Hardy, Pat, British Art Journal
Tate Britain 16 February-21 August 2011
A simple conception, executed with Tate's usual business efficiency, belies the sensitivity of the selection and the occasional brilliance of the hang of this unusual show. Growing out of 'Watercolour in Britain', an exhibition formed by a partnership between Tate, Norwich, the Graves Gallery in Sheffield and the Laing Art Gallery, Newcastle (which had a rather rushed feel to it when viewed at this last venue), 'Watercolour' at Tare Britain exuded a more confident and frankly luxurious air. It is premised on the idea that watercolour is a misunderstood medium, and this Tate exhibition played on the stereotype and sought to turn it inside out. Juxtapositions such as Samuel Palmer's A Hilly Scene, c1826-8 and Christopher Le Brun's Ziggurat, 2007; Thomas Girtin's The White House at Chelsea, 1800, and Turner's The Blue Rigi, Sunrise, 1842; Eric Ravilious's The Vale of the White Horse, c1939 and Burra's Valley and River, Northumberland, 1972, stood out as prime examples of the medium and made the case. The manipulation of light effects, mastery of perspective, daring viewpoints, blending of colour, and artistic influence are all examined successfully in this exhibition. But while there were many intriguing examples of watercolours …
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Publication information: Article title: 'Watercolour'. Contributors: Hardy, Pat - Author. Journal title: British Art Journal. Volume: 11. Issue: 3 Publication date: Spring 2011. Page number: 84+. © 2007 British Art Journal. COPYRIGHT 2011 Gale Group.
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