Charleston (2)

An additional pleasure not to be missed in Jamie Fobert’s new gallery at Charleston is Cressida Bell’s beautiful and highly appropriate exhibition on Colour: Sickert to Riley. Her work is genetically imbued with her grandparents’ escape from the safety of English art. She has painted the galleries in fierce and intense, bright colours. And she has made an intelligent selection of partly Bloomsbury-era art, including Roger Fry’s The Farm Pond at Charleston, borrowed from Hepworth, Wakefield, and a bold Portrait of Eve Kirk by Augustus John, and partly post-Bloomsbury, including a beautiful Howard Hodgkin and a Bridget Riley whose colours dominate the third room.

The exhibition is unorthodox in the ways that it has been selected and hung, but all the better for it.


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