PETER SPENS
ACTIVE REACTION
Published by Cranley Gallery Ltd. London. Limited Edition of 1500 copies. Copyright © Peter Spens. 2016
Printed by ArtQuarters Press
ISBN 978-0-9544613-5-5
9 780954 461355
CRANLEY GALLERY3 Cranley Gardens, London N10 3AA
Telephone: 020 8883 3557Email: [email protected]
www.cranleygallery.com
PET
ER S
PEN
SACTIV
E REA
CTIO
NC
RANLEY G
ALLERY NO
VEM
BER 2016
10 – 30th November 2016
PETER SPENS
ACTIVE REACTION
Drawing Courtside, Copacabana, August 2016Title page 1| Night Games: study from the Press Stand, Copacabana. 2016 Oil on board. 34 x 38 cms
I am sitting now in a New York apartment looking at a Peter Spens painting from 18 years ago. It depictsmy wife and me with our first child. We are each holding her as if there were two children. It is intimate,vibrant, every mark matters. It reminds me of Peter’s love for Bonnard. Two other Spens pieces hang onthe opposite wall, another portrait of my wife and me and a tranquil, contemplative seascape. This isrelevant because Peter’s work has been part of my life since I was a teenager. Because Peter is my oldestfriend. My thoughts then are of the development and growth of an artist, the commitment to a personalway of working, a dedication to craft and graft. A remarkable body of work, the traits of which are clearin this exhibition.
I don’t believe in a higher calling but I do believe in passion. Peter began making pictures when we weresixteen. He did it as he does it now – with energy, steely courage and a self-deprecation which keeps himgrounded. At our Grammar School his academic abilities suggested he should be an engineer orarchitect. Our teachers insisted there was no future in art as a profession. He proved them wrong, nowhaving painted continuously for 40 years, never veering from his conviction that art matters, that thelanguage of colour and form is universal, that the world is there to be experienced. Art for Peter is theact of living in a moment and a space. It is not recording, it is action and reaction.
The works in Active Reaction embody the qualities that make Peter’s oeuvre important and enduring:intimacy, scale and strength of vision. This is about seeing the world and making marks in the moment,whether that be in the studio, at a sporting event or the in the city. Working directly from the subjectcreates a unique vocabulary of motion, shape, time and colour.
In Night Games, Beach Volleyball, Copacabana (illust. 3) colour seems to pour down from the OlympicRings across the court. The Rings, the lights, the crowd connect to embrace the action. On the court thefigures are in motion, suggested but finely made. Like the linesman in the foreground we are bothobservers, transfixed by the action and participants. This is the power of making the picture in themoment, in the place where life happens.
The cover painting, England v Sri Lanka T20 Delhi is remarkable. Sport at night is a spectacle. Thedarkness makes theatre of the stadium, every noise louder, every action sharper. Peter defines space withpartial marks to create the chaotic, passionate madness that is sport in India. Details are sparse and weare compelled to watch the action on the pitch. There is something of the sublime about it – the urgencyis almost intimidating. Our reaction is active.
Peter has always been able to use every inch of his paintings to build a narrative. This is not staticdepiction – it is dynamic and purposeful. In November 2014 he painted the dismantling of the Poppiesinstallation from the Walkie Talkie building. Poppies at the Tower, Twilight (illust. 27) creates deliberatedesign elements which Peter often employs. The poppies sit in a maze of concentric circles which wrap
Active Reaction
around the Tower, through the City and back across the Thames over Tower Bridge. Our eyes are takenacross the cityscape and back to the Poppies, which as the only red compel our return and provoke anemotional response. In Surfers, overcast Harlyn Bay (illust. 8) surf and cloud are connected in their formand movement, they echo each other in tone from grey to white and frame the activity of the surfers.Every mark made gives us the very direct experience, energy, emotion of the scene in front of us.
All of these works are about seeing, observing and participating: they are impatient, twitchy, and alive.Peter’s life studies carry the same weight of seeing – yet they are humane and tangible. The use of thesame model in Three Figures in a Studio (illust. 30) consciously echoes Seurat’s La Poseuse. These threedifferent aspects appear almost disconnected, giving a sense of some unease at first. And yet there isintimacy, the figures connected by their spatial relationship, their forms flow together. Order is restored.
It is this humanity which has always made Peter Spens’ work so powerful: creating a story in every sceneand sharing it. I may be an advocate but the work provokes the same emotions in me as it always has.There is nothing contrived, nothing artificial or provoked by trend. It is crafted from a belief that art canhelp us not just understand the world better but also participate more fully in it. Peter sees for all of us.
Mark Allin, New York, October 2016.
