Gallery Visit: 'Drawn Together, Drawn Apart' - Southampton City Gallery
POSTED ON Monday, 4 February 2013 AT 12:45 \\
As the module begins, it seemed fitting to begin looking at some galleries. From today's session we were sent off to independantly look at one of the exhibitions currently taking place at Southampton City Gallery. The exhibition Drawn Together, Drawn Apart: The Philip Schlee Collection of Drawings is a selection of works by a variety of different artists, bought by avid collector Philip Schlee. In this post I will be breaking down what can be found in the four galleries that make up this exhibition and drawing out some of the works that caught my eye for futher analysis.

gallery 1:

Preparotory drawings as a means of exploring decisions on factors such as composition, tone and colour. The sketches were acquired with assosciated finished works- aiming to provoke questions on their relationship: What is lost when a drawn line is replaced with a brush stroke? What effect does scale have on the relationship between colour?  This space is a representation of drawings carried out as part of an artist's daily routine.

gallery 2:


This gallery featured a large variety of different mediums used to create a vast expanse of work, using materials such as pencil, charcoal, acrylics, ink, pastels, watercolours, collage, screenprints, mono prints and etchings. The questions asked here: What constitutes a drawing? Is the manipulation of a line to enclose shape or colour? The works in this collection give off the impression of something incomplete; an image that asks the viewer to collaboration with it to achieve its completion.


Left: Sir Eduardo Paolozzi, Omaggio a Michelangelo, 1975

Right: Tong Cragg, Untitled (ink on paper)

galleries 3 & 4

Gallery 3's space consists of a selection of works accompanying studies from the City Art Gallery's own collection- it features a wide range of approaches, from traditional to unconventional. The final gallery, Gallery 4 holds a selection of life drawings. In this final gallery, you are informed of the use of a grid to accurately transfer scale. This is a technique used by post-impressionists such as Edgar Degas and Walter Sickert.

Henry Lamb, Edie McNeill, 1911 
(oil on canvas) (image)

I really love the use of colours in this painting. I am partial to the use of soft colours and lighting in imagery and I feel that the use of muted shades fully compliments the figure in the painting.

my favourite work


John Salt
A-Ok Autos, 2003 (casein on canvas)
(image source)
Photorealism

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