In the introduction to an exhibition of Andrews' work at the Tate in 2001, Paul Moorhouse and Ben Tufnell wrote: "From the beginning of his career in the early 1950s, Andrews’s work was characterised by intensity of observation and exacting technical virtuosity. He described painting as ‘the most marvellous, elaborate way of making up my mind’. It was his firm conviction that some sense of the world and our place within it can be formed from reflecting on human nature. For that reason, his abiding subjects are people: the rich diversity of human behaviour and the complex relationships that exist between individuals and places. Even when people are not physically present in his work - as in his paintings of balloons, fish and certain landscapes - his images are redolent with human significance."
White notes that "The question of how painting, and representation in general, can make objects, ideas or impressions come into being can hardly be considered specific to these artists' time. Yet by the 1970s... these questions had become more pertinent for figurative painting, which sought a new identity in an artistic environment dominated by conceptualism. This exhibition reveals how the medium of painting prevailed despite the challenges of the avant-garde: how these artists were engaged in a dialogue about representation that did not ignore, yet operated separately from, the aesthetic norm."
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.