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Michael Andrews, The Deer Park, 1962; Courtesy of the Estate of Michael Andrews, courtesy Timothy Taylor Gallery
When:
19 Jul - 7 Oct 2001
Where:
Tate Britain
Cost:
£6.50
Opening Hours:
Daily 10am-5.50pm
According to Frank Auerbach, British artist Michael Andrews “only ever painted masterpieces”. He may be right. This retrospective at Tate Britain reveals a rarely exhibited genius. Andrews died six years ago, and it is time his brilliance was realised by the general public.
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A prize-winner at the Slade School of Art, under the aegis of Lucian Freud et al, Andrews moved through a series of phases in his art. His constant themes are the awkwardness and intrigue of human interaction: how we relate, less or more adeptly, to the world and to others. His earlier paintings are peopled by figures that alternately merge with the canvas or stand out in sharp relief - reflecting our own uncertainty in the world.
The huge All Night Long (1963-64), lent by the National Gallery of Victoria in Melbourne, makes a collage of images taken from fashion and movie magazines, where figures and faces are sometimes photographic, sometimes just a scratch on the bare canvas. The effect is one of excitement and merriment, but also of isolation and exclusion. Is the fun of the all-night party real? Or just part of a pretence put on for others? Are the blank faces just those which have dropped their masks?
The show moves on from the most famous party paintings, such as the Melbourne loan, to Andrews’ series: on the travels of a balloon, on fish, on Ayers Rock, on Scottish mountains and English rivers. Most inspired is Lights, a journey of an air balloon symbolising the quest for enlightenment. A final beautiful image looks out to sea, the balloon just a faint shadow on the sand, the ego a faded memory.
Andrews’ works are imaginative and original, constantly altering their language to re-present ideas. In the present climate, where artists tend to choose a single leitmotif and stick to it, Andrews’ scope and sensitivity is particularly refreshing. He once said, rather wonderfully, that his art was "the most marvellous, elaborate way of making up my mind." He didn't have the arrogance to think he'd reach a conclusion.
The huge All Night Long (1963-64), lent by the National Gallery of Victoria in Melbourne, makes a collage of images taken from fashion and movie magazines, where figures and faces are sometimes photographic, sometimes just a scratch on the bare canvas. The effect is one of excitement and merriment, but also of isolation and exclusion. Is the fun of the all-night party real? Or just part of a pretence put on for others? Are the blank faces just those which have dropped their masks?
The show moves on from the most famous party paintings, such as the Melbourne loan, to Andrews’ series: on the travels of a balloon, on fish, on Ayers Rock, on Scottish mountains and English rivers. Most inspired is Lights, a journey of an air balloon symbolising the quest for enlightenment. A final beautiful image looks out to sea, the balloon just a faint shadow on the sand, the ego a faded memory.
Andrews’ works are imaginative and original, constantly altering their language to re-present ideas. In the present climate, where artists tend to choose a single leitmotif and stick to it, Andrews’ scope and sensitivity is particularly refreshing. He once said, rather wonderfully, that his art was "the most marvellous, elaborate way of making up my mind." He didn't have the arrogance to think he'd reach a conclusion.
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