Tate Modern 5th October 2023 - 25th February 2024
Thursday 5th October, first visit.
I was immediately taken by the 'White Painting' which was, in the way of the Mondrian 'white' paintings, anything but brilliant white!
The following abstract paintings were, in a sense, everything that I had imagined them to be. A delicate balance between substance and transparent light!
I was immediately taken by the 'White Painting' which was, in the way of the Mondrian 'white' paintings, anything but brilliant white!
The following abstract paintings were, in a sense, everything that I had imagined them to be. A delicate balance between substance and transparent light!
White Painting 1
1951
Oil paint on canvas
San Francisco Museum of Modern Art, T. B. Walker Foundation Fund purchase, 71.43
1951
Oil paint on canvas
San Francisco Museum of Modern Art, T. B. Walker Foundation Fund purchase, 71.43
The Return
1956-8
Oil paint on canvas
Tate Presented by the Friends of the Tate Gallery 1959
1956-8
Oil paint on canvas
Tate Presented by the Friends of the Tate Gallery 1959
Untitled
1964
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Musa Guston, 1992.86.1
1964
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Musa Guston, 1992.86.1
Wharf
1976
Oil paint on canvas
Modern Art Museum of Fort Worth, Texas, Museum purchase, The Friends of Art Endowment Fund, 1994.3
1976
Oil paint on canvas
Modern Art Museum of Fort Worth, Texas, Museum purchase, The Friends of Art Endowment Fund, 1994.3
Monument
1976
Oil paint on canvas
Tate. Purchased with assistance from the American Fund for the Tate Gallery 1991
1976
Oil paint on canvas
Tate. Purchased with assistance from the American Fund for the Tate Gallery 1991
Black Sea
1977
Oil paint on canvas
The Trustees of the Tate Gallery, London
1977
Oil paint on canvas
The Trustees of the Tate Gallery, London
The Ladder
1978
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Edward R. Broida, 2005.142.17
1978
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Edward R. Broida, 2005.142.17
Thursday 12th October, second visit.
I took a moment to check the colours of 'The Return' and 'White Painting 1' against my web site renditions on the iPhone. While the contrast levels for the white painting were a little high the colour renditions of 'The Return' were very good in my estimation.
I took a moment to check the colours of 'The Return' and 'White Painting 1' against my web site renditions on the iPhone. While the contrast levels for the white painting were a little high the colour renditions of 'The Return' were very good in my estimation.
Since my first visit I had 'remembered' that 1982 was really the height of my own painting experience at the studio at Acre Lane in Brixton while working part time at The Whitechapel . The exhibition that followed Philip Guston at The Whitechapel was Barry Flanagan and I started work at Waddington Galleries on 31st January 1983.
Today I noted the more relaxed brushwork in 'The Return' as compared to the slightly earlier abstract works. I do not remember 'Flame' from The Whitechapel exhibition. It may be that the overhead daylight at The Whitechapel exhibition rendered the dark passages differently. I have not really connected with the late paintings in the current exhibition which, like 'Flame', have predominantly dark backgrounds.
The four paintings from the seventies illustrated here that were included in the 1982 exhibition do feel like 'old friends' and I will look forward to revisiting them over the coming weeks.
I will have to modify my route from Hackney as the footbridge across The Thames will be closed until 5th November.
I will have to modify my route from Hackney as the footbridge across The Thames will be closed until 5th November.
A quick check on the Philip Guston web site confirms that 'Flame' was exhibited in full daylight in the upper gallery at The Whitechapel Gallery in 1982 to the left of this image.
There is only a b/w photograph including 'Flame' on the Philip Guston web site. I am almost certainly the invigilator pictured in the colour image.
The entrance to the Whitechapel exhibition.
The Studio
1969
Oil paint on canvas
Promised gift of Musa Guston Mayer to The Metropolitan Museum of Art, New York.
1969
Oil paint on canvas
Promised gift of Musa Guston Mayer to The Metropolitan Museum of Art, New York.
Back at the Tate, Thursday 19th October 2023, third visit.
I was looking to see if there was any way to see the painting without the high level of surface reflection.
I was looking to see if there was any way to see the painting without the high level of surface reflection.
