Beschreibung:

Basil Blackshaw HRHA RUA (1932-2016) Standing Nude Oil on linen canvas, 90 x 70cm (35½ x 27½'') Signed and numbered No. 3 verso Provenance: From the collection of the late Gillian Bowler. Exhibited: 'Basil Blackshaw Exhibition', the Hendriks Gallery, September 1987, Catalogue No. 20, where purchased. Basil Blackshaw Nude Studies Lots 109,110 and 112 Mike Catto has written; The nudes of Basil Blackshaw have a certain air of detachment about them. (Art in Ulster 2, 1977, p43). I disagree with this interpretation because although I can see where such a reading comes from there is too remarkable a degree of connection evident between artist and model in these nude representations. The sense of distance or detachment is at odds with the impact of the works. They have been consciously embodied by Blackshaw in this manner. He is a strong portraitist and is adept at capturing likenesses but his nudes are not executed in this vein. In these it is the figures moment and opportunity to shine through in terms of expression. These nudes are faceless, nameless, yet paradoxically full of character. They are collectively reliant on their expressive poses and the artists treatment of paint and compositional structure. Blackshaw is definite in his approach; �ǪI want to avoid association with the subject. I want it to be a purely visual experience for the viewer�ǪI want it to please the eyes rather than bring up associations in the mind. When I paint a nude I dont want them to see a girl thinking or sitting, I want it be just a figure. I like the way Baselitz turned his figures upside down, when you see a man eating an orange, turn it round and it becomes something else. I wish Id thought of it. (Afterwords, Ferran, 1999, p128). Brian Ferran has noted; Although his model is before him, his more important associations are the previous twenty paintings which he has made of the same model�ǪThese are densely complex paintings which possess personality and a dynamism of their own. (Ferran, 1999, p122). The artist has commented; I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent. (McAvera, IAR, 2002). The most insightful and detailed assessment of the artists approach, is however, captured by the person closest to the subject, his life model Jude Stephens; His approach was to create a representative image, almost totally destroy it, and then recreate it. Within hours or even minutes of my departure, I knew that he would return to the studio and obliterate the image, for only when I left could he produce the painting for which he strove. In a sense the essence he sought only existed in his memory. He often apologised about this pattern of thesis, antithesis and synthesis, reassuring me that he needed me to sit for him even though the resulting work would inevitably meet with rough treatment, because without an image to destroy there could be no image to recreate. (Jude Stephens in Ferran, 1999, p85). Reclining Nude has an elemental, almost archaeological feel to it. The figure occupies the composition but in a pose that suggests movement and a sense of becoming. Her form emerges from the left of the page and stretches back towards the right. The cut-off composition emphasises the sense of a found or emerging form. Her feet are beyond the confines of the page as is her left hand. Her facial features see little delineation, her hair is akin to a dark shadow extended behind her head and indeed her entire form is captured only to the point of sufficient suggestion of presence and not beyond. Nevertheless the figure does however have a strong manifestation even in this elemental existence. The painting is powerful and dynamic within its severely limited palette range. It is at once linked to the classical tradition and yet thoroughly modern. Blue Nude 1985 was painted the same year and it also possesses a power of mastery of the figure. The blue of the title is the dominant colour with the background a deep