Mark Allin is President and CEO of John Wiley, a leading publisher and one of the world's oldest companies. He hasworked in Europe, Asia and Africa and is now based in New York
Front Cover| England V Sri Lanka, T20 Delhi. 2016 Oil on board. 25 x 40.5 cms
Night Games, Beach Volleyball, Copacabana. 2016 |3 Oil on board. 121.5 x 101.5 cms
2| Courtside Copacabana. 2016 Pencil on paper. 19 x 26.5 cms
4| Beach Volleyball from the Press Stand, Copacabana. 2016 Pencil on paper. 19 x 23 cms
At the FIVB HQ in Lausanne we enjoy Peter Spens’ London 2012 picture BeachVolleyball from Horse Guards so it seemed entirely logical to commission him topaint in Rio. We are delighted not only with the pictures that Peter painted therebut also with the impact he made on the event working live. The Press StandManager commented that seeing Peter at work set a marker that made his wholeteam stop and appreciate the uniqueness of this Olympic spectacle in itsmagnificent Copacabana setting.
Fabio Azevedo, General Director FIVB, Lausanne.
Beach Volleyball from the Press Stand, Copacabana. 2016 |5 Oil on board. 101.5 x 121.5 cms
6| Rugby World Cup: Ireland v Italy, Olympic Stadium. 2015 Oil on board. 34 x 40.5 cms
Rugby World Cup: South Africa v USA, Olympic Stadium. 2015 |7 Oil on board. 38 x 45.5 cms
8| Surfers, overcast Harlyn Bay. 2015 Oil on board. 30.5 x 40.5 cms
Above Rinsey beach. 2016 |9 Oil on board. 95 x 103 cms
10| Study for Bembridge Harbour from St Helens. 2016 Oil on board. 25 x 40.5 cms
High tide, Rinsey. 2016 |11 Oil on board. 61 x 69 cms
12| Life Guard flags, Porthcothan. 2016 Oil on board. 28.5 x 40.5 cms
Bembridge Harbour from St Helens. 2015 |13 Oil on board. 81 x 122 cms
14| Night, Udaipur. 2016 Oil on board. 25 x 30.5 cms
Autumn, Highbury Fields. 2016 |15 Oil on board. 60 x 90 cms
16| Storm clouds, Kleine Scheidigg. 2014 Oil on board. 24.5 x 38 cms
Dog and surfers, Harlyn Bay. 2015 |17 Oil on board. 28 x 40.5 cms
Transcribing Rubens 'Het Steen’ at the National Gallery, May 2016 Transcription of Rubens ‘Het Steen’ National Gallery, London. 2016 |18 Oil on board. 70.5 x 122.5 cms
19| Valley cloud, Jungfrau. 2016 Oil on board. 27 x 40.5 cms
Somerset House and Parliament from Kings. 2015 |20 Oil on board. 91 x 122 cms
21| Study for Brettenham House from Kings. 2015 Oil on board. 25.5 x 40.5 cms
West from the roof of Kings. 2015 |22 Monotype. 60 x 90 cms
23| Thames Pageant, June 2012
Monotype. 60 x 90 cms
Brettenham House and Parliament from the roof of Kings. 2015 |24 Oil on board. 81 x 122.5 cms
25| Sunset from Kings. 2015 Oil on board. 22.5 x 40.5 cms
Poppies at the Tower, night. 2014 |26 Oil on board. 30.5 x 36 cms
27| Poppies at the Tower, twilight. 2014 Oil on board. 31 x 35.5 cms
Night, east from Waterloo Bridge. 2016 |28 Oil on board. 29.5 x 35.5 cms
29| Seated figure. 2016 Pencil and chalk on paper. 28.5 x 25 cms
Three figures in the studio. 2010 |30 Oil on board. 33 x 36 cms
31| Standing figure. 2012 Pencil on paper. 34 x 22 cms
Kitchen, Birnham Road. 2012 |32 Oil on board. 56.5 x 60 cms
33| Winter, the City from Hampstead Heath. 2013 Monotype. 90 x 60 cms
Trunk and Henry Moore, Hampstead Heath. 2016 |34 Oil on board. 61 x 53.5 cms
35| Winter tree trunk, Hampstead Heath. 2016 Oil on board. 33.5 x 40.5 cms
Oak tree Hampstead Heath, early spring. 2016 |36 Oil on board. 53.5 x 70 cms
37| Copper Beech, Hampstead. 2015 Oil on board. 34 x 36 cms
Hampstead Beeches, new leaves. 2016 |38 Oil on board. 69 x 61 cms
39| Rhododendrums, Kenwood. 2014 Oil on board. 38 x 46 cms
The City from Hampstead Heath, autumn. 2015 |40 Oil on board. 74 x 119 cms
Title Price Medium height x width
Cover: England V Sri Lanka, T20 Delhi £1,950 Oil 25 x 40.5
1 Night Games: study from the Press Stand SOLD Oil 34 x 38
2 Courtside Copacabana £470 Pencil 19 x 26.5
3 Night Games, Beach Volleyball, Copacabana SOLD* Oil 121.5 x 101.5
4 Study for Beach Volleyball from the Press Stand £560 Pencil 19 x 23
5 Beach Volleyball from the Press Stand, Copacabana SOLD Oil 101.5 x 121.5
6 Rugby World Cup: Ireland v Italy, Olympic Stadium £2,700 Oil 34 x 40.5
7 Rugby World Cup: South Africa v USA, Olympic Stadium £2,800 Oil 38 x 45.5
8 Surfers, overcast Harlyn Bay £2,700 Oil 30.5 x 40.5
9 Above Rinsey beach £10,800 Oil 95 x 103
10 Study for Bembridge Harbour from St Helens £2,700 Oil 25 x 40.5
11 High tide, Rinsey £6,800 Oil 61 x 69
12 Life Guards flags, Porthcothan £2,700 Oil 28.5 x 40.5
13 Bembridge Harbour from St Helens £15,600 Oil 81 x 122
14 Night, Udaipur £1,850 Oil 25 x 30.5
15 Autumn, Highbury Fields £4,250 Oil on paper 60 x 90
16 Storm clouds, Kleine Scheidigg £2,500 Oil 24.5 x 38
17 Dog and surfers, Harlyn Bay £2,600 Oil 28 x 40.5
18 Transcription of Rubens 'Het Steen' NFS Oil 70.5 x 122.5
19 Valley cloud, Jungfrau £2,700 Oil 27 x 40.5
20 Somerset House and Parliament from Kings £17,400 Oil 91 x 122
21 Study for Brettenham House from Kings £2,600 Oil 25.5 x 40.5
22 West from the roof of Kings £2,700 Monotype 60 x 90
23 Thames Pageant, June 2012 £2,700 Monotype 60 x 90
PETER SPENSACTIVE REACTION
CATALOGUE PRICE LIST (includes framing and VAT)
Image dimensions are in centimetres. All oils are on board, except 15.
