Bill Jacklin: Paintings from 1986 to 2016

BILL JACKLIN Pain tin gs f r o m 1 9 8 6 t o 2 0 1 6

BILL JACKLIN Pain tin gs f r o m 1 9 8 6 t o 2 0 1 6

FEBRUARY 8 - MARCH 4, 2017

4 0 W E S T 57 T H S T R E E T N E W YO R K , N E W YO R K 1 0 0 1 9 | 2 1 2 - 5 4 1 - 4 9 0 0 M A R L B O R O U G H G A L L E R Y.C O M

BILL JACKLIN: LIFE AS AN INTUITIVE CONCEPTUALIST

by Eric Bryant

After a century of abstract art and roughly half a century of conceptualism, a simplistic set of beliefs have taken root in certain corners of the art world. There is the postulate that abstraction is filled with complexity, the corollary idea that figurative art is the easier path for artist and viewer alike, and the de facto demotion of painting on canvas as an outmoded or expired technique. Perhaps most widespread of all, there is the assumption that the attractive lacks intellectual heft.

Bill Jacklin’s work—paintings and prints that charm unabashedly with their light-and energy-filled depictions of contemporary urban life—effectively thwarts these notions. The current exhibition at Marlborough Gallery in New York, Bill Jacklin: Paintings from 1986 to 2016, amply demonstrates the art’s seductive side. The artist’s intellectual depth is less overt and therefore all the more rewarding to those who set aside art world prejudices and search it out.

Marlborough is presenting some two dozen canvases from the past three decades of Jacklin’s creative output. The selections focus on two of the artist’s favorite recurring subjects: Gotham’s many guises and groups of anonymous people in motion, including the celebrated ice skaters. In part the metropolis appears so frequently here because the gallery conceived this show as a celebratory return to his home turf after last year’s two-fold success in London, where the Royal Academy presented Jacklin’s works on paper while Marlborough London focused on recent canvases. More importantly, the show’s focus makes sense because Jacklin’s ability to distill—and indeed choreograph—the energy of New York into visual form will immediately resonate with visitors who just traversed a bustling 57th Street to enter the hushed gallery space.

Those unfamiliar with Jacklin’s paintings will therefore get an introduction via his treatment of the place that has served as his constant muse since the artist moved to New York in 1985. Those who already know the work are accorded the chance to make informative comparisons.

Despite the show’s concision, the examples on view are remarkably efficient in presenting the artist’s significant styles from this period. At first glance, the major styles seen in the show seem to correlate with the chronology of the selections, implying a predictable career organized around stylistic periods, starting with schematic compositions and moving toward looser pictures. Viewers who search out a wider array of Jacklin’s work, or simply look more closely at these paintings will soon see the lineup of distinct styles dissolve into an intertwined network of borrowed and reworked elements. Consider the weighty clouds pushing down on the low-slung buildings in the show’s earliest painting, Meatpackers NYC II (1986); when strikingly similar white tracks reappear in one of the show’s most recent works, Harbour with Sun and Clouds II (2016), minor alterations have made them ethereal, helping to draw up the skyscrapers below.

Along with the subject of New York and urban crowds, the most dominant aspect of these canvases is the treatment of light and shadow. By the Seashore Coney Island (Gleaners Meeting Carthage) (1992-99), and Double Illumination (2011), each show crowds of small, barely distinct figures spread across flat spaces below skies that command the picture plane. In the earlier work, Jacklin’s central cloud becomes an exploration of the effects of light emanating from outside the view to the right. In the latter work, the artist deploys a similar cloud shape, but uses it now to depict smoke from what appear to be fireworks, which themselves become the central source of light. It’s brushstroke as brushfire.

This kind of close reading is useful in teasing out the artist’s less obvious aesthetic concerns, which Jacklin himself often refers to in terms of polar opposites. In addition to light and shadow, there is order and chaos, energy stored versus energy being released, and most important of all, representation and abstraction. To understand how these conceptual concerns underpin Jacklin’s lively compositions, it helps to know about the first act of Jacklin’s career.

