Exhibitions | Spring/Summer 2019

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IN COLOUR – SICKERT TO RILEY

Wolfson Gallery

Robert Dukes, Oranges and Quinces © Courtesy of Robert Dukes

Robert Dukes, Oranges and Quinces – Courtesy of Browse & Darby

Mark Gertler, Portrait of a Girl, 1912
© Tate, London 2019. Oil paint on wood

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Opening on 6 March, Charleston’s second exhibition in the new Wolfson Gallery positions the work of former Charleston residents – Vanessa Bell (1879-1961) and Duncan Grant (1885-1978) – within a century of great British colourists.

Curated by London-based textile designer, Cressida Bell, granddaughter of artist Vanessa Bell, the exhibition features a broad-ranging and highly personal selection of works that reflect Cressida Bell’s personal aesthetic as well as her artistic heritage.

Bell and Grant were two of the first abstract painters in Britain, and, even when they were creating figurative and representational work, the abstract qualities of colour remained a dominant element.  

Drawing on loans from private and public collections, the show features works by some of the greatest painters of the last century including; Eileen Agar, Robert Bevan, Francis Cadell, Patrick Caulfield, Robert Dukes, Mary Fedden, Mark Gertler, Patrick Heron, John Hoyland, Stanislawa de Karlowska, Paul Nash, Glyn Warren Philpot and Sean Scully, as well as the Bloomsbury artists; Bell, Grant and Roger Fry.

Virginia Woolf called her sister Vanessa Bell “a poet whose medium was colour.” The Bloomsbury group’s modernist treatment of colour broke with accepted artistic conventions of the day. The freedom of abstraction allowed Bell and Grant to play with colour and shape in new ways; their paintings typical of the 20th century move towards colour dominating composition. This abstract idiom provides a new context for examining the painting of the Bloomsbury group, as radical painters who saw colour as the most vital component of an image.

‘I spent time at Charleston as a child, and the house and the painters who lived there have informed my sense of colour ever since. This show comes out of my years of working with colour as a designer, both within and beyond the Bloomsbury palette. It’s my personal selection of 35 exciting and above all gorgeous works by 20th century British artists; works where colour is the driving force, where each one tells a different story through the beautiful and striking combinations of colour in play. I’m fascinated by the power of colour, by the way it can change the mood and create a vibe that ranges from the bright and exuberant to the wistful and the ethereal. By assembling an eclectic mix of great British colourists seldom seen exhibited together I’m inviting you to see them in a new light – the light of colour.’ Cressida Bell

 

PHILIP HUGHES –

LAND

South and Spotlight Galleries

South Downs Way: Due West acrylic on paper, 2017

South Downs Way: Due West acrylic on paper, 2017

Land will be devoted to two landscapes – The Downs in East Sussex between the Cuckmere and Ouse Valleys, and West Penwith in the extreme west of Cornwall. 

Both of these have been, and remain, key for Hughes when he works in England.  The Downs was the basis of his very first exhibition in 1972 . West Penwith was a key part of his large exhibition at Tate St.Ives in 2000. These two landscapes were also very important to Virginia Woolf.

Included are recent works created especially for Charleston seen side by side with earlier works. The exhibition also includes a number of abstract paintings.

Hughes paints mainly in acrylic, on paper, board and canvas.

What's on

Charleston Festival 2019 17 May - 27 May
Charleston Festival 2019

Programme announced February 2019. Join as a Friend for priority booking    

08 Jun
Queer House Tours Launch

Queer Bloomsbury presents an LGBTQ+ day of celebration and the launch of our new queer house tours.

22 JunFair
Designer & Makers Fair

Beautiful and unique wares from the finest designers and makers in the South.

16 JulWorkshop
Painting in the Walled Garden

Vanessa Bell described the garden at Charleston in the summer as a “dithering blaze of flowers and More


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