We went to hear Christopher Le Brun talk about his recent work done during lockdown and currently on display in the beautiful spaces at Lisson Gallery: perhaps darker and more meditative than his recent work; in the case of the impressive big picture, The Waves, an assembly of panels like an abstract version of a polyptych – purely abstract and apparently based on musical intervals.

He spoke of the long tradition of English painting, stretching back to Turner and Constable, but I was wondering how it related to the teaching at the Slade in the late 60s/early 70s: Patrick George and Euan Uglow against American abstraction and Tess Jaray.


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