After yesterday’s post on the damp woes of preparation, the sun came out on exhibition opening day! As 6pm drew nearer, the Cambridge skies became brighter, people arrived at the gallery and Prosecco was dispensed.
Had to keep re-hanging as people kept buying paintings (strangely enough…). One on the top right wouldn’t stay straight. Both Study for Brief Encounter II and Study For Tea PartyIV had several buyers vying to be first with their cheque books. Tea Party went to a new home in Ipswich and Brief Encounter to new collectors in St Ives. Pretty successful evening all round! The exhibition continues at Cambridge Book & Print Gallery until June 30th.
So all the preparation has happened, every visit to the framer, suppliers, the gallery, have coincided with a torrential downpour. What a summer! This is one batch of work going to be framed…
It’s June by the way
A car full of paintings wrapped against the weather.
And we’re off…
Of course, by late afternoon, the sun was shining, but you’ll have to just believe me.
Then it was our turn to check and update the catalogue, plough on with publicity and do some smartening up of a couple of frames.
When I’m cleaning windows…
And the finished pile keeps growing
Circus People having a bit of TLC
The oak frame of Circus People having been waxed
And so… it’s all ready for the opening night in Cambridge. Here’s a little peek at some of the paintings in the exhibition. Do come along if you can between 17-30 June at Cambridge Book & Print Gallery. And please tell your friends!
This large-scale painting (50″ x 53″) shows the Grantchester Group enjoying tea at the Old Orchard in (probably) 1910, then Rupert Brooke’s home just outside Cambridge. This work was made after a family visit to the Orchard in the early 1990s. It’s a beautiful place to be in Spring, with blossom bursting from every tree, as you can see in the top half of the painting. Michael bought a b/w postcard of the scene, which includes Rupert Brooke, Maynard Keynes and Virginia Woolf, and this, together with photos taken on the day, was the primary inspiration for the painting. He was not, however, interested in copying the postcard, but that its captured action could be reinterpreted in colour on a large scale. The black side panels are typical of this later period as he was exploring boundaries of the image and of the canvas itself. Seeing this painting in the flesh (as it were) is breathtaking; it’s hard to turn your head away as it insists that the viewer takes time to look at it and discover the layers within the paint.