From Downs to Sea

This exhibition was relevant to my current project because it had many paintings of landscapes and seascapes.  There were a range of approaches which were interesting in contrast with each other.

david-redfern-no.9 1973

David Redfern – No 9. 1973

David Redfern’s No.9 is a good example of perspective, even though it is not really a landscape.

(c) Jeffery Camp; Supplied by The Public Catalogue Foundation

Jeffery Camp, Blue Sea, 1959

Jeffery Camp’s Blue Sea was a large painting with lots of textures and marks creating the sea.  There were grey-pink coloured marks in the sea, sky and sand which make shadows.  Some areas of board were left blank.  His work reminds me of Fauvism.

(c) Ms Carol Ann Lowry/DACS; Supplied by The Public Catalogue Foundation

L S Lowry Seascape 1965

L S Lowry’s seascape is surprisingly quiet.  I have never seen a Lowry painting without people or animals.  It is very tonal.  There is a good sense of distance as the horizon becomes misty.

The world we live in - Carel Weight. (1970-1973)

The world we live in – Carel Weight. (1970-1973)

The World We Live In is one of my favourite paintings at this exhibition.  The background is highly realistic with some elements which are more expressive.  The body of the man is twisted and there is green on his face.

DOIG_Peter_Red Deer

Peter Doig – Red Deer, 1990

Peter Doig’s Red Deer has hundreds of dots.  It is a huge painting around six foot by four foot.  When you get close to it the dots are distracting from the landscape.  But when you stand a long way off it looks more defined and you can see the deer.  Because it is all reds, browns and oranges this landscape has a confused sense of depth.

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