The Catalogue Raisonne image reveals something more of the actual painting.
Flame
1979
Oil on canvas
69 x 74 in. 175.3 x 188.0 cm
Promised gift of Musa Guston Mayer to The Metropolitan Museum of Art
1979
Oil on canvas
69 x 74 in. 175.3 x 188.0 cm
Promised gift of Musa Guston Mayer to The Metropolitan Museum of Art
A close-up of the paint shows the extent of the reflected lighting.
The overhead daylight at The Whitechapel Art Gallery was very good indeed. I would probably have had a part in setting the electric lighting for the 1982 exhibition as that was a role that I undertook while I worked on the installation team.
The overhead daylight at The Whitechapel Art Gallery was very good indeed. I would probably have had a part in setting the electric lighting for the 1982 exhibition as that was a role that I undertook while I worked on the installation team.
I had in mind giving some thought to the palette that Guston used in the abstract paintings and how this migrated into the late paintings. At the Whitechapel exhibition I was impressed with the confidence of the application and the fluidity of the paintwork.
I noticed today the particular balance of the red paint in Monument 1976 against the 'black' elements and how the painting felt 'illuminated from within' as a result! There is also a consistant balance between the full 'red' and the equivalent 'pink' which carries some structural significance for me.
In making paintings there is a 'beginning' and a period of time over which the painting develops and then a point at which there is nothing more to be done. Some of the abstract paintings appear to develop outwards and reach completion before the canvas edge. This is also observed in some of the late paintings.
Back at the Tate, Thursday 26th October 2023, fourth visit.
Starting with a couple of earlier works. I was reminded of a group of three paintings from 1975 which were exhibited at the Whitechapel show and have included an image of 'Blue Light'.
The 1947-1949 paintings appear somewhat constrained after the earlier figurative works and it was in 1951 with the 'White Painting I' that a different and looser way of painting was introduced. The influence of the early 'plus, minus' Mondrian works that I sensed is noted in one of the catalogue essays.
Starting with a couple of earlier works. I was reminded of a group of three paintings from 1975 which were exhibited at the Whitechapel show and have included an image of 'Blue Light'.
The 1947-1949 paintings appear somewhat constrained after the earlier figurative works and it was in 1951 with the 'White Painting I' that a different and looser way of painting was introduced. The influence of the early 'plus, minus' Mondrian works that I sensed is noted in one of the catalogue essays.
The Tormentors
1947-8
Oil paint on canvas
San Franciso Museum of Modern Art, gift of the Artist.
1947-8
Oil paint on canvas
San Franciso Museum of Modern Art, gift of the Artist.
Review
1948-9
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Musa Guston, 1992.86.2
1948-9
Oil paint on canvas
National Gallery of Art, Washington, DC, gift of Musa Guston, 1992.86.2
Blue Light
1975
Oil paint on canvas
Collection San Francisco Museum of Modern Art
1975
Oil paint on canvas
Collection San Francisco Museum of Modern Art
It appears that Cadmium Red Medium is the colour that the Artist identifies with strongly throughout his later career.
I take some delight in the handling of paint as illustrated in the detail from 'Beggar's Joy'.
Although there is some reflected light in the detail the overall appearance of the paintings from this period is quite matt.
I had made a mental note of the colour in 'Painting, Smoking, Eating' with reference to the glowing cigarette. I had also noted that this painting appears to conclude before reaching the lower and left canvas edges but the canvas priming colour is integral to the composition.
I take some delight in the handling of paint as illustrated in the detail from 'Beggar's Joy'.
Although there is some reflected light in the detail the overall appearance of the paintings from this period is quite matt.
I had made a mental note of the colour in 'Painting, Smoking, Eating' with reference to the glowing cigarette. I had also noted that this painting appears to conclude before reaching the lower and left canvas edges but the canvas priming colour is integral to the composition.
Beggar's Joys
1954-5
Oil paint on canvas
Private collection
1954-5
Oil paint on canvas
Private collection
Detail from 'Beggar's Joys'.
Painting, Smoking, Eating
1973
Oil paint on canvas
Stedelijk Museum, Amsterdam
1973
Oil paint on canvas
Stedelijk Museum, Amsterdam
Beggar's Joys, 1954-55 and Dial 1956
Tate Modern, Wednesday 1st November, fifth visit.
