Robert Bevan: Showing at Tattersalls : c1919
Oil on canvas, 58 x 71 cm
Ashmolean Museum

I first came across works by Robert Bevan when I was a Fine Art student at the University of Newcastle when an exhibition was staged of Bevan’s paintings and drawings in the University Gallery.  What struck me forcibly then was the strength of line and form and the powerful use of what often appears a limited colour palette. This came as a great surprise for up until then I had felt that the work of early twentieth century British figurative artists, in so far as I knew anything about it, was almost totally weak and rather ‘fluffy’. The exhibition met with little enthusiasm by us students – both the firmly bold non-figurative practitioners like myself and those refined and subtle followers of the Euston Road School. I rather felt that I should not like or appreciate Bevan’s work!

This general lack of appreciation decades ago may explain or reflect why Robert Bevan and his work did not figure in most art historical surveys, including art gallery collections and exhibitions, subsequently.  But my original positive reaction was re-kindled in recent years when I discovered this work in the Ashmolean Museum in Oxford. After years of neglect the British School of the earlier twentieth century has, in recent years, attracted more positive criticism – being seen now as a British dimension to the Modern Art scene.

My now more mature reflection and appreciation recognises again the power of Bevan’s work. The fundamentalism of pure abstraction can blind one to the basic abstract forces of figurative composition, colour, and technique which I now see more clearly in this work at the Ashmolean. It’s size is relatively small compared with much modern work – but its impact far exceeds its size. The title leads us to the setting of the scene – a horse sale – but, as with many titles, once noted it should be left behind as one explores the painting itself – let it speak to you in all its concentrated power. Note the rich, matt, paint, and the precise brushwork – all contained and highly organised within the overall composition.

On these pages I plan to talk about my current concern within three areas :-

1. my own practical art
2. my current work and research in art history and art curatotial matters
3. comment on art ehibitions and related material

Other matters may of course creep in !!

For Art Appreciation and more general matters please click on to my companion site.

MY WORK :

My basis is awareness over decades of images, forms and colours of places I?ve lived and worked – hills (Pennines, Dales, South Cotswolds, Black Mountains, Brecon Beacons) both in their large expanses and in the minute details (dry-stone walls, stony streams) & industrial archaeology (derelict mills, nineteenth century machines).

My ?finished? works start from a mark (a line, a spot or area of colour) – with no pre-conceived end product.? The work develops in relation to the tensions that arise as further marks are introduced – a concern with balance, harmony, intervals, spaces, tones, etc. Rather like music – which is very important whilst I?m working.

The influences on my working include – the practice and theory of early twentieth century artists such as Klee, Kandinsky and Mondrian – later British artists such as Ben Nicholson, Victor Pasmore, and Bridget Riley – British painters and draughtsmen of around 1800 such as Hearne, Girtin and Cotman – late medieval manuscripts and stained glass.

I encourage my ?viewers? to take a leisurely walk around my work – discovering new vistas or details meaningful to them and their experience as well as offering new experiences.