Waddington Galleries, London

Japan, 6th International Art Exhibition, 1961, no.15;
Bradford, City of Bradford Art Gallery, 1964, no.727;
Dallas, Dallas Museum for Contemporary Arts, British Art Today, 15 January - 17 February 1963;
Raleigh, North Carolina Museum of Art, Young British Painters, 18 October - 15 November 1964;
London, Arts Council of Great Britain, Bryan Wynter, 1976, no.45.

Original canvas.There is a minor area of surface craquelure in the upper left corner and some very minor surface dirt otherwise in excellent original condition with strong passages of impasto throughout. Unde rultraviolet light, there is a small spot of retouching in the upper left corner. Held in a painted white box frame. If you have any further queries, please call the 20th Century British Art department on +44 (0) 207 293 6424.
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The present work, painted in 1959, dates from a period when Wynter was beginning to move away from the more obviously landscape-inspired abstract manner which he had developed during the later 1950s. Frequently of a physically imposing size, these works use a very personal and distinctive technique to build up dense overlapping layers of paint that disturb the picture surface whilst at the same time creating a sense of depth, of images continually overlaid and obscuring their predecessors whilst still hinting at their own forms. Indeed, they seem to perfectly illustrate the words of Patrick Heron, the secret of good painting...lies in its adjustment of...the illusion, indeed the sensation, of depth, and...the physical reality of the picture surface   (P.Heron, Space in Colour, introductio🎃n to exh.cat.🐎, Hanover Gallery, London 1953).

However, the sheer bravura of the mark-making inherent in Wynter's painting of the late 1950s inevitably led to comparisons with the contemporary American artists whose work, shown at the Tate Gallery in 1956 and at the ICA in 1958, was now available for first hand inspection by British artists. The gestural 'white writing' paintings of Mark Tobey, first developed at Dartington Hall in the 1930s, held obvious similarities, but Wynter'♐s work, with its vastly increased scale was perhaps superficially more akin to European artists as varied as Georges Mathieu or Jules Bissier. However, Wynter's wide-ranging interests, including his occasional use of mind-altering drugs, mean that the paintings combine elements of philosophica💙l considerations of time and memory with a physical involvement with the experience of natural phenomena and growth.