7 DECEMBER 1985, Page 47

Exhibitions

Kurt Schwitters (Tate Gallery till 5 January) The Brotherhood of Ruralists and Friends (Piccadilly Gallery till 10 January)

Ticket collector

Giles Auty

In this century many have seen art as a battle between tradition and craftsmanship on the one hand and inventiveness and imagination on the other. Clearly the issues are not as simple as this and, to complicate matters further, genius — or the journeyman — is just as likely to be found in the ranks of either side. In art, whatever the medium or form, all finally depends on the quality of the artist.

During our times, many an extremely able artist has chosen to work in a form which has proved ultimately limiting, while others less talented have followed in the footsteps of the truly great.

Perhaps one aim of art education in our so-called Post-Modernist era should be to persuade the best of our young artists to look once more towards those established forms which need not, of their nature, restrict. In the meantime we should salute those who, in attempting to break the mould, produced much daring and con- summate artistry. As a true innovator and original, Kurt Schwitters conceived an equality of media in art in which 'a perambulator wheel, wire-netting, string and cotton wool are factors having equal rights with paint'.

Schwitters also collected tickets, stamps, letters, official forms, packaging, cards, printers' rejects and more or less anything else which took his fancy. These formed the basis for the collages which the artist produced throughout his lifetime and for which he is best known. Yet Schwitters also painted 'naturalistically' in private in addition to designing, writing stories and poetry and working as a sculptor. In material terms, Schwitters suffered for his stoic individualism and the attendant diffi- culty influential critics found in classifying his work, except under the broadest head- ings. Working with throwaway materials, Schwitters displayed genius and an ex- quisite sensibility in the creation of picto- rial art. It was perhaps inevitable that the extraordinary beauty, balance and inno- cence of the artist's early work lapsed slightly as he matured and extended his range. Yet it must be admitted that Schwit- ters set himself highly testing standards to maintain.

Seemingly, critics of conservative taste should be attracted to the work of the Brotherhood of RuralistS, who are current- ly exhibiting at Piccadilly Gallery (16 Cork Street, W1). The Brotherhood is a con- cantation of artists whose libretto is love of the countryside and ancient customs but whose accompaniment is shrewd, urba- nised, 20th-century publicity. In art it is well known that collectives attract atten- tion where individuals collect neglect. Cer- tainly the Ruralists have had their full share of media notice. How well is such attention deserved?

The undecided should judge the current show of works based on biblical subjects for themselves. They may note however that the exhibition catalogue at once sets heady standards: 'Very few artists these days have taken time to "consider the lilies of the field" so deeply. Few are so devoted to England's green and pleasant land and the Ruralists have gone to live in the country precisely to be in the middle of what they love.'

Would that the decision to live in the country were such a simple matter for artists or for others. The availability of work and the cost of re-housing are here deemed immaterial. I presume dwellings, even in the depths of the countryside, cost some money — especially for those con- templating small castles and such. I do not personally share the Ruralists' view that they discovered or re-discovered our countryside. England has long abounded in painters and other true obser- vers of nature who, in my experience, all too often inhabit semi-derelict cottages at the ends of muddy tracks. For such people daily realities may still involve resolving priorities between food, fuel and their professional materials.

By contrast two of the country-loving Ruralists, at least, found their paths to `England's green and pleasant land' made altogether smoother by reputations gained in other walks. The respected artist Peter Blake achieved necessary fame and fortune through his leading role in that most urban of art movements, known as Pop, while Graham Ovenden was previously more greatly noted for his popular studies of pre-pubescent girls.

In spite of a prevailing atmosphere of sanctimonious whimsy, there are some pleasant drawings and especially prints in the current exhibition, plus at least one delightful watercolour by Ann Arnold, genuinely invoking Palmer. However, most of the exhibition's major theme paint- ings in other media echo the faults of the Pre-Raphaelites, without too many of their virtues. In an exhibition in which God's name is invoked so often, I wonder what He would make of His sky in Graham Arnold's large and otherwise agreeable painting 'The Church'. Like me, He might have found it curiously impenetrable.