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Dieses Kunstwerk, Blue Vertical von Patrick Heron, wird derzeit bei Richard Green zum Verkauf angeboten.
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Patrick Heron, Blue Vertical
 
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TITEL:  Blue Vertical
HERSTELLER:  Patrick Heron (British, 1920–1999)
ENTSTEHUNGSJAHR:  1956
KATEGORIE:  Malerei
MATERIAL:  Oil on canvas
GRÖSSE:  h: 91.4 x w: 45.1 cm / h: 36 x w: 17.8 in
GRÖSSE:  Framed size: 38 ¾ x 20 ¾ in / 98.4 x 52.7 cm
STIL:  Zeitgenössisch
PREIS*:  Contact Gallery for Price
GALERIE:  Richard Green  +44 (0) 207 493 3939  
BESCHREIBUNG:  SP 5170

As a writer and art critic, Patrick Heron had been contemplating abstraction since his first published article in 1945. He began to experiment with purely abstract painting in 1952, largely as a response to the first London exhibition of Nicholas de Staël (1914-1955). It was not until the winter of 1955-56, however that he started to pursue a radical non-figurative approach in a series of Tachiste1 works that reflect a period of dramatic innovation and rapid change. These paintings preceded and in some cases coincided with Heron’s effervescent Garden series (inspired by the move to Eagles Nest, Zennor in April 1956), while anticipating the elongated brushstrokes of his Stripe paintings developed the following year.

Freed from ‘that troublesome entity, the subject’ Heron felt able ‘to deal more directly and inventively (I hope) with every single aspect of the painting that is purely pictorial, i.e. the architecture of the canvas, the spatial interrelation of each and every touch (or stroke, or bar) of colour, the colour character, the paint-character of a painting – all these I now explore with a sense of freedom quite denied me while I still had to keep half an eye on a ‘subject’’ (the artist, Statements: A Review of British Abstract Art in 1956, exhibition catalogue, ICA, London, 1957).

Following on from Vertical : January 1956 (Tate Gallery), in which a succession of uneven vertical strokes obliterate an earlier figurative subject, Blue Vertical : 1956 documents the progression of Heron’s expressive abstraction with a greater variety of mark-making and a more intensive exploration of colour. While working with a similar palette, the dark, roughly uniform screen of the previous picture has opened up to reveal a nuanced study of blue, heightened with white in some areas, graduated with black to grey in others. Applied on the surface in broad, predominantly vertical strokes of translucent paint layered to create passages of opacity, the paint forms differ in strength, width and length, revealing beneath an even more diverse and active plane. This freely painted layer of gestural marks rendered in various directions, textures and primary colours is overlaid by a network of jagged black lines recalling the linear structure of Heron’s representational work.

1 Derived from the French word tache meaning stain or mark.

PROVENANCE:  The Redfern Gallery, London
Robert Hosdel Esq., 22nd July 1957, Cottingham, Yorkshire, then by descent
Thomas Baker Slick Jnr, San Antonio, Texas, then by descent
ONLINE-KATALOG(E):  Richard Green Inventory Catalogue
LITERATUR:  Alan Gouk, ‘Patrick Heron I’, Artscribe, No. 34, March 1983, illustrated p. 42
AUSSTELLUNGSLISTE:  London, The Redfern Gallery, Patrick Heron, Mary Fedden, Robert MacGowan, 6th June – 30th
 
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