Paintings by Janet Poulton

Press, 26 February 1986, Page 19

Paintings by Janet Poulton

Paintings 1962-68, by Janet Poulton, at the CSA Gallery, until March 2. Reviewed by Pat Unger. People looking at art just enjoy painting without feeling any pressing need for enlightenment by art theorists. When the City buys a McCahon or has a soft-form show in its gallery, they rush to see in surprising numbers: some then even rush to print their amazement.

A few are definitely unenthusiastic when it comes to the work of art writers, muttering how they confuse, free load, ego trip, or downright misrepresent what we all know we like.

A large and diverse exhibition at present in the C.S.A.’s Mair Gallery is nonetheless made more enjoyable by understanding the trends that influenced the artist at the time. The work covers six years, 1962-68, short cro-

noiogically but crucial in art history.

After such shocks as the development of Cubism, and the sense of disillusionment that followed the Great War, painters searched for new ways to express themselves. Rejecting subject matter as being of primary concern, they concentrated more on the method of painting. The rhythm, the gesture, or action of the brushstroke itself became the painting. This expressionistic style gave a new sense of vigour and energy to art in the 1940 s and 19505. Paint thrown, slapped, or dripped about the canvas created in its turn dissatisfaction among those painters who sought more serenity and atmosphere in their work.

Suddenly, in the early 19605, a dramatic antiexpressionism surfaced. Brushless areas of flat

colour, images reduced to symbols, in logical compositions, became the order of the day. Reductive reason, not painted agression, these offshore theorists said was to be the new art style, and they obviously were heard in New Zealand.

Janet Poulton, now in her 80s, shows these influences in her first solo exhibition of 67 New Zealand landscape paintings. What at first sight seems an almost incongruous mixture of styles actually flows like a well read book on theory. Her paintings are a pleasure to see. Those works, with vigorous brushstrokes and warm colours, suggesting a more emotional response to the landscape still have a presence today. In contrast, the formal works, severely reduced, stylised, and in limited colours, look cold and contrived.

Identifying painters of similar schools, such as Sir Thos Woollaston, Rudi Gopas, and Chas Tole, and locating their companion works of the walls, is a treat for all those who have enjoyed art shows over the years. Prices range from $250 to $l2OO.