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Alexander Millar
1 Launch Day
Canvas edition of 95
Image 18" x 24" Framed £525
2 Here Is My Valley
Canvas edition of 95
Image 20" x 30" Framed £595
3 Cathedral Of The Working Man Image 18" x 24" Framed £525 4 FromDusk Til Dawn Canvas edition of 95 Image 20" x 26½" Framed £565 Canvas edition of 95
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Sue Steward, the London Evening Standard's Art Critic, reflects on AlexanderMillar's artistic evolution A newdimension
“I never imagined that Alexander would abandon the ‘gadgies’ as the main characters in his evocative paintings. And with these surprisingly different new works, he hasn’t. What we see has happened is his dramatic transformation as an artist: the change of palette and colour tones, the materials and tech- niques involved are one thing, but more obvious is his positioning of these treasured subjects and the role they play in these industrial scenes. With this new approach comes a change of mood but the results
Battersea power station. A soli- tary figure, making his way to his working man's mecca at dawn, just moments before a heavy rain shower, the sunlight dancing on the Thames. FromDusk Til Dawn which has the feel of early Bill Brandt photographs taken in England in the 30s and 40s, the train tracks drawing the eye into the distance toward the towering chimneys and scenes of industry. Alexander paints his stoic gadgie as we are familiar; with back to the viewer, anonymous and archetypal. This tactile effect is something
are just as atmospheric and familiar because they are set in the same streets, amongst some of the same smoking chimneys and rows of terraced houses from previous paintings. In Launch Day the familiar sight of the men in the gadgie caps strug- gling home on their bike or with friends holding them up after a night in the pub, are now part of the bigger picture, the overall scene – put into the context of their lives. Cathedral Of The WorkingMan doesn’t actually feature a cathedral, but a gadgie, dwarfed by the magnificence of
new; the fabulous new pastel tones, splashed for effect with bright intervening splashes of yellows and the way the paint is now applied, comes closer now to the French Impressionists than to Lowry. Now the brush strokes are visibly staccato – as aggressive as his new skies – or splashed diagonally across canvases to simulate the stormy rains.” . Gallery Alexander Millar's extraordinary new collection is available in galleries around the country now washingtongreen.co.uk
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FINE ART COLLECTOR AUTUMN 2012
AUTUMN 2012 FINE ART COLLECTOR
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