Spens Price List 2016.qxp_Invite 2005 19/10/2016 09:59 Page 1
Title Price Medium height x width
24 Brettenham House and Parliament from Kings SOLD* Oil 81 x 122.5
25 Sunset from Kings £2,000 Oil 22.5 x 40.5
26 Poppies at the Tower, night £2,800 Oil 30.5 x 36 27 Poppies at the Tower, twilight £2,800 Oil 31 x 35.5
28 Night, East from Waterloo Bridge £2,800 Oil 29.5 x 35.5
29 Seated figure £540 Chalk 28.5 x 25
30 Three figures in the studio £2,750 Oil 33 x 36
31 Standing figure £540 Pencil 34 x 22
32 Kitchen, Birnham Road SOLD* Oil 56.5 x 60
33 Winter, the City from Hampstead Heath £2,750 Monotype 90 x 60 34 Trunk and Henry Moore, Hampstead Heath £7,200 Oil 61 x 53.5
35 Winter tree trunk, Hampstead Heath £3,200 Oil 33.5 x 40.5
36 Oak tree Hampstead Heath, early spring £7,400 Oil 53.5 x 70
37 Copper Beech, Hampstead £2,600 Oil 34 x 36
38 Hampstead Beeches, new leaves £7,200 Oil 69 x 70
39 Rhododendrums, Kenwood £3,600 Oil 38 x 46
40 The City from Hampstead Heath, autumn £13,400 Oil 74 x 119
41 Alfie drawing, Whitecliff Bay, Isle of Wight £2,600 Oil 25.5 x 40.5
Limited Edition Prints
42 Night Games, Beach Volleyball, Copacabana (illust. 3) £740 Giclee 84 x 70
43 Beach Volleyball from the Press Stand, . . . (illust. 5) £740 Giclee 70 x 84
Additional works from this collection are included in the exhibition. SOLD* denotes commissioned work.The new Studio Gallery is open for this show, greatly augmenting hanging space.
Works by Peter Spens from all periods are held at the gallery and are viewable on request.
T 020 8883 3557E: [email protected]
M 07905 770453
Cranley Gallery3 Cranley Gardens,
London N10 3AAHIGHGATE (Northern Line)
Spens Price List 2016.qxp_Invite 2005 19/10/2016 09:59 Page 2
Back cover| Drawing from the Press stand, Copacabana, August 2016
C O L L E C T I O N S
Freshfields Bruckhaus Deringer
Shell International
BP Amoco
Land Securities
Stephenson Harwood
Guildhall Art Gallery, City of London
Nationwide Building Society
ENT @ 150 Harley Street
Pearson
Horse Guards
King & Wood Mallesons
Jardine Lloyd Thompson
Fédération Internationale de Volleyball
S O LO E X H I B I T I O N S
2000 Cities and the Sea, Gallery 27. London
2001 Skylines, Gallery 27. London
2003 Open to the Sky, Gallery 27. London
2005 Changing Formations, Gallery 27. London
2006 Floating London, Guildhall Art Gallery. London
2008 Observatory, Air Gallery. London
2010 water, colour, Air Gallery. London
2011 from mountains to sea, Cranley Gallery. London
2012 Site Specific, The Gallery in Cork Street. London
2014 Grandstand: The Cheltenham and London series, Gallery 8. Duke Street, St. James’s
2015 running script, Cranley Gallery. London
2016 Active Reaction, Cranley Gallery. London
41| Alfie drawing, Whitecliff Bay, Isle of Wight. 2015 Oil on board. 25.5 x 40.5 cms
