ANTON MAUVE

Artists strive to capture different things. Form, color, emotion, the impression of a place - each new movement that comes searches for something different, places importance on elements hereto under explored. A group of Dutch painters in the late 19th century, known as the Hague school, were concerned above all with the mood of a scene. Accuracy, feeling, form, these were secondary characteristics in their mind. Unlike the impressionists, working at a similar time, who wanted to capture the impression of a place, in loose feeling and memory hazed depiction, the Hague School wanted to explore the pervading emotion not of the painter but of the environment in totality. Here, Anton Mauve, the de-facto leader of the group, captures a sombreness, a moody atmosphere heavy with the morose, not defeatist but quiet and weary. He creates poetry with his shades of grey that seem to hang over every element of the scene. It is not so much a portrait of a landscape, and a portrait of the weight that sits heavy on us all.

MORRIS LOUIS

Paintings in motion, concerned with themselves. Morris Louis was working in the time of abstract expressionism and was himself a leading figure in the movement of ‘color-field’ painting, making bold, gestural works that were as much about the process of their creation as anything else. Using the newly developed acrylic paints and watering them down into a fluid, viscose liquid, he would pour the mixtures from the top of the canvas and allow them to create a waterfall of colour as gravity pulled them to the bottom. Louis did not prime his canvases, meaning the raw fabric would entirely absorb the paints on its surface, staining and penetrating until the paint and the canvas unified into a single entity. This work is from his ‘Veil’ series, and while at first glance it looks like a work of darkness, with a single, organic block of blackness consuming the majority of the square, it reveals a world of process on closer inspection. At the top of the canvas you can see the huge variety of colours that were poured down, and how with each new color added it combined into a dark monolith with none of the vividness that was possible when it existed individually. 

ANDREA DI BARTOLO

In brilliance and brightness, the tragedy and drama of the crucifixion is played out. The technicolor masses that gather below the cross exist in vignettes of action - Mary collapses and is looked after by saintly figures, three wise men gather below Christ to confer, guards gamble in the foreground for the punished’s belonging, and a watchmen breaks the leg of the crucified man to Christ’s left. The moral theatre is rendered in unusually joyful color such that each figure seems like a gemstone, bringing the weight of the picture to the base and leaving the top half adrift in rich gold. The Bartolo family of which Andrea was a part had a long lineage as artists and craftspeople, and the ornate decoration of gold backgrounds had become a calling card for the lineage. The haloes of Christ and the angels around him are punched with delicate geometric patterns into the wood itself, and the gold background has a border of subtly decorated relief running its length. While the bright colors of below may immediately draw the eye, it is Christ, the gold sky behind him, and the angels around him who Bartolo has paid the most attention to.