Today may be the final occasion without the footbridge across the Thames but the Overground to Liverpool Street station and then the 344 bus to Southwark Bridge was quick!
Having said 'hello' to HvR on the first day of the exhibition today I said 'hello' to Kas, and then 'I'll leave you in peace' as it was his first visit; a small world!
Tate Modern, Wednesday 1st November, fifth visit.
Today may be the final occasion without the footbridge across the Thames but the Overground to Liverpool Street station and then the 344 bus to Southwark Bridge was quick!
Having said 'hello' to HvR on the first day of the exhibition today I said 'hello' to Kas, and then 'I'll leave you in peace' as it was his first visit; a small world!
Fable 1956-57 and Passage 1957-58
Once inside Tate Modern it was notably quieter than on previous visits, the escalators were empty and the Guston exhibition was blissfully quiet. There was little pressure from other visitors to move on so I spent longer than on previous occasions just letting the early abstract paintings 'speak'!
Once inside Tate Modern it was notably quieter than on previous visits, the escalators were empty and the Guston exhibition was blissfully quiet. There was little pressure from other visitors to move on so I spent longer than on previous occasions just letting the early abstract paintings 'speak'!
Painter III 1963 and Mirror-To S.K. 1960
I had previously been aware that a number of the paintings had been paired so that with plenty of free space today, the dialogue, as it were, could be appreciated.
I noticed that an initial view of Beggar's Joys compared to my web site rendition had the painting showing less contrast but this gradually changed as the 'viewing' continued!
I had previously been aware that a number of the paintings had been paired so that with plenty of free space today, the dialogue, as it were, could be appreciated.
I noticed that an initial view of Beggar's Joys compared to my web site rendition had the painting showing less contrast but this gradually changed as the 'viewing' continued!
Untitled 1964 and Head I 1965
I have been wondering about the occasional 'trigger colours' in the abstract and late figurative paintings. A small amount of acid green or bright orange is often a key to the overall palette!
Head I, 1965 is without much colour and seems to hint at the switch to figuration. This painting certainly resonated today!
I have been wondering about the occasional 'trigger colours' in the abstract and late figurative paintings. A small amount of acid green or bright orange is often a key to the overall palette!
Head I, 1965 is without much colour and seems to hint at the switch to figuration. This painting certainly resonated today!
Tate Modern, Wednesday 8th November, sixth visit
I started to look at the earlier abstract paintings noting that they were executed over quite long periods and that the brush marks were often quite dry or at least applied over dry paint. There was no indication of painting up to edges and this is equally true of the slightly later abstract paintings that very much look as if they were executed in one session, wet paint brush over wet paint. Again there is no indication of painting up to edges, not even the edge of the canvas!
I started to look at the earlier abstract paintings noting that they were executed over quite long periods and that the brush marks were often quite dry or at least applied over dry paint. There was no indication of painting up to edges and this is equally true of the slightly later abstract paintings that very much look as if they were executed in one session, wet paint brush over wet paint. Again there is no indication of painting up to edges, not even the edge of the canvas!
Detail, Wharf 1976
In the later figurative paintings the paintbrush marks are confidently applied and clearly articulated, and re-working is not really apparent except possibly in the background field areas.
In the later figurative paintings the paintbrush marks are confidently applied and clearly articulated, and re-working is not really apparent except possibly in the background field areas.
Detail, Monument 1976
It was the simple confidence in paint application that really caught my attention back in 1982.
It was the simple confidence in paint application that really caught my attention back in 1982.
Detail, The Ladder 1978
I continue to puzzle over the late paintings which appear to oscillate between field paintings with small motifs and large pictorial works.
The handling of the paint in the dark passages of these paintings is somewhat elusive under the gallery lighting as noted previously.
The handling of the paint in the dark passages of these paintings is somewhat elusive under the gallery lighting as noted previously.
