Sunday, 24 June 2018

John Piper at the Mead

John Piper

at the Mead Gallery, University of Warwick.

Landscape artist, official war artist, a major advocate of abstract art, John Piper is one of the most significant British artists of the 20th century. This exhibition at the Mead Gallery at Warwick University shows how Piper worked across an extraordinarily diverse range of artistic disciplines.

Beach and Starfish, Seven Sisters Cliff, Easterboune 1933-34 (gouache, pen and ink with paper and fabric collage)

Hope Inn, 1934, (gouache and Indian ink with collage)

Houses in Surrey, 1928, (oil paint on board)

Foreshore with Boats, South Coast, 1933 (oil with printed paper on canvas)

Fishing Boars near Newhaven, 1934, (oil with collage)

Drawing for a Construction, 1934, (ink and gouache with collage on paper)

Construction Intersection, 1934, (oil and wooden dowels on canvas)

Construction 1934, 1967, (oil, zinc, wood, glass and dowelling on canvas on plywood)

Piper's abstract constructions were the first works he made after visiting Paris in 1934. They were only exhibited once as a group, in the foyer of the Experimental Theatre in Hampstead in early 1935, alongside works by Wassily Kandinsky, Joan Miro and others. He is known to have made around fifteen in total, but few have survived as the artist did not take great care of them after their making. He ultimately came to regard the abstract style as an 'exercise'. This piece was initially dismantled before being reconstructed by the artist in 1967, following a photograph and using some original elements.

Brighton, Regency Square, 1949, (oil on canvas)

Portland Stone Perspective, 1954, (oil on board)

Rocks on the Glyder Mountain, 1951, (oil on canvas)

Interior of Coventry Cathedral the Morning After the Blitz, 1940

Cartoon for Baptistery Window, Coventry Cathedral, 1956, (ink, crayon and pastel on paper)

Abstract 1956, (screen-printed rayon)

Abstract Composition, 1935

Friday, 22 June 2018

Baddesley Clinton

We hadn't been to Baddesley Clinton for a while, so it was a real pleasure visiting last week.

We started by circling the house and the moat that surrounds it.

The house probably originated in the 13th century when large areas of the Forest of Arden were cleared for farmland.

This last one, is my favourite view of the house and the moat.

The house has extensive formal gardens and ponds and as always, this is what interests us - walking around the grounds.

We took this wooded path,

one of the small ponds.

We then walked on and reached the large pond

The water lilies were about the bloom

with the pond on our left we continued on our way

through this gate

and into the formal garden

where peonies were in full bloom

We talked to a couple who had come especially for the peonies

and who can blame them...

We then walked up a different lane

which leads to St Michael's church,

which shares much history with the house.

Tuesday, 19 June 2018

Vienna at the turn of the century

Vienna at the turn of the century at the Leopold, Vienna.

Another exhibition we saw in 2016 when we visited Vienna.

Anonymous, Byoubu, Japanese folding screen showing Grain Before the Harvest

Adolf Boehn, Poster for the 8th Exhibition at the Vienna Secession, 1900

Adolf Boehm, Poster for the 15th Exhibition at the Vienna Secession

Alfred Roller, Poster for the 16th Exhibition at the Vienna Secession, 1902

Gustav Klimt, Death and Life, 1910/11, reworked 1915

Gustav Klimt, A Morning by the Pond, 1899

Gustav Klimt, On Lake Attersee, 1900

Hans Schachinger, Country Child with Hat

Richard Gerstl, Half-Nude Self-Portrait, 1902-03, (oil on canvas)

Oskar Kokoschka, Tre Croci - Dolomite Landscape, 1913

Oskar Kokoschka, Poster for the Wedekind Week, 1912, 1912

Oskar Kokoschka, Pieta (Poster for the Summer Theatre in the 'International Kunstschau 1909)

Albin Egger-Lienz, Dance Macabre IV, 1915

Albin Egger-Lienz, Last Dance Macabre, 1809, 1921