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Michael Andrews
Paperback: 160 pages
The author, William Feaver is a critic and broadcaster who has written extensively on Michael Andrews and the School of London. Perhaps his most famous writings are those on Frank Auerbach. Paul Moorhouse is a Collections Curator at Tate.
Michael Andrews [1928-1995] first became celebrated in the early 1960s for a series of paintings recording his fascination with the party lifestyle of the bohemian world. He did not exhibit
widely during his lifetime, yet his friend, the painter Frank Auerbach, observed that he 'only ever painted masterpieces'.
Michael Andrews studied at the Slade School of Art from 1949 to 1953, and lived variously in Norfolk and London. He described painting as 'the most marvelous, elaborate way of making up my mind', and his mature vision is characterised by deliberation combined with technical virtuosity and depth of understanding of the subject. His paintings of people explore human behaviour and relationships and mark Andrews as one of the late twentieth century's great painters of portraits and modern conversation pieces. His landscapes go beyond mere description, touching on the individual's relationship with his surroundings, and ideas concerning time, history and memory.
It's 30 years since the artist's death in 1995 and his status as one of the great British artists of the 2nd half of the 20th century seems to have lagged behind those of his peers: Bacon, Freud, Auerbach, Hockney and Kossoff. And yet it shouldn't as there is such visual poetry in his output that once seen (preferably in the flesh but reproduction like this are no bad substitute) it is never forgotten. Maybe it is gentle but there is something good in that as a counterpoint to Bacon's awesome brutality, Auerbach's and Kossoff's frenetic intensity, Hockney's mercurial brilliance or Freud's overwhelming beauty. It has a subtle charm seldom seen in art or indeed in life these days.
Exhilarating.
Michael Andrews' work itself has been lauded for its evocative landscapes and modern conversation pieces, reflecting social anxieties and a deep sense of time, history, and memory. His ability to capture the essence of human interaction and the subtleties of the environment has earned him recognition as one of Britain's most significant post-war artists.
"The Deer Park" (1962): This is one of his early "party pictures," capturing the complexities of human behavior in social settings. The painting reflects themes of isolation and connection, inspired by Norman Mailer's novel of the same name.
"Thames Painting: The Estuary": This work delves into the relationship between humans and their environment, using the Thames River as a metaphor for continuity and change.
Australian Landscapes: In the mid-1980s, Andrews shifted focus to expansive landscapes, including depictions of Ayers Rock (Uluru) in Australia. These works highlight his reverence for nature and explore themes of impermanence and interconnectedness.
Later Techniques: Andrews experimented with spraying paint onto canvases, creating atmospheric and ethereal effects. This innovative approach influenced a generation of artists and added a spiritual quality to his later works.
His art often invites viewers to reflect on their own relationships—with others, with nature, and with the passage of time.
Images © Estate of Michael Andrews/Tate. All Rights Reserved.
ci.
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