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拍品专文
Heron's published writings on the 1946 Georges Braque show (Tate Gallery, London) demonstrate the admiration that he felt for the French master's use of line to create three-dimensional space and multiple viewpoints in a painting. Other threads of influence, however, are detectable in the present work, which pre-dates his move into pure abstraction. In an interview with Martin Gayford, Heron said, 'My own handling, my own colour sense were infinitely more Matissian and always had been - and at times, Bonnardian. My paintings never looked like Braque; Braque is full of straight lines, ruled lines, and submerged, indeed, not very submerged, cubist geometry, of a very severe nature. There is nothing like that in my paintings. My paintings are always fluid in a Matissian way' (see D. Sylvester (ed.), Patrick Heron, London, 1998, p. 25).
Between 1945 and 1956 Heron visited Cornwall regularly with his wife, Delia, and painted a number of works of the view from the flat they rented at 3 St Andrew's Street, which overlooked the harbour and sea wall.
Between 1945 and 1956 Heron visited Cornwall regularly with his wife, Delia, and painted a number of works of the view from the flat they rented at 3 St Andrew's Street, which overlooked the harbour and sea wall.