Hat
1976
Oil paint on Canvas
Tate, London, Presented by the American Fund for the Tate Gallery, courtesy of a private collector 1996
1976
Oil paint on Canvas
Tate, London, Presented by the American Fund for the Tate Gallery, courtesy of a private collector 1996
Kettle
1978
Oil paint on canvas
Philadelphia Museum of Art, Bequest of Daniel W. Dietrich II, 2016.
1978
Oil paint on canvas
Philadelphia Museum of Art, Bequest of Daniel W. Dietrich II, 2016.
Monday 27th November, seventh visit.
A bit of a gap because of other engagements but today, rain was forecast during the morning so I travelled via the bakers in Lauriston Village.
A bit of a gap because of other engagements but today, rain was forecast during the morning so I travelled via the bakers in Lauriston Village.
Flatlands, 1970
Oil on canvas
Collection San Francisco Museum of Modern Art
Oil on canvas
Collection San Francisco Museum of Modern Art
Curious to sense that the corrections and over painting become part of the pictorial integrity even with the pictorial elements being spread across the canvas.
The relationships between these elements may be nonsensical but the painting appears as a complete entity.
The relationships between these elements may be nonsensical but the painting appears as a complete entity.
Passage 1957-58
Thursday 14th December, eighth visit.
I find the dry and sometimes scraped back surface of this painting to be very positive.
Thursday 14th December, eighth visit.
I find the dry and sometimes scraped back surface of this painting to be very positive.
The Return 1956-8
The slightly more fluid application in the Tate owned painting is a promise of the richness of application that was to follow in the later figurative paintings.
The slightly more fluid application in the Tate owned painting is a promise of the richness of application that was to follow in the later figurative paintings.
After looking at the abstract paintings again I found that the small figurative paintings really did have the painterly qualities that I was finding in the larger later paintings.
It was quite 'something' to go back to the exhibition today and to find an aspect of the show that I had not fully recognised previously. The small paintings have traditionally been hung as a group which slightly overshadows the individual painterly expression in each of them! In isolation these paintings remind me of Giorgio Morandi's still life works.
Couple in Bed, 1977
Finally, I spent time looking at this painting. I particularly like the blue value which seems to match the cadmium red medium perfectly!
Finally, I spent time looking at this painting. I particularly like the blue value which seems to match the cadmium red medium perfectly!
Back at Tate Modern, ninth visit 11th January 2024.
I had been thinking about how to describe the quality of the small paintings before today's visit and did spend time looking at them again. The artist's ability with the paint means that in every small painting there is a visual construct operating between the components. Whether the casual observer will sense this, or not, I do not know!
I had been thinking about how to describe the quality of the small paintings before today's visit and did spend time looking at them again. The artist's ability with the paint means that in every small painting there is a visual construct operating between the components. Whether the casual observer will sense this, or not, I do not know!
Painter's Forms II, 1978
Oil on canvas
75 x 108 in.
190.5 cm x 274.3 cm
Oil on canvas
75 x 108 in.
190.5 cm x 274.3 cm
This painting is, I think, wildly exuberant and on leaving the exhibition I saw a small part of a film of the artist where he is describing elements in another painting in pictorial rather than story telling terms.
The illustrative elements are a vehicle for painting which is what the artist does.
Tenth visit 17th January 2024.
I really enjoy spending a bit of time getting 'lost' in looking at the paintings and speculating on their construction considerations.
'Monument' was looking iridescent as noted previously...
'Blackboard' is a bit of a puzzle given its overall painterly construction.
On leaving the exhibition I have occasionally paused to watch the film about the artist and today there was a section where Guston was stapling primed canvas to a board prior to starting to paint on it. This suggests that paintings were made and 'then' mounted onto the final stretcher.
I really enjoy spending a bit of time getting 'lost' in looking at the paintings and speculating on their construction considerations.
'Monument' was looking iridescent as noted previously...
'Blackboard' is a bit of a puzzle given its overall painterly construction.
On leaving the exhibition I have occasionally paused to watch the film about the artist and today there was a section where Guston was stapling primed canvas to a board prior to starting to paint on it. This suggests that paintings were made and 'then' mounted onto the final stretcher.
Detail from 'Monument', today's version. Remarkably similar to the Wednesday 8th November detail!
This painting is behind low reflection glass. Other glazed paintings in the exhibition are quite difficult to 'see'!
