ART
THERE are three large new landscapes among the other paintings by Victor Pasmore at the Redfern. In them the particular yields yet more ground to the general, and, when it seems likely to prove obstreperous, is lightly dismissed altogether. Pasmore's patches of paint are related one to another more by some private and esoteric significance, it seems to me, than by visual analysis of the object, and the classical aspect of his picture-making is reinforced by the em- ployment of a modified form of pointillism—not as a dogma, but spasmodically and intuitively, now for a patch of foreground, now an area of background. This, doubtless, serves to give an added " bite " to surfaces that would otherwise become too misty and to a sweetness of colour that is so easily achieved as to become senti- mental. Light is his subject, and matter is seen as an obstruction to light. The influence of the Japanese print is stronger than ever, and the light of these landscapes suggests rather the tastefulness of Whistler than the passion of the later Turner.
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Some other young British painters may be seen steering a safe but not unattractive middle course between habit and adventure at Wildenstein's winter exhibition. The prevailing wind seems to blow from the Euston Road direction, but there are a good many eddies and whirlpools caused by other influences. Clifford Frith, becoming steadily more practised, has yet to reconcile satisfactorily Euston Road and neo-romantic aims. Derek Hill, more stable in his out- look, has yet to reach the authority of maturity. George Hooper's watercolours are resplendently full in colour ; though dark in tone their bold brushwork suggests strong light.
The Anglo-French Art Centre continues its admirable and im- portant function of bringing to us contemporary work from Paris with an exhibition of painting by Yvette Alde. This, as Roger Bridle says in a catalogue note, does not pretend to pose definitive solutions. It is rather a personal statement springing naturally from feeling and emotion. The handling of paint—need one say it of any Parisian contemporary?—is energetic and lively, but the especial
quality lies in the sumptuous colour. M. H. MIDDLETON.
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