This is a major retrospective of Nash's work covering early to late pieces; war to surrealism to the English countryside. Whilst, yes, there are some stunning and groundbreaking, if you will pardon the pun, paintings of the First World War, and some of the stylised trees and landscapes are particularly appealing, I left underwhelmed.
The war subjects apart, I think this is a question of originality. Nash was trying too hard and unsuccesfully, mid-career, to be a surrealist. It is also one of colour palette. There was just too much brown, grey, and sludgy green in this period of work. I like subtle. I like Fallow and Ball. But, I'd rather see paintings with more technicolour. The dreariness started to make me feel depressed and it was already a doldrum day at the slow turning of the year.
His poems are not up to much either, I'm afraid, and I quickly gave up bothering to read them, nicely calligraphied though they were.
Also, and this is not the first time I have noticed this, could someone in the Tate's maintenance department please oil the squeaky door that sounds like a spitfire going overhead every time it is opened?
Go if you are a fan, perhaps not otherwise. Disappointing.
- Home
- About Me
- Work - Bog Queens
- Work - Sublime Lungs
- Work - Chalking the Pavement
- Work - Goldhawk Road
- Work - The Filthy Quiet
- Poets for the Planet
- Poetry Coaching
- Work - Paris, Stage Left
- Critical Writing
- Work - Tattoo on Crow Street
- Work - Small Stones
- Links
- Guiding spirits
- The Sybils
- Work - I-spy and Shanty
- Work - Cape Town
- Work - The Wall Menders
- Work - Ocean to Interior
Showing posts with label paul nash. Show all posts
Showing posts with label paul nash. Show all posts
Monday, 2 January 2017
Subscribe to:
Posts (Atom)
