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he turned the image around and put it at the top edge of the canvas. The result was to convert the door into a window or an opening onto the world. Yet these works remain for me questionable and unconvincing. They lack inwardness and the musical punctuation of the colour tones float almost listlessly in space. Robert Duncan, in a magnificent image, talks of 'a pasture folded in all thought' and perhaps gives us some idea as to Motherwell's intention. I still feel, however, that the Opens flounder in an ambition that they cannot contain.

This exhibition offers yet another proof of Motherwell's ability 'to seize the glimpse', to live in the territories between life and death where breath is a tremendous explosion. He's lived up to his own definition of the activity of the artist: 'to find or invent "objects" (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions'.

-Kevin Power

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John Thirtle 1777-1839 A selection from the Bicentenary Exhibition from Norfolk Museums Service, Towner Art Gallery, Eastbourne. The catalogue contains a deserved tribute to Marjorie Allthorpe-Guyton, Assistant Keeper of Art, Castle Museum, Norwich, for selecting the works of this underestimated member of the Norwich School. After Crome and Cotman, Thirtle, influenced by Girtin, was the most talented watercolourist of his generation at that School. While Crome went into the countryside, Thirtle recorded the riverside cityscape of Norwich. How well he portrays the warehouses, wherries and bridges, all part of the East Anglia capital's prosperity. With other works like Norwich Cathedral, South Transept and Cloister, in pencil and grey wash, and The Haymarket, with St. Peter Mancroft's turrets and clerestory windows towering above this little-changed corner of the city, Thirtle merits Miss Allthorpe-Guyton's statement, 'What Peter de Wint was to Lincoln, John Thirtle was to Norwich'.
Thomas R. Sobey

Robert Hill The Radlett Gallery On first sight, Robert Hill's pictures appear to be painted in monochrome, so subtly has he integrated flashes of bright colour into a thick impasto of earth colours, but after a longer look, colour suffuses the whole. Solidly based architectural features are backed by turbulent skies and surrounded by vigorous landscape surging with life. His skill with the palette knife is most effective in his seascapes, especially when he shows us cascades of water falling over breakwaters or waterwheels; and in Dunwich Cliffs, where he ably conveys the drop from the cliffs to the boats and beach below.
Barbara Balch

Bill Wright Lillie Art Gallery Bill Wright inclines to elegance in light bright colour, pellucid texture, line that trots pert as a peewit. It makes his work easy to get into but one has still to come out at the other side and there are intricacies, ambiguities. The paintings may be the product to some extent of seeing how paint behaves and following up what suggestions it offers but the title of his exhibition at the Lillie Art Gallery, Milngavie, near Glasgow, 'Shore Images' as well as the paintings themselves remind us that they are based upon an intimate knowledge of a small stretch of the Clyde Coast. Despite the high degree of abstraction one might surmise from this painting, a bleached bone, from that, water spreading upon shingle, from another a dead bird. The influence of Klee is obvious and acknowledged but there is no pastiche; the feelings and understanding are his own.
Martin Baillie

Leonard Rosoman Paintings and Drawings Oldham Art Gallery Dazzling with colour, pulsing with an almost animal vitality, Leonard Rosoman's large canvasses leap from the black and white gallery walls. Many depict a marvellous train journey across America, made fairly recently, where the bleak yet monumental landscape of New Mexico tempted the painter's eye for mysteriously receding planes. Like a conjuror he seems to be juggling with series of photographic negatives superimposed on one another. The paint is applied lightly yet with magisterial confidence. Deeper patches of colour invite the eye and mind to contemplation of enchanted distances.
Elisabeth Vindstrome

The National Gallery Annual Technical Bulletin

The first issue detailing the recent work and research of the Scientific and Conservation Departments of the Gallery was published last month. It is an analytic, informative and colourful exposé of three major restorations undertaken during the past three years, on panels from Sassetta's Sansepolcro Altarpiece, Perugino's Virgin and Child with Saint John and two panels by The Master of Saint Giles, divided by three articles 'The Scientific Department of the National Gallery', 'A Spectrophotometric Method for the Identification of Lake Pigment Dyestuffs' and 'Analyses of Paint Media'. They are written by those who have done the work in descriptive and factual narrative, interspersed with fascinating photographs. Although the technical manifestations, the colour photomicrographs of paint cross-sections, chemical analyses, tables and curves of relative transmittance obtained when asserting lake pigment dyes, are directed primarily at professional colleagues, the art historical documentation relating to a history of ownership, authentication, date, condition before cleaning show by X-ray and infra-red photographs, discussions of style, period and influence, are of much wider interest. The work of the Scientific and Conservation Department is interrelated. In order to re-discover the artists' original intentions, cleaning and restoration is complemented by research into the nature of pigments, varnishes and mediums, ascertaining colour changes due to exposure to light, climate conditions and reactions between the chemical components inherent in the paint layers. Interpretations of the results of such technical examinations in terms of the artists' methods and materials are illuminating. We discover Sessetta incised some outlines with a needle, ruled verticals and horizontals, used a compass for arches, haloes and vaults, used colour glazes over metal and gold leaf for embroidered patterns, furthermore, the original rounded top of the Perugino was restored from its earlier, but additional, rectangle.

The 60-page Bulletin ends with tabulated analyses of paint media from 22 specific pictures which will become a regular feature of later issues and accumulate to form a valuable reference source. It is on sale at the National Gallery for £2.00 or through the post £2.35 in the U.K. and overseas, from the National Gallery Publications Department, Trafalgar Square, London WC2N 5DN
Annabel Terry-Engell

City and Guilds of London Art School
Principal: Roger de Grey, IRA

Full-time: 1-year Foundation Course. 3-year Diploma Courses in Painting, Graphic Arts, Sculpture & Restoration of Wood & Stone.

2-year Certificate Courses in Lettering, Printmaking, and in Woodcarving and Gilding.

Non-Diploma & Part-time Day & Evening Classes. 1-year Pre-foundation course - 4 evenings weekly.

Particulars: - s.a.e. to: The Secretary, 124 Kennington Park Road, London SE11 Telephone: 01-735 2306

C. Roberson & Co Ltd
71 Parkway London NW1
01-485 1163/4

Colours and materials for the Artist

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Transcription Notes:
NOTE: all text is to be transcribed, per instructions the balance of the print/text on this page is separate from the article about the subject artist so I did not transcribe