After completing his studies at the Royal College of Art in the late 1960s, Jacklin quickly forged a promising career with abstractions that paired conceptual and technical precision. Those works spoke to the aesthetic concerns of the day and earned him solo exhibitions at the influential Nigel Greenwood Gallery before he was 30 years old. Then in the late 1970s, just as curators sought him out for more of those conceptual abstractions, Jacklin began exploring the possibilities of figurative imagery. In Anemones, from 1977, seven etchings illustrate the progression as an image of a vase of flowers is broken down into elements defined by light and form that are then assembled into a rigid geometric abstraction.

Given that his interests at the time were moving in the other direction, it is tempting to see a critique of art world hierarchies in the ranked order of the prints.

The demands of finding subject matter in the everyday world invigorated Jacklin, but his change in course came at a time when the avant-garde consensus held that representational picturemaking had been played out. The ideological divide became more pronounced as oil on canvas became more important to him in the ensuing years. In 1985 he relocated to New York, which has been Jacklin’s home base and primary source of inspiration ever since.

It is difficult not to see a distinct break separating the periods before and after his embrace of New York as his muse. Yet, when Jacklin discusses works from the three decades of representational art on view in this show, he makes frequent reference to earlier works like Anemones and even an even earlier sculptural study of his father. Listening to Jacklin it becomes clear that the distinctions separating these periods are less important than the abiding concerns with creating balance between the sets of polar opposites that he sees as underlying all forms of picturemaking, and all periods of his work. He isn’t looking to merely find a middle ground between energy and stillness, for example, but rather he strives to find a way to instill each work with a balance of both. In Umbrella Crossing II (2011-2013), New York is captured in an instant when pedestrians colorfully and efficiently brave weather conditions that are at once chaotic and calming. In Piccadilly Bottleneck II (2008), London is an epicenter with a low-stress vibe.

The course of Jacklin’s career is not defined by stylistic periods, or by an abrupt change in subjects, but by a continuity of concerns that he has grappled with for so long they have become like second nature to him. At this point Jacklin engages with these concepts—light and dark, chaos and order, energy and stillness—in an almost instinctive level during his long hours in the studio or walking the streets of New York, sketchbook in hand.

The evidence of explorations has simply become harder to see, both because Jacklin’s new works operate on so many levels, and because it is so easy for us to get caught up on the seductive surfaces.

Yet within each work we witness an approach to his own intuition and the essence of painting that is as rigorous as it is celebratory.

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Meatpackers, NYC II, 1986 oil on canvas, 78 x 60 in., 198.1 x 152.4 cm 5

Onlookers, ‘06, Washington Square III, NYC, 2006 oil on canvas, 24 x 30 in., 61 x 76.2 cm 6

Washington Square Chess Players, NYC, 1998-2013 oil on canvas, 30 x 36 in., 76.2 x 91.4 cm 7

Walking Up Fifth Avenue I, 2007 oil on canvas, 78 x 72 in., 198.1 x 182.9 cm 8

When They Met, Roseland I, NYC, 2006 oil on canvas, 60 x 66 in., 152.4 x 167.6 cm 9

Piccadilly Bottleneck II, London, 2008 oil on canvas, 72 x 60 in., 182.9 x 152.4 cm 10

Snow, Times Square I, 2008 oil on canvas, 72 x 78 in., 182.9 x 198.1 cm 11

Towards Battersea Bridge I, London, 2006 oil on canvas, 48 x 42 in., 121.9 x 106.7 cm 12

By the Seashore Coney Island (Gleaners Meeting Carthage), 1992-99 oil on canvas, 78 x 60 in., 198.1 x 152.4 cm 13

Double Illumination, Central Park, 2011 oil on canvas, diptych, overall: 30 x 48 1/4 in., 76.2 x 122.6 cm 14

Parade, Times Square 2015 oil