A cow shed and an old tractor barn in rural Herefordshire are not where most people would go in search of the avant garde or the latest in abstract painting. But retired farmer Stephen Dale is challenging the assumption that modern art is best appreciated by city dwellers.
‘A very difficult man to categorize - Anthony Whishaw paints very large pictures and really very small ones- from about 15 cms to 7 metres - some are abstract, some figurative, some cubist, and some tending towards abstraction, while quite clearly being identifiable as swirling water, landscape, sea crashing on the shore, or inspired by his car catching fire in a Tesco car park.’
I am on my way to meet the prominent British painter, Anthony Whishaw, at his studio in Bethnal Green. He has invited me to arrive early since he will have been at there from 6am and has also invited me to visit his Kensington studio. I am full of nervous anticipation.
Art historian, Brian Sewell’s personal exploration of the relationship between the Church of England and contemporary artists. Brian steps away from cathedrals and visits Christ Church in Kensington, London, to reveal how a particularly torturous painting of The Crucifixion by Royal Academician Anthony Whishaw ended up being on display in this small backwater church.
Anthony Whishaw has described his work as being balanced on a knife-edge between abstraction and figuration. In this series of Trees he has drawn together the powerful structures of mid-20th century abstraction and the romantic landscape tradition. This is a distinctive and individual achievement.