From his first brightly painted wood reliefs of the early 1960s, some arranged as puzzles and others in the form of simplified Ziggurats, Joe Tilson had favoured compartmentalised structures and symmetrically repeated patterns in vibrant hues. Those tendencies find particularly clear expression in this large work made at the end of that decade. Colour charts featured in work produced during the 1960s by various artists associated with Pop Art. They were embraced as a type of found object or ready-made image associated with hardware stores and household paints and as an unpretentious, even openly decorative, compositional response to the grids favoured by geometric abstractionists and Minimalists. By compartmentalising the flat coloured shapes, Tilson and his fellow artists were able to indulge in complex and ebullient colour harmonies without risking chaotic discord, but also, crucially, without insisting on the subjectivity of their choices, since they were presenting their paintings in the guise of objects they had simply discovered in the world outside.
[Sotheby’s, London - Oil on canvas and wood relief, 156 x 207 cm]
The vivid colors of Dancer are a constant feature throughout Scheiber’s work. Details such as the rippling waves of hair and his spontaneous and active brush strokes are characteristic of Scheiber’s Futurist oeuvre of the 1920’s. Scheiber’s focus on caberet and café life is exemplified in a number of works.
Reading on the Rocks, Grand Manan (c.1877). John George Brown (English-born American, 1831–1913). Oil on canvas. Museum of Fine Arts, Boston.
This scene of a stylish tourist reading by the sea bears the false signature of Winslow Homer. Brown may have intended the profile of the figure, silhouetted against the sky, to resemble a local tourist attraction – a rock formation known as ‘The Old Maid.’