'What I desire in my painting is structure and through that structure, poetry - the kind of poetry which is instinct with abstract visual form. I begin with a few simple shapes or forms and then improvise intuitively. It is the image - the thing itself that for me is important.'
Alan Reynolds, quoted in J.P. Hodin, Alan Reynolds, The Redfern Artists Series, London, 1962.
In the late 1950s and early 1960s, Reynolds began to shift towards more structural, abstract compositions and away from the landscape paintings he had previously exhibited with great success at the Redfern Gallery. This shift was not as abrupt as it might originally appear, as both the landscapes and the abstract pieces are, as Michael Harrison comments, 'based on the play between vertical and horizontal, what [Reynolds] came to see as our essential relationship with landscape' (Alan Reynolds, exh. cat., Kettle's Yard, Cambridge, 2003, pp. 17-20.). The later abstracts at first incorporated 'geometric forms... including circular shapes, sometimes with black or primary colours, and then [became] purely rectilinear and eventually just white' (ibid, pp. 17-20). The present work combines an underlying structure with an intuitive response to form, creating a balance and harmony which has continually been at the heart of Reynolds' work.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale