patrick heron at tate st ives…

It’s probably taken me nearly twenty years to become a lover of Patrick Heron’s work. We were in St Ives last week (you probably knew that already!) and one of the very real pleasures of our stay (and there were SEVERAL!) was the ability to visit the Tate on a daily basis – through the use of our Art Passes.
I have to say that seeing Heron’s work in the rather lovely, recently-extended Tate was a huge pleasure. I still find some of Heron’s pieces somewhat incomprehensible or a little weird, but there were perhaps a dozen or more of his paintings that I thought were quite wonderful.
I’m one of those people who, certainly in the past, has frequently found the world of abstract art rather bewildering (verging on ‘Emperor’s Clothes’ at times). However, Moira and I took advantage of visiting the exhibition very soon after the gallery had opened first thing most mornings – and before the crowds had gathered – and there’s something rather magical about having a large, beautiful gallery space virtually to yourself while you stare at one of Heron’s very large pieces. Vibrant, contrasting colours… delicate textures… challenging, subtle compositions…
Such a privilege.
Fascinating, again for me anyway, to be reminded of the profound influence that European artists had on Heron’s work (some more obvious than others… Matisse, Cezanne, Braque, Bonnard) and also American art of the 1950s and 60s (Rothko, Pollock, Louis, Olitski). I even bought the excellent, illustrated book that accompanies the exhibition (which will hopefully help keep last week in the memory). Somewhat predictably, there are passages in the book that I found faintly ridiculous and somewhat over-the-top (“I can say these things because I’m a renowned art critic, darling!”?)… but maybe it’s just my lack of intelligence and/or sophistication? Andrew Wilson’s introduction to the book, for example, included this passage (taken at random): “However, the actual images are found not through transcription of any kind but from sub-conscious knowledge, feeling and cumulative experience in which eye, mind, arm and hand are joined together to deliver impulsive, yet deliberate, marks”. Indeed, Heron himself was no stranger to eloquent, if unintelligible, descriptions (the word ‘pretentious’ comes to mind?) of his approach to art or in expressing his arguments in exchanges with fellow artists and/or writers… but, hey, perhaps that’s just me?!
Fortunately, the book also contains a number of essays (from various Heron admirers, art critics and writers) which helpfully unpick various aspects of his work. And hat’s off too to the Tate… I thought their daily talks - given by knowledgeable, enthusiastic and talented staff members – were absolutely excellent and reflected a passion and an admiration but without all the hyperbole!
A wonderful exhibition set in a beautiful, spacious building.
Photo: a few images/details taken from the exhibition… so much to see!