Research: Michael Andrews (1928 - 1995)

Michael Andrews (1928–1995)

Michael Andrews was a British painter, who Tate Britain describes as being,

“rightly regarded as one of Britain's leading post-war painters ……… Andrews's work was characterised by intensity of observation and exacting technical virtuosity. (Moorhouse and Tufnell, Tate Britain website).

Andrews’ approach is well illustrated by his Thames Series, which led from his fascination with the changing moods of the river. His acute observation is reflected in his use of subdued colour and loose, but focused paint handling.

The Thames at Low Tide (below) was partly painted on the floor, and consists of tides of turps and deposits of sediment on the surface, which represents both a literal and illusionistic representation.

Michael Andrews, The Thames at Low Tide, 1994 

In Andrews’ The Estuary different areas have different degrees of finish, thick treacly threads of textured paint meander across the surface, whilst other areas disclose evidence of drawing and underpainting. The muddy brown banks disappear of into the blues and yellows of the open sea, echoing the movement of mud and water.

Michael Andrews, The Estuary (Mouth of the Thames), 1994

Andrews’ work was not only observational, but as he commented, “I am interested in external appearances for what they reveal of what is internal” (quoted in the Tate Britain website).

Tate Britain goes on to suggest that, ”For Andrews, the river suggested both the course of life and the flow of history” (Tate Britain website). So, Andrews’ work resonates with me, not just for his use of paint and colour, but also for the concepts behind his practice.

I start my paintings by covering the canvas with a grey base coat which I mix from burnt umber, ultramarine deep and titanium white. The grey base not only creates a mid-tone from which to work from, but also provides consistency for the atmospheric look I am seeking, recalling memories and old black and white photographs. I mix the colours I consider most appropriate for the narrative or mood of the work. These are mainly cool soft browns, greens and yellows for the natural features of the Humber region. In my colour choices I have been influenced by Andrews, reflected in the Thames Series, above.

My paint handling and use of subtle colour is illustrated in the detail of Lock Gates, Water Surge, shown below.

Lock Gates, Water Surge (colour detail), oil on canvas

Research: Richard Diebenkorn (1922 - 1993)

Richard Diebenkorn (1922 – 1993)

Diebenkorn used geometric shapes and colour to express the West Coast of the USA. A major exhibition of Diebenkorn’s paintings was held at the Royal Academy in 2015. Diebenkorn’s Ocean Park Series of the late 1960s are considered to be among the most important in recent art history, and have been described by the Boston Globe as “some of the most beautiful works of art created in America or anywhere else since the second World War” (quoted in the Royal Academy website).

The Royal Academy considers that, “A sense of the light and space of the West Coast infuse his paintings, revealing a great sensitivity to the environment in which they were created” (Royal Academy website).

Examples of the light, colour and geometric shapes used by Diebenkorn in his paintings are illustrated below.

Richard Diebenkorn, Seawall, 1957

Richard Diebenkorn Cityscape 1, 1963

I have used some of Diebenkorn’s ideas regarding shapes and abstraction in my own paintings, such as in Canal Study, below.

Canal study, oil on board

My colour palette however, in contrast to that of Diebenkorn, reflects the local landscape and weather patterns of the East Coast of England. I have therefore been more influenced in the use of colour by artists whose palette is more subtle and appropriate to my own ideas and locality. I look at one of those artists in my next post.