In Clarrie Wallis, Patrick Caulfield, (exhibition catalogue), London: Tate Publishing, 2013, pp7–8. His approach to image making and his bold and succinct visual style lent itself well to all kinds of multimedia projects: mosaics, murals, stained glass windows and tapestries.
The concision of Caulfield‘s prints enables these ontological distinctions to come to the fore. Registered as a company limited by guarantee in England and Wales No: 5045130, Registered Office: 8-9 North Pallant, Chichester West Sussex, UK, PO19 1TJ, We use cookies to improve your experience of using our website.
Yet as Tate Britain’s recent retrospective of his work showed, experimentation was key to the artist’s practice, albeit within a relatively narrow set of motifs, influences and techniques. Avoiding blatantly contemporary imagery, Caulfield was interested in what he called ‘the shock of the familiar’ and in reinvigorating traditional genres from art history such as landscape, still-life and the domestic interior.
1. Mark Prince is an artist and writer living in Berlin. In 1981, British painter Patrick Caulfield said: “I like the idea that things have been done in the most minimal fashion, that you don’t keep adding.” 1 In contrast to this, and almost 20 years later, he said of his work that it had not taken a linear minimalist trajectory. Perhaps for this reason he was commissioned to design the set and costumes for Party Game, a ballet by Michael Corder performed at the Royal Opera House in 1984 and in 1995 the set and costumes for the Royal Ballet’s new production of Frederick Ashton’s Rhapsody.
Exiting via the entrance gave the viewer a chance to revisit the very first work in the show, Concrete Villa, Brunnof 1963.
Caulfield’s silkscreens cast him as a more empirical, less art-referential artist than he appeared in his mini-retrospective at Tate Britain last autumn, which naturally focused on his paintings. This is one of those Caulfields which asserts an allegiance both to modernist aesthetics’ formalism as well as – in its subject matter – to its attempts at contemporaneity. Studio.
Singled out from its traditional setting, the beautifully rendered lobster may no longer represent a luxurious commodity but it appears no less exotic in Caulfield’s intentionally bland restaurant. Serendipity, A brief To their right, a figure broods at an oddly described window or hatch, rendered in the standard blue of his surroundings. The prints are deconstructions of the paintings‘ functional system. The entire exhibition, in fact, could be lauded for its lack of dictatorial wall texts: the accompanying booklet provided scant but sufficient information, leaving the show itself to celebrate the pure act of looking – rare for a retrospective of such a well-known artist, and a native one at that. The silkscreen process, like the housepaint Caulfield had used for his early paintings, was derived from commercial processes rather than traditional fine art techniques. Click on the picture below to watch the video, Jos Tilson – interview: ‘Motherhood is a form of creativity, and one which I totally believe in’, Andy Warhol and Eduardo Paolozzi: I want to be a machine, Billy Apple interview: The Artist Has to Live Like Everybody Else 1961–2018, Ardan Özmenoğlu: ‘For me, repetition is the only way that you can reach perfection’, Source and Stimulus: Polke, Lichtenstein, Laing, Peter Fischli David Weiss: How to Work Better, Tate Britain, London 5 June – 1 September 2013. Early life. The most intriguing interiors on show were the colourful, almost kaleidoscopic views of cafes, restaurants and foyers. Indeed, he once spoke of how “My attitude is in my mind, it’s not to do with the materials”. Your place to explore new perspectives on British art from 1900 to now. Adjacent to Pottery was a painting that might just allow us in: Santa Margherita Ligure’s(1964) postcard-like prettiness offers a frame – perhaps even a window – through which a semblance of a world, albeit an idealised one, begins to materialise. Patrick Caulfield in conversation with Bryan Robertson in 1998.
Interviews, Cybernetic “At different periods, I have done simple things. He created Ruins (1964), the first of his many screenprints, at the Kelpra Studio in London. The lower half could be an abstract stripe painting which gels into image with a horizontal strut of railings viewed diagonally, imposing perspective onto an otherwise flat design. More elusive, the silkscreens are less founded in a reactionary dialectic between contemporary anomie and traditional depth. Copyright © 1893–2019 Studio International Foundation.
This painting summarises the vast appeal of Caulfield’s painting: namely its combination of interiority with an absolute lack of intimacy. From the early 1970s Caulfield painted almost exclusively in acrylic paint on canvas. This kaleidoscopic appearance is also seen in Foyer (1973), in which the bottles and glasses of the red-bathed bar area in the background are rendered enticing by their contrast with the flat yellow wall and handrail of the bar’s entryway. Caulfield’s 1963 Portrait of Juan Gris, with its flat, dampened yellow and angular surface decoration, introduced us to Caulfield’s abstraction: he reduces Gris and his surroundings to their basic elements, paying homage to Gris’s own role in the development of abstract painting in the early 20th century. Being both within and without the “postcard”, these “natural” interruptions help to present a collage-like formulation of space, one inspired by the Cubists’ (Juan Gris included) earlier multi-plane visual experiments. Caulfield, Patrick, 1936-2005 (speaker, male) Interviewers. With this portrait, Caulfield also offers us an initial glimpse into his own unique conception of both time and space as a thick, stolid mass; by conflating the two, he allows the abstract and the figurative to sit side by side, so that every object featured in the picture can be absorbed without the distraction offered by a flowing narrative. Patrick Caulfield, Reserved Table, 2000, Acrylic on canvas, Pallant House Gallery, Chichester (Wilson Gift through the Art Fund, 2006) © Janet Nathan Caulfield.
Behind the visual economy of Caulfield’s paintings and prints are complex ideas, drawings and studies. The exhibition included one such study, Coloured Still Life (1967), together with the studies for Lamp and Pines (1975) and Terracotta Vase (1975) which feature pencil annotations between the distinctive bold outlines. He based the head on a photograph of Gris taken by Man Ray in 1922 which he had seen in a MOMA catalogue, and painted him with bright yellow and blue housepaint to present an optimistic image rather than the ‘grey’ of the artist’s surname. New York, NY 10021-0043, USA. It enabled great precision and suited his simplified compositions with their clean lines and areas of pure colours. history, About Through interviews, films, image galleries and essays, we uncover the creative lives of the people behind the art on our walls. And yet Caulfield builds in mechanisms designed to cut through any presumed reality: the vase of roses and the pot plant flanking the view reach into our space, overlapping with the edge of the canvas. Here, a piece of architecture that has come loose from its foundations hangs in the air, a white, grey and black spectre that is unusually drab for a Caulfield painting. This was at odds with the image of painting as disposable and dispensable presented in the guise of Warholian silkscreen, the dominant face of the very Pop language that Caulfield was shaping to his own ends. Postwar painters such as Peter Lanyon and Patrick Heron adulterated purist Greenbergian abstraction with old-fashioned illusionistic depth.
They recast the relation between artist and viewer, positing the work of art as less a demonstration of spectacle than a question of how perceptual reflexes process and collude with such spectacle. He had a remarkable ability to create artworks that appeared as if they had arrived fully formed, with their crisp lines, flat paint surfaces, and stylised imagery. The quintessential Pop art medium drains his work of the high-art aura of achieved technique which his oil paintings assert in ironic counterpoint to their graphic brevity. An almost tongue-in-cheek embodiment of this suggestion is offered by Selected Grapes of 1981, in which the grapes become more solid and credible as the eye moves down the vine: an analogy, perhaps, for the evolution or corrosion of talent, or artistic conviction, over time. There is a sense that these eyes through which we look are not our own: when viewing Tandoori Restaurant (1971), a filtering or layering effect seems to have been applied, allowing us to perceive only certain elements of the scene in certain tones. In the same gallery space, the well-known painting Pottery (1969) recalled the impact of Pop Art’s bright colours and thickly hewn outlines on the artist’s work. Lambirth, Andrew, (speaker, male) Abstract.
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