Page 11 - Art First: Wilhelmina Barns-Graham: 2014
P. 11

During the 1970s Barns-Graham’s variations continued to evolve.
                                                         Family Series (1967), demonstrates an idea visited briefly but not
                                                         devel oped until a decade later. This partic ular gouache on paper
                                                         is the direct ante cedent of the extended Family Series that Barns-
                                                         Graham took up in earnest in 1981 ( example shown left). Here
                                                         we see a pref er ence for rectang ular shapes rather than squares
                                                         and the elon gated, oblong forms even tually turned into the thick,


                                                         single brush strokes of pure colour which ignited the sur faces


                                                         of her cele brated Scorpio Series of the 1990s. The move ment of
                                                         more softly brushed coloured forms over a single coloured back -
                                                         ground first seen in the rare canvas Untitled (Passing Forms Series)
                                                         of 1958 is another recurring character istic in her very late works,
                                                         to be seen in the exhibition In Perspective.


                                                         Expanding Red, Orange and Green on Black (1980) intro duces
                                                         yet another element, in which oblong and rhomboid shapes
                                                         are given the hard edge treatment of paper cutouts. The strident
                                                         colour and the determinedly modernist conception reminds
                                                         us of the historical context in which Barns-Graham had been
                                                         working for decades. The rich black background is divided into
                                                         two areas of subtly differ entiated blacks over which the forms jig.
                                                         This approach to making upright forms dance across the picture
                                                         plane was another theme to which Barns-Graham returned and
                                                         reinvented twenty years later in the Scorpio Series.


                                                         Barns-Graham was absolutely consistent in the way she pro gres -
                                                         sed in her painting. Not only did she have a remark able ability
                                                         to invent and re-invent ideas in an innovative fashion, but the
                                                         discipline ‘of the mind’, as Mel Gooding described it, and the dedi -
                                                         cation she brought to her practice over six decades were also
                                                         critical to her sus tained artistic evolution and her distin guished
                                                         position in the development of British modern art.


                                                                                              Geoffrey Bertram
                Bridal Party 2 (Family Series)
                1987, oil on hardboard, 39 x 53 cm                         CHAIRMAN, BARNS-GRAHAM CHARITABLE TRUST
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