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2 http://www.grantwatersfineart.co.uk/InTheBedroom.html
3 https://www.christies.com/lotfinder/Lot/clifford-hall-1904-1973-portrait-of-hanna-5645864-details.aspx
4 Ayrton, quoted in Richard Branson’s Student magazine, Vol.1 No.1, 1968: “[Art] serves as a process or
celebration - which is a very important part of society’s recognition of the splendours of the world it inhabits.
polymath – painting, theatre design, printmaking, criticism, radio programmes –
all these were his domain, which tended to annoy the establishment. His early
work had the spikiness that became associated with Herbert Read’s “Geometry of
Fear”, but trips to the Mediterranean – to Italy and Greece - transformed his way
of seeing the world, and led him to an obsession with the myths surrounding
Daedalus and the minotaur, which in turn led him on a journey from English neo-
romanticism, through classically-inspired painting and into a world of myth-
derived sculpture.
Each of the paintings - Michael Ayrton’s Poros, Greece (Oil on Board, 1957) and
Clifford Hall’s Red Settee (Oil on Board, 1953) – represents an inflexion point for
the artist, after which his work will evolve in a radically different direction, while
in each painting one still senses the echoes of his past, with the influence of the
country’s history also resonant.
Red Settee is not dated, but we know from an
almost identical pencil study marked 9-11-1953,
that the painting must have been completed
around then. Each of its subject, structure, the
palette and the technique tells us of the past and
the future.
Clifford Hall’s early work has been compared to
Sickert, and like Sickert his subject-matter
comprised street scenes and interiors, including
in later years images of decadence and
prostitutes. However, Red Settee moves us into an
interior that is domestic – according to Grant
Waters,2 talking of Hall’s painting of Hanna Weil,
‘Nude on a Sofa’: “The artist's son, Mr Geraint Richard Hall, has advised us that
when the picture was painted the chaise longue sofa would have been in the
artist's large studio room at 8, Trafalgar
Studios, Manresa Road, Chelsea, London SW3.”
Though the line of the
sofa-back is the same,
the sitter does not this
time appear to be his
friend Hannah Weil,3
but is nonetheless
treated respectfully.
And it is noticeable that
while Hall’s technique remains semi-impressionistic,
and is reminiscent of Sickert in brushwork, the palette
has moved far from the dark colours of his earlier years,
managing to be simultaneously energetic, cool and
harmonious, with more than a hint of expressionism in
2 http://www.grantwatersfineart.co.uk/InTheBedroom.html
3 https://www.christies.com/lotfinder/Lot/clifford-hall-1904-1973-portrait-of-hanna-5645864-details.aspx
its refusal to be realistic, and its preference for emotion over literal
representation. In addition, each part of the painting occupies a clearly defined
colour-coded space. The ambiguities, the ‘floue’, watery quality of the
impressionistic elements of his earlier paintings have been replaced by
complementary tonal zones that could be considered an abstract work, once
detached from their representational form. This treatment was also visible in his
early 1950s Seated Nude depicting a figure on the same sofa, face turned down
and his 1952 painting Figure Draped in Purple which is almost Japanese in its flat,
collage-like treatment of the subject.
If Red Settee shows that Hall has escaped from the seediness of the past, that he
may for a time embrace a lighter, more positive outlook (he divorced his first
wife Marion Zass in 1952) and that his style has become leaner but more
psychologically interesting, it also shows many features that foreshadow his
‘Bathers’, the hooded women he depicted through the 1960s, their faces often
hidden from the viewer.
In Red Settee, the subject is presented with the sofa wrapped around her, partly
turned away - quite different from the directness of the Hannah Weil portrait. In
addition, while the palette is brighter, the coolness of the sitter’s body, rendered
in mint green, a distinct contrast with the warmth of the sofa’s red and coral
tones, speaks of her isolation. Even the slightly acid chrome yellow of the book
behind her offers an energy
the passivity of her pose
denies. Only the red, thin,
compressed lips and nipple
echo the warmth of the sofa.
And behind her the table is
cloaked in a grey cloth, that
seems to presage the time
when the face of the sitter will
be turned completely away or
hidden in the folds of a towel,
as in Bathers (1967, Pencil and
oil on Board).
MICHAEL AYRTON, as previously discussed, was a far more confident and complex
artist than Clifford Hall, but like him ended up regarded by the critics somewhat
as Henry Moore had described him: a significant eccentric, rather than a heavy
hitter in the art world. And like him, the change-over in his world can be seen in
the subject, structure, palette and technique of the single painting: Poros, Greece.
4Ayrton, quoted in Richard Branson’s Student magazine, Vol.1 No.1, 1968: “[Art] serves as a process or
celebration - which is a very important part of society’s recognition of the splendours of the world it inhabits.
Contrary to this it also serves as process of exorcism, which is a way of bringing out the things which society fears
and dislikes - Francis Bacon does this.“ see https://www.virgin.com/entrepreneur/michael-ayrton-art-celebration-
and-exorcism last accessed 18 December, 2018