Konstgallerier, konsthallar, konstmuseer

Larsen Warner

  • Sturegatan 28, Stockholm

    08 667 21 90  

    Öppet: tis–fre 12–18, lör 12–16.

    www.larsenwarner.com

    info@larsenwarner.com

    Visa alla aktuella utställningar

    Visa tidigare utställningar Visa karta

  •  
    fre 21 feb–lör 04 apr

    Galleriet är endast öppet efter överenskommelse under obestämd framtid.

    • Basil Beattie

      Leta efter mer om konstnären /
      Look for more about Basil Beattie:

      (Artsy är en amerikansk webbplats för konstsamlare och konstintresserade med ett konstnärsregister på ca 40 000 konstnärer.)

    // Irresistible Climb (Ladder Series)
    Larsen Warner is very pleased to present an exhibition of works by Basil Beattie (b. 1935, West Hartlepool, UK) the artists first exhibition in Sweden. Beattie graduated from the Royal Academy schools in 1961 and was elected a member of the Royal Academy of Arts in 2006.

    Over a sixty-year career, Basil Beattie has remained part of a milieu of British artists whose works continue the legacy of Abstract Expressionism. Beattie was a pioneer of a new approach to painting in post-war Britain, having been significantly influenced by The New American Painting show at the Tate in 1959, in particular the works of Mark Rothko and Barnett Newman. These formative elements would persuade and mould the parameters of Beattie’s work in the 1960s and early ’70s, but it was not long before he abandoned a purely formal approach and developed his own type of abstract painting, which has served to distinguish himself from many other artists working at the time. Beattie has extended the legacy of Abstract Expressionism in post-war Britain, orchestrating formal visual dynamics in an expansive scale. He has subsequently gained the epithet of a ‘painter’s painter’ and has over a sixty-year career influenced generations, most notably the Young British Artists (YBAs) through teaching at Goldsmiths College during the 1980s and 1990s.

    When Beattie talks about his role as a painter, he refers to himself as a 'sort of symbolist', one who alludes to but avoids making direct reference to human form in order to express subjective experiences. Within the paintings in the exhibition stacks of blocks topple and slant, wall-like surfaces find odd angles, stairways and ladders that seem to lead nowhere suggest a new order of architecture. These emotive and gestural forms are not created by Beattie for their illustrative or figurative associations, rather these objects reflect a more psychological state where the forms depicted become dematerialised and thus imbued with added symbolic significance. However, these architectural and archetypal forms do serve to define the interior of the paintings, forming cells of space, depth, light and air.

    Beattie considers his successful works to be those which have an undeniable potency, hover in space and where the paint takes on a molten quality as if it has almost reached melting point. These descriptions serve to highlight a certain elusiveness which Beattie considers to be essential to the making of the paintings. The act of making becomes a journey of thinking and responding, looking and reacting with Beattie being alive and alert to the shifts in not only form but more importantly feeling.

    Although the pictorial elements hold significant and undeniable psychological implications, Beattie's paintings gain further meaning through masterful physicality and the way in which he works and manipulates the painted surface. The paint, applied quickly and fearlessly, is sometimes removed with the hand. The drawn marks within the work sit at the threshold of identification, flirting with recognition but never completely revealing themselves. Resolutely working on one painting at a time, in the studio Beattie creates moments of clarity for himself by looking inwards rather than to the outside world for inspiration. Occupying both mental and physical space, Beattie’s works are about the dynamics of human experience – our emotions, memories and fleeting moments.

    Beattie’s work has been featured in numerous exhibitions at prestigious institutions, including solo shows at Tate Britain (London, UK); Royal Academy of Arts (London, UK); Middlesbrough Institute of Modern Art (UK); Jerwood Gallery (Hastings, UK); IKON Gallery (Birmingham, UK); Castlefield Gallery (Manchester, UK); Sadler’s Wells Theatre (London, UK); and Goldsmiths Gallery (London, UK). His works have been included in critical group exhibitions at Barbican Centre (London, UK); Camden Arts Centre (London, UK) as well as the Jerwood Painting Prize 1998 and 2001 at Jerwood Gallery, (London, UK) and Gallery of Modern Art (Glasgow, UK); and John Moores Painting Prize exhibition in 2015, ’16 and ’17 at Walker Art Gallery (Liverpool, UK). Beattie’s work can be found in numerous public and private collections including: Arts Council England; Tate collections; Contemporary Art Society; Deutsche Bank; Government Art Collection; NatWest Group Art; Whitworth Art Gallery, Manchester; Royal Academy Collection; and the Jerwood Collection (all in UK).


    ⟸ Gå tillbaka
    bild saknas

    © Basil Beattie. Figuring Out, 2019, Oil and wax on canvas, 152.8 x 122 cm. Copyright the artist, courtesy Hales Gallery, London. Photo Angus Mill


Symbol för butik: butikssymbol Kafé: kafesymbol Restaurang: matsymbol Medlem i Svenska Galleriförbundet: Galleriförbundet
Konstkalendern
INFO@KONSTKALENDERN.SE
C/O K22, KRUKMAKARGATAN 22, 11851 STOCKHOLM
www.konstkalendern.se utges av/published by:
Blume Production AB
Ansvarig utgivare/publisher: Anders Blume
070 734 59 09

Kontakta Konstkalendern


Vänta några sekunder så kommer bekräftelse på att mail är skickat till Konstkalendern.

Prenumerera eller köp Konstkalendern

Prenumeration (kr inkl moms)
Var 1 år 2 år
Sverige 60 100
Norden 70 120
Världen 80 150

Köp flera ex av samma nummer
Bara Sverige 1 ex 4 ex 8 ex
35 50 90