Victor Pasmore: Towards a New Reality is at Pallant House Gallery, Chichester, until 11 June 2017 (and previously shown at the Djangoly Gallery, Nottingham Lakeside Arts).
In 1861, the 80m tall spire and tower of Chichester Cathedral calamitously collapsed under its own weight from a structural failure of the piers, depositing as it did 6,000 tons of rubble into the nave below (6,000 tons! The Eiffel Tower, well over three times the height, weighs in at only 7,300 tons. You get a lot more height for your heft with steel – but I digress). You would think, to read the account of Victor Pasmore’s controversial conversion in 1948/9 from lyrical landscapist and Euston Road “Objective Realist” to abstract painter, collager and relief-builder, that the scale of disaster for the reactionary English art establishment who had thus far supported him was equally cataclysmic. Pasmore, prior to his apostasy, seems to have been the apple of many a well-connected eye, leading a rather charmed existence: working alongside William Coldstream and Claude Rogers to set up the Euston Road School in 1937; being supported and patronised by the then director of the National Gallery, Kenneth Clark from 1935 up to 1948. Then, having gone abstract, gaining the support and encouragement of Ben Nicholson; showing regularly at the Redfern Gallery, through all phases of work, until taken up by Marlborough in 1960; and being appointed Master of Painting at King’s College, Durham/Newcastle , in 1954, where he taught alongside Lawrence Gowing. Throughout his life, he seems to have been well in with everyone that mattered.
In retrospect, the transition from figurative to abstract looks rather harmless and parochial. In this exemplary show at Pallant House Gallery, excellently and unobtrusively curated by Anne Goodchild of the Djangoly Gallery, Nottingham, Pasmore’s evolution is set out chronologically (I love chronology! How different from the Vanessa Bell show now at Dulwich, which destroys all semblance of developmental logic by its intrusive theming), from his first talented efforts as a gifted young painter, taking us coherently through all his wildly different phases, up until the late sixties and his excellent design for the Apollo Pavilion in Peterlee, 1967, which is where the show ends. After which, Pasmore retreated to his house in Malta for thirty or so years, producing the ubiquitous and rather repetitive biomorphic paintings and prints that you now see all over galleries and art fairs. He died in Malta in 1998, aged 90.
So, what to make of this man who is described by Anne Goodchild in her catalogue essay as possibly “the patron saint of the committed Sunday painter”? Not a very flattering description, to say the least, but I think I know what she means. The exhibition moves very fast between the phases of his work, and as I walked around I jotted down the most visible and, to me, obvious of his influences, as follows: Cézanne; Vuillard; Degas; Manet; Corot; Matthew Smith; Morandi; de Staël; Klee; Schwitters; Seurat; Bruegel; Turner; Whistler; Mondrian; Gottlieb; van Gogh; Rodchenko/Tatlin constructivism; Nicholson; Le Corbusier; Miro; Arp. Bonnard and Kandinsky are also cited, but I couldn’t see them.
I repeat, these are just the obvious ones that I could point to. I have never been to Pallant House Gallery before; I have never been to Chichester before; and I’ve never known an artist to have such a long list of clear and present influences. Was the man really such a dilettante?