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This is a past display. Go to current displays
Fresco with bold coloured geometric lines and waves

Sol LeWitt, Wall Drawing #1136 . ARTIST ROOMS, Tate and National Galleries of Scotland © The estate of Sol LeWitt. Photo by Joe Humphrys © Tate

ARTIST ROOMS: Sol LeWitt

Colourful and lively acrylic paint installation by the American conceptual artist Sol LeWitt

Sol LeWitt was seminal in establishing the notion of ‘conceptual art’ during the 1960s. Wall Drawing #1136 Curved and straight color bands 2004 is one of a number of highly coloured wall pieces he made. It includes seven vibrant colours to create an overwhelming chromatic environment that envelopes the viewer. The curve, snakes along the wall. Every band in the wall drawing is of the same width and there is no area left empty of colour.

It has been produced for Tate St Ives by a team of draftspersons, guided by an assistant from the artist’s estate.

The ARTIST ROOMS national programme and collection is managed by Tate and National Galleries of Scotland with the support of Art Fund, Henry Moore Foundation and the National Lottery through Arts Council England and Creative Scotland. Its founding collection was established through The d’Offay Donation in 2008 with the assistance of the National Heritage Memorial Fund, Art Fund and the Scottish and British Governments.

With thanks to the LeWitt Estate

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Tate St Ives
Level 2

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1 February 2022 – 12 November 2023

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Gillian Ayres CBE RA, Weddell  c.1973–4

As with most of Ayres’s work, the title Weddell was added once the painting was finished. It may derive from the sea of the same name, as the painting invokes an impression of the power and vastness of nature. Weddell is built up with heavily textured layers of paint, although the final layer appears thinly applied. Here Ayres presents paint as both a material act and a substance.

Gallery label, October 2019

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artworks in ARTIST ROOMS: Sol LeWitt

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Anthony Benjamin, Poem of the Ocean II  1960

Poem of the Ocean II is a large off-square canvas that has been broadly painted with sweeping brushstrokes; along the bottom edge is a sweeping concave area of purple, while the greater part of the painting is made up of an area of grey that has been applied in a succession of largely vertical strokes – in the centre of the painting is a flash of orange. In the mid to late 1950s Anthony Benjamin abandoned a realist style and the patronage of Helen Lessore’s Beaux Arts Gallery in London when he moved to St Ives in Cornwall. There he bought a small cottage that had belonged to the artist Sven Berlin (1911–1999) and he developed an abstract expressionist style of painting heavily indebted to Peter Lanyon (1918–1964). Like Lanyon, his gestural paintings were inspired by the sea and landscape of Cornwall. Poem of the Ocean II is characteristic of these works and would be one of Benjamin’s last paintings in this idiom.

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Ro Robertson, Interlude  2023

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Peter Lanyon, Lost Mine  1959

The broad, gestural style of Lost Mine reflects the impact of American Abstract Expressionist painters such as Jackson Pollock, Willem de Kooning and Franz Kline, whose work Lanyon first encountered in the early 1950s. Typically for Lanyon, however, its seeming abstraction is combined with a precise external source: a tin mine in his native Cornwall that had been flooded by the sea and abandoned. The colours are both representational and symbolic. The black stands for the mine shaft and seems to signify death, the blues are the sea and sky, the red signals life and danger.

Gallery label, June 2011

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Ro Robertson, Porth I  2023

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Ro Robertson, Porth II  2023

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Patrick Heron, Horizontal Stripe Painting : November 1957 - January 1958  1957–8

Heron was a critic and painter who championed an approach to painting that assessed quality according to such formal values as the flatness of a composition and colour. Of his stripe paintings he wrote, ‘The reason why the stripes sufficed ... was precisely that they were so very uncomplicated as shapes ... the emptier the general format was, the more exclusive the concentration upon the experiences of colour itself.’ Heron resisted the total abandoning of subject matter and even such works as this have been seen in relation to landscape, the horizontal bands and colours perhaps suggesting the horizon at sunset.

Gallery label, February 2010

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Bryan Wynter, Green Confluence  1974

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Karl Weschke, Pillar of Smoke  1964

Weschke arrived in Britain as a German prisoner of war and went on to spend forty years living in Cornwall. This painting, based on the burning of the gorse on the moorland above the town of Zennor, shows smoke rising in a threatening, anthropomorphic mass. Painted at the height of the Vietnam War, it evokes the barbarism suffered by successive generations. Weschke drew on his own memories of the Second World War, when the landscape would smoke for days after battle, while his image also suggests the bombing of Dresden and the burning of bodies in the death camps.

Gallery label, March 2024

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Art in this room

T13725: Weddell
Gillian Ayres CBE RA Weddell c.1973–4
T14902: Poem of the Ocean II
Anthony Benjamin Poem of the Ocean II 1960

Sorry, no image available

Ro Robertson Interlude 2023
T06467: Lost Mine
Peter Lanyon Lost Mine 1959

Sorry, no image available

Ro Robertson Porth I 2023

Sorry, no image available

Ro Robertson Porth II 2023
T01541: Horizontal Stripe Painting : November 1957 - January 1958
Patrick Heron Horizontal Stripe Painting : November 1957 - January 1958 1957–8
T03363: Green Confluence
Bryan Wynter Green Confluence 1974
T06894: Pillar of Smoke
Karl Weschke Pillar of Smoke 1964

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