Blackboard, 1969
Oil on canvas
79 1/2 x 112 in. 201.9 x 284.5 cm
There is a curious horizontal fine line below the painterly horizon line at the top of the painting. I will have to look at the stretching of this and other paintings on a future visit.
Oil on canvas
79 1/2 x 112 in. 201.9 x 284.5 cm
There is a curious horizontal fine line below the painterly horizon line at the top of the painting. I will have to look at the stretching of this and other paintings on a future visit.
Eleventh visit 14th February 2024.
Another occasion for 'aesthetic reverie'.
First up I wanted some individual images of the small paintings. f2.8 iso 200 and 100th second just about worked for three selected images.
Then I remembered that I wanted to look at the edges of paintings and maybe find out what the thin horizontal line was 'about'!
Another occasion for 'aesthetic reverie'.
First up I wanted some individual images of the small paintings. f2.8 iso 200 and 100th second just about worked for three selected images.
Then I remembered that I wanted to look at the edges of paintings and maybe find out what the thin horizontal line was 'about'!
Cup, 1972
Oil on panel
12 x 14 in.
30.5 x 35.6 cm
Oil on panel
12 x 14 in.
30.5 x 35.6 cm
Untitled, 1972
Oil on panel
11 x 14 in.
27.9 x 35.6 cm
Oil on panel
11 x 14 in.
27.9 x 35.6 cm
Untitled (Wall), 1972
Oil on panel
11 x 14 in.
27.9 x 35.6 cm
Oil on panel
11 x 14 in.
27.9 x 35.6 cm
It did not take long to realise that the line was actually a shadow of an imperfection in the glazing panel.
The other consideration was the folding edge of the canvas which on the left hand side did show cracking in the thicker paint.
The lower edge may be a stretching revision.
The application of paint onto a board supported canvas is somewhat different to the application on a stretched canvas. The resistance of the board means that paint can be 'scrubbed' off the brush more easily than on a 'springy' surface.
The other consideration was the folding edge of the canvas which on the left hand side did show cracking in the thicker paint.
The lower edge may be a stretching revision.
The application of paint onto a board supported canvas is somewhat different to the application on a stretched canvas. The resistance of the board means that paint can be 'scrubbed' off the brush more easily than on a 'springy' surface.
Blackboard, 1969
detail
detail
Blackboard, 1969
detail
detail
Blackboard, 1969
Oil on canvas
79 1/2 x 112 in.
201.9 x 284.5 cm
Oil on canvas
79 1/2 x 112 in.
201.9 x 284.5 cm
Painting, Smoking, Eating 1973 has various 'cropping' lines that have been incorporated into the painting
Painting out to an edge is quite different to making the painting and then deciding where the canvas will be cropped especially if, as with some of the later abstract paintings, the paint does not reach the edge!
Painting out to an edge is quite different to making the painting and then deciding where the canvas will be cropped especially if, as with some of the later abstract paintings, the paint does not reach the edge!
Painting, Smoking, Eating 1973
detail
detail
Painting, Smoking, Eating 1973
detail
detail
Painting, Smoking, Eating
1973
Oil paint on canvas
Stedelijk Museum, Amsterdam
1973
Oil paint on canvas
Stedelijk Museum, Amsterdam
Flatlands, 1970 also has various 'lines' close to the edge of the painting
Flatlands, 1970
detail
detail
Flatlands, 1970
detail
detail
Flatlands, 1970
Oil on canvas
Collection San Francisco Museum of Modern Art
Oil on canvas
Collection San Francisco Museum of Modern Art
Final visit today, 22nd February, and it was very busy by comparison to previous visits.
Just the one painting 'jumped out' today...
Open Window, 1969
Oil on panel
32 x 40 in.
81.3 x 101.6 cm
Open Window, 1969
Oil on panel
32 x 40 in.
81.3 x 101.6 cm
The film, on view after the exit from the exhibition was mostly an interview with the Artist in the lead up to a major exhibition of his work. It provided useful insight into his working practice and he appeared very 'down to earth'!
26th October 2023
8th November 2023
8th November 2023
14th December 2023
Site Updated September 2024 Felix Mottram