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Rose Wylie: I Like To Be, 2020

Η Rose Wylie, ογδόντα επτά ετών, συνεχίζει να ζωγραφίζει στο ίδιο αγροτικό στούντιο στο Κεντ της Αγγλίας, από τα τέλη της δεκαετίας του 1960, αλλά μόλις πρόσφατα έχει γίνει γνωστή στο ευρύ κοινό. Παραδόξως, η έκθεση ζωγραφικής μεγάλης κλίμακας που πραγματοποιήθηκε την περασμένη άνοιξη στη γκαλερί David Zwirner ήταν μόλις η τρίτη εμφάνισή της στη Νέα Υόρκη και η πρώτη σε σημαντική γκαλερί.

Στη New York Review of books διαβάζουμε: “Wylie is the opposite of what comes to mind when you think of an artist of a certain age rusticating in the Home Counties. She is a painter of verbs, and her large canvases (typically six feet by ten feet, more or less) are full of action: people dancing, playing sports, ice-skating, vamping, or working at a task, like butchering meat or driving a car. Her approach to form is boldly idiosyncratic; her brush shoots around the whole body, and the way she paints people is like stylized Morse code: the eyes and mouths often reduced to mere dots and dashes, the hair a mass of wavy brushstrokes, and the flattened forms heavily outlined in thick black or red oil paint. Wylie has a thing for faces seen in profile, and bodies too, maybe because they are easy to animate at that angle, and they give her paintings a jaunty, spirited feeling. Her work projects a “can-do” attitude; it’s full of pep.”

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Karel Appel 1921–2006

Amorous Dance 1955 Karel Appel 1921-2006 Presented by Lord Croft 1958 http://www.tate.org.uk/art/work/T00212

Describing his technique, Appel said: ‘I slap at the paint with brushes and palette knives and my bare hands.’ The outlines of two dancing figures can barely be deciphered amidst the explosion of line and colour. Following the end of CoBrA, Appel’s method of working became increasingly aggressive and exuberant as he relished the material quality of the paint. Here, the encrusted surface has a life force of its own which seems to mirror the dynamic exchange between the dancers. ―[Gallery label, July 2005]

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