Mike Tooby writes about the life and career of the late painter Albert Irvin (1922 -2015).
Although Irvin's career began in the 1950s, Tooby writes that Irvin's "work became prominent in the reinvigoration of British painting in the 1980s and 90s, and latterly became familiar through wide exhibition and reproduction. He made colour sweep and spray over pictorial areas that give the illusion of depth, created by complex and dynamic marks and gestures of the handheld brush. He often took on a grand scale, but also created brilliant and beautifully crafted works on paper."
Greenwood writes that the work of Davie and Irvin "jarringly at odds... On the one hand you have Davie, able to conjure at will endlessly inventive and varied assemblages of marks, forms, splashes and drips, spatial motifs and recessions, in and out of the picture plane; on the other is Irvin, with a relentless repetition of flat motifs, flat paint, flat colour. The only parallels I can draw between the two of them rests upon a consideration of their respective careers, since in both their cases their early work is by far their best."
Andy Parkinson blogs about the exhibition New Possibilities: Abstract Paintings from the Seventies at The Piper Gallery, on view through December 21, 2012.
Parkinson writes: "In the seventies abstract painting in Britain was in crisis. At least that’s how it seemed to some. If during the sixties it had become hegemonic that privileged position was on the wane. Peter Fuller would shortly declare American abstraction to be not much more than a CIA plot, within the discipline of painting figuration was in resurgence, whilst outside it performance art and conceptualism were fast becoming the dominant art forms, leading to the stagnation of abstract painting. The exhibition... of fourteen painters from the period (all still painting today)... counters this viewpoint, demonstrating that instead abstraction in this decade was vibrant and varied."
Sam Cornish visits the London studio of painter Albert Irvin.
Cornish notes that "Instead of describing objects (even abstract objects) the elements of [Irvin's] paintings often suggest, to me at any rate, an arrival or a bringing to attention... There is perhaps something theatrical about the way in which Irvin's marks address the viewer, their sheer drama, and the way in which the force of their making carries over into a suggestion that they have been created or revealed just as we look at them, and perhaps specifically for us."
Painter Albert Irvin "talked to TateShots about three of his paintings; Flodden, St Germain and Empress, pieces that he hadn’t seen since they were last on show at the Tate. Albert explain[s] ... how and why he made the trio, as well as offering up his thoughts on his career as an artist."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.