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Sandra Blow: Painting No 6, 1962 Oil, Ash, Charcoal & Sand On Canvas 50 X 60 In / 127 X 152.4 Cm © Courtesy of Gimpel Fils Gallery
Collector's Choice

30 Davies Street
London W1K 4NB
United Kingdom
January 26th - March 4th

QUICK FACTS
WEBSITE:  
http://www.gimpelfils.com
EMAIL:  
info@gimpelfils.com
PHONE:  
+ 44 (0) 20 74932488
OPEN HOURS:  
Mon-Fri 10-5:30; Sat 11-4; closed Saturday in August

DESCRIPTION

Reviving a title used by Gimpel Fils in past decades, the gallery is presenting artworks from its collection of artists, many of which have not been seen for years. Highlights include a bronze by Hubert Dalwood from his Bonzai Garden series, a rare 'kite painting' by Richard Smith from 1977 and the final painting which Peter Lanyon completed before his death. 

Sandra Blow is represented by a painting from 1962. In a minimally toned work, darker colours prevail, iron oxide and black. Blow lived in Rome in the late 1940's, where she came under the tutelage of Alberto Burri, whose 'sackcloth and ashes' painting reflected his own situation as a recently released prisoner of war, the paucity of materials available to artists at the time and the general mood of the cultural production. The iron oxide in Painting No.6 could equally be the colour red, as in oxidised blood, which along with black, echoes the anarchist colours and so points back to the chaotic political situation after the fall of Mussolini in 1943. If Sandra Blow remains an exceptionally gifted English artist from the small band of abstract painters here, she also embodies a European approach to cultural production. 

Bernard Meadows' Pointing Figure 1967 is rare among his work in that the bronze has a highly attractive green patina. Almost invariably Meadows cast in an edition of 6+1, but Pointing Figure is an exception. This work is cast in an edition of 3 and the example here is the only one with such a patina, the other two (one in an American collection) being cast in the more usual polished bronze. The motif of a pointing figure recurs in Meadows' work and it is interesting to note that like Sandra Blow, there is an Italian connection. On a visit to Florence in 1960, Meadows was struck by the slightly menacing Renaissance figures, as he saw them, notably those based on Roman subjects with their pointing hands. Meadows was equally interested in photography and took inspiration from a particular one, a pointing Luchino Visconti on the set of The Leopard

In 1947 Henry Moore produced his first screen printed panels for the celebrated firm Ascher, who commissioned work from several artists. To the great disappointment of artist and commissioner, the panel met no success and Moore was not invited to create further images. However, before his retirement in 1990, Ascher wished to see the success of his vision and the panel, Three Women, was finally published in 1990. 

A fine and archetypal work by the Belgian visionary artist Panamarenko is Champ magnetique 'A' from 1988. This is a flying object by Panamarenko and a study of the artwork reveals its probable function, right down to its misleading plug and cord. As the artist once told us, you plug it in at your peril and so the 'flying' aspect remains in a state of suspension. 

Reflecting the range and depth of the gallery's collection and in its 70 year exhibition program, other works in the show include Robert Adams, Damien Hirst, Albert Irvin and Niki de Saint Phalle.