Galleries - October 2015

unconventional route into the subject – via startingout as an architectural draughtsman – and then his distinctly hermetic life- style and secretive working procedures buried in the Bath landscape. It didn’t seem to make any difference to the huge success he enjoyed at the time but it has meant that his workingmethods and ways of evolvingideas have always remained somewhat obscure. All of which makes the show of his drawings at Gallery Pangolin – the first of its kind – so particularly intriguing. Coveringall periods of his practice, but with a clear emphasis on the 1950s and early 60s, it shows an impressively wide range of techniques and media – spiky ink lines, monochrome ink and wash, woodblock monoprints and wax resist with coloured wash – and an intensity of focus and physical energy that goes a long way towards explainingthe force of the finished sculpture. NU In 1993 the Tate Gallery opened a window on the post-war art scene in Paris. But despite being curated by Frances Morris, Paris Post War featured only one female artist. Now, with ‘The Second Sex’ (until 31 October), named after Simone de Beauvoir’s 1949 book, Hanina Fine Arts has made a pioneering For all the hype and blah surrounding the global contemporary art scene, (particularly with Frieze in town), it is easy to overlook the fact that most good young artists, and painters particularly, still need a lot of nurturing in their early careers. Gallery owner Cynthia Corbett has long recognised this. Her annual, not-for-profit ‘Young Masters Art Prize’ is always supported by regular curated shows of its participants within a regular London gallery space, Sphinx Fine Art, where they are seen alongside Old Master paintings that in turn, form the source of the dialogue she asks her artists to engage in. It is a great idea and pro- fessionally done, with stimulating results. Nothing fuddy duddy here as art history gets a thoroughly modern makeover and young artists understand the nature of the dynamic elements that so often lie within tradition. NU One of that remarkable post-war generation that followed in Moore and Hepworth’s footsteps and took 20th C. British sculpture into the international arena with such astonishing success at the Venice Biennales of the 1950s, Lynn Chadwick was in many ways the odd one out of the group with his somewhat 12 GALLERIES OCTOBER 2015 SIXS HOWS Terry Frost The works are so ever present on the modern gallery scene that it’s hard to believe it’s the centenary of Terry Frost’s birth. He died 12 years ago but painted almost up to the last minute, and the work still feels as fresh as the proverbial daisy! As well as the main loan exhibition at the Newlyn Gallery and The Exchange (Penzance), there are three other excellent shows on at Belgrave St Ives, Beaux Arts London and Leamington Spa Art Gallery and Museum. Between them they provide a picture of why we still value the work so highly. Belgrave celebrates a relationship that went back to the early 1980s. The gallery was his ‘local’ in effect but it stretches right back to his early figurative, war time days, with a 1943 painting of his fellow Prisoners of War in Stalag 383, up to one of his late, exuberant ‘Sun Tree’ canvas collages, plus pieces that haven’t been seen before. Meanwhile Beaux Arts, who were his London dealers and now hold his Estate, are also showing a wide range of his painting output. The Leamington Spa show (to 11 October) celebrates that he was a local lad, and they have produced a publication on Frost’s early life and connection with the town. In short Terry Frost is, as he deserves, being properly ‘done’ . N U Women Artists Lynn Chadwick Young Masters