Florence

Peter Paul Rubens
The Triumph of Henri IV, 1630
Oil on panel, 49.5 x 83.5 cm
Lent by The Metropolitan Museum of Art, Rogers Fund, 1942 (42.187)
Photo c. 2013. Image copyright The Metropolitan Museum of Art / Art Resource / Scala, Florence

For anyone intending to visit this glorious exhibition the keyword is legacy.

Jean-Antoine Watteau La Surprise: A Couple Embracing While a Figure Dressed as mezzetin Tunes a Guitar, 1718-19 Oil on panel, 36.3 x 28.2 cm Private Collection Photo: Private Collection

Jean-Antoine Watteau
La Surprise: A Couple Embracing While a Figure Dressed as mezzetin Tunes a Guitar, 1718-19
Oil on panel, 36.3 x 28.2 cm
Private Collection
Photo: Private Collection

Rubens was a highly accomplished artist whose works cover many themesPoetry, Elegance, Power, Lust, Compassion and Violence and while this exhibition offers fine examples of the master’s hand on these subjects it concentrates on successive generations and schools of artists whose works were inspired and influenced by him. Thus you will encounter Turner and Constable, Watteau and Fragonard, Delacroix and Cézanne and many other artists along the way.

Peter Paul Rubens Pan and Syrinx, 1617 Oil on panel, 40 x 61 cm Museumslandschaft Hessen Kassel, Gemaeldegalerie Alte Meister, Kassel Photo: Museumslandschaft Hessen Kassel, Gemaeldegalerie Alte Meister/Ute Brunzel

Peter Paul Rubens
Pan and Syrinx, 1617
Oil on panel, 40 x 61 cm
Museumslandschaft Hessen Kassel, Gemaeldegalerie Alte Meister, Kassel
Photo: Museumslandschaft Hessen Kassel, Gemaeldegalerie Alte Meister/Ute Brunzel

As the exhibitions curator, Dr Nico Van Hout, says, “It is no coincidence that Delacroix, Vigée-Lebrun, Reynolds and Renoir devoted fascinating discourses, journal entries and letters on the virtuosity and confidence of Rubens’ brushwork, as many artists were trained by seriously studying his altarpieces, allegories, portraits and landscapes. Each artist focused on different aspects of his oeuvre and the works in this exhibition show the great variety of this impact: they include exact copies, creative copies, pastiches and quotations to works that only echo Rubens’ style. Only the best artists were able to translate Rubens’ visual language into a personal idiom and we are delighted to bring together such a rich selection of works to showcase the ongoing strength of Rubens’ legacy throughout the past three centuries.”

Paul Cezanne Three Bathers, c. 1875 Oil on canvas, 30.5 x 33 cm Private Collection Photo: Ali Elai, Camerarts

Paul Cezanne
Three Bathers, c. 1875
Oil on canvas, 30.5 x 33 cm
Private Collection
Photo: Ali Elai, Camerarts

One could suggest that perhaps a few more works by Rubens would have been better or wonder why some of the pictures were chosen as being influenced by him but in the end it does not really matter for the aim of showing how great the legacy of Rubens is addressed with verve and success.

Eugene Delacroix Crucifixion, 1846 Oil on panel, 37 x 25 cm Museum Boijmans van Beuningen Museum Boijmans Van Beuningen, Rotterdam/Photographer: Studio Tromp, Rotterdam

Eugene Delacroix
Crucifixion, 1846
Oil on panel, 37 x 25 cm
Museum Boijmans van Beuningen
Museum Boijmans Van Beuningen, Rotterdam/Photographer: Studio Tromp, Rotterdam

www.royalacademy.org.uk

Peter Paul Rubens Tiger, Lion and Leopard Hunt, 1616 Oil on canvas, 256 x 324.5 cm Rennes, Musee des Beaux Arts Photo c. MBA, Rennes, Dist. RMN-Grand Palais / Adelaide Beaudoin

Peter Paul Rubens
Tiger, Lion and Leopard Hunt, 1616
Oil on canvas, 256 x 324.5 cm
Rennes, Musee des Beaux Arts
Photo c. MBA, Rennes, Dist. RMN-Grand Palais / Adelaide Beaudoin

RA Schools

Premiums Interim Projects, Royal Academy, Burlington Gardens, London W1, until 11th March 2015

Anna Hughes,  Untitled, 2014,  mixed media  (c) the artist

Anna Hughes,
Untitled, 2014,
mixed media
(c) the artist

This is a great chance to see the work of seventeen nascent artists who are postgraduate students at the RA Schools. An RA programme which incidentally is the only free three-year postgraduate course in the UK. As Eileen Cooper RA, Keeper of the Royal Academy, said, “I’m very much looking forward to Premiums, an exhibition which marks the halfway point of the students’ time at the Royal Academy Schools. The work on show will be diverse, both in range of media and intention. In the galleries of the Royal Academy, we are used to seeing work that is already known and one of the special things in Premiums is that the work on show is being tested outside the artists’ studios for the first time. This is the visitors’ opportunity to form their own opinion.”

Claire Undy,  Still from Notwithstanding, 2014,  video still, duration 14 minutes  (c) the artist

Claire Undy,
Still from Notwithstanding, 2014,
video still, duration 14 minutes
(c) the artist

You should definitely go along and see the work of these students who are: Rhys Coren, Rian Coughlan, Elliot Dodd, Alana Francis, Kira Freije, Gery Georgieva, Anna Hughes, Frank Kent, Neill Kidgell, Jack Killick, Molly Palmer, Anna Paterson, Robin Seir, Rafal Topolewski, Claire Undy, Wanda Wieser and Tom Worsfold.

Tom Worsfold,  Afternoon Haircut, 2014, gouache, acrylic, oil and collage on canvas  (c) the artist

Tom Worsfold,
Afternoon Haircut, 2014,
gouache, acrylic, oil and collage on canvas
(c) the artist

Good luck to them!

 

Wanda Wieser,  Untitled (Testpiece), 2014,  ciment fondu, copper powder (c) the artist

Wanda Wieser,
Untitled (Testpiece), 2014,
ciment fondu, copper powder
(c) the artist

 

http://www.royalacademy.org.uk