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Ben Nicholson: Distant Planes

Past viewing_room
15 October 2020 - 16 April 2021
  • Ben Nicholson was one of the great British modernists of the twentieth century. This exhibition, curated with Dr Lee Beard,...
    Ben Nicholson was one of the great British modernists of the twentieth century. This exhibition, curated with Dr Lee Beard, explores Nicholson’s years in Switzerland: a period of creative outpouring which has not received a dedicated display since the show held at Kettle’s Yard in 2003. It presents work made between 1955 and 1979, including several important loans from the British Council, Southampton City Art Gallery and Pallant House Gallery.

     

    In March 1958, Nicholson left his home in St Ives and made for Switzerland. Already regarded as one of Britain’s leading modernists, he settled near Lake Maggiore and quickly established himself as an artist of international acclaim. This exhibition focuses on the carved reliefs and landscape drawings which he made in the second half of his career. Despite their different visual qualities, both grew from Nicholson’s engagement with specific places and landscapes.
  • WORKS

  • November 1959 (Mycenae 3 - brown and blue)

    November 1959 (Mycenae 3 - brown and blue)

    When Ben Nicholson visited Greece for the first time in 1959, he responded to the ruins of Mycenae and made a small number of works which allude to the site, of which November 1959 (Mycenae 3 – brown and blue) is the most developed. 

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  • [W]ere it possible to 'explain' Ben Nicholson's reliefs there would be little need for the relief's themselves. David Lewis, 1960s

    [W]ere it possible to 'explain' Ben Nicholson's reliefs there would be little need for the relief's themselves.

    David Lewis, 1960s
    • Ben Nicholson, Rome (July 1, 1954), 1954
      Ben Nicholson, Rome (July 1, 1954), 1954
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    • Ben Nicholson, July 1960 (back to back), 1960
      Ben Nicholson, July 1960 (back to back), 1960
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    • Ben Nicholson, June 1961 (pistaccio), 1961
      Ben Nicholson, June 1961 (pistaccio), 1961
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  • Ben Nicholson, November 1960 (Anne), 1960
    Artworks

    November 1960 (Anne)

    November 1960 (Anne), 1960

    In November 1960, Nicholson was looking forward to moving into the new house and studio that he and his wife Felicitas Vogler were having built in Gadero, in the municipality of Brissago, Switzerland. With the promise of compelling views across Lake Maggiore being constantly present, Nicholson jokily enthused to his ex-wife Winifred that they had even got some of ‘the mountains in the right place without going to the expense of moving them’.

    • Ben Nicholson, 1955 (trees, Tuscany), 1955
      Ben Nicholson, 1955 (trees, Tuscany), 1955
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    • Ben Nicholson, Assisi, 1955
      Ben Nicholson, Assisi, 1955
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    • Ben Nicholson, May 1957 (Siena campanile), 1957
      Ben Nicholson, May 1957 (Siena campanile), 1957
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  • ‘I have favourite places — Mycenae and Pisa, and Siena, for instance — and I feel that in a previous...

    ‘I have favourite places — Mycenae and Pisa, and Siena, for instance — and I feel that in a previous life I must have laid two or three of the stones in Siena Cathedral, or even perhaps one or two of those at Mycenae!’

    • Ben Nicholson, August 1964 (Racciano), 1964
      Ben Nicholson, August 1964 (Racciano), 1964
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    • Ben Nicholson, 1965 (Kos - project for free-standing relief wall), 1965
      Ben Nicholson, 1965 (Kos - project for free-standing relief wall), 1965
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    • Ben Nicholson, 1970 (Menalon), 1970
      Ben Nicholson, 1970 (Menalon), 1970
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  • Ben Nicholson, 1971 (two squares and very green), 1971
    Artworks

    1971 (two squares and very green)

    1971 (two squares and very green), 1971

    "He thrives on the directness of the work, the broad and hairsbreadth decisions that immediately answer back in tangible forms, energies of form responding via material fact to mental energy and muscular work. Nicholson’s line has often been called incisive. Here it is literally incisive, and if we can recognize the intimate rightness for Nicholson of drawing with a knife into the thickness of a board we can also see how much the material action of pencil on paper mattered to him: these are key aspects of the reality he seeks."

    Norbert Lynton

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    • Ben Nicholson, 1967 (chapel in Greece), 1967
      Ben Nicholson, 1967 (chapel in Greece), 1967
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    • Ben Nicholson, 1966 (greystone), 1966
      Ben Nicholson, 1966 (greystone), 1966
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    • Ben Nicholson, 1972 (Olympia), 1972
      Ben Nicholson, 1972 (Olympia), 1972
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  • 'It's not the drawing that is difficult but finding and recognizing the mood. When in this mood one knows well...

    'It's not the drawing that is difficult but finding and recognizing the mood. When in this mood one knows well that something will come.'

    • Ben Nicholson, July 1977 (vertical landscape), 1977
      Ben Nicholson, July 1977 (vertical landscape), 1977
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    • Ben Nicholson, 1971 (dolphin), 1971
      Ben Nicholson, 1971 (dolphin), 1971
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  • I should be very sorry indeed if my work contained no element of the romantic, as it would be rather...

    I should be very sorry indeed if my work contained no element of the romantic, as it would be rather like preventing the moon from getting up behind the mountains.’

  • Ben Nicholson, 1974 (moonrise), 1974
    Artworks

    1974 (moonrise)

    1974 (moonrise), 1974

    In September 1974, Nicholson moved into his new 'studio house' at 2B Pilgrim's Lane, Hampstead. After a hiatus of over three years Nicholson once again had the space to work on his carved reliefs; 1974 (moonrise) was one of the first. As is evoked by both the title and composition of this relief, impressions of the winter moonrise over Lake Maggiore were perhaps triggered by his return to working in this medium.

     

    This work is on loan from Pallant House Gallery, Chichester

    • Ben Nicholson, 1973 (Lambousa 2), 1973
      Ben Nicholson, 1973 (Lambousa 2), 1973
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    • Ben Nicholson, 1978 (mountain scene), 1978
      Ben Nicholson, 1978 (mountain scene), 1978
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    • Ben Nicholson, 1974 (Certaldo), 1974
      Ben Nicholson, 1974 (Certaldo), 1974
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  • Ben Nicholson, 1979 (untitled relief), 1960-79, c.
    Artworks

    1979 (untitled relief)

    1979 (untitled relief), 1960-79, c.

    On numerous occasions throughout his career Nicholson revisited and reworked his paintings and reliefs. This work was started in Brissago, Switzerland, in around 1960 and later finished in Hampstead in 1979. Central to this practice was the notion of palimpsest, in which traces of the earlier work (or ‘idea’) remain, no matter how visible or intact.

     

    ‘It is very interesting scraping an early [painting] because the thoughts of 20 years ago which one had when making the [painting] come back’

    Ben Nicholson speaking to Adrian Stokes

     

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  • For prices or to arrange a visit to the exhibition, contact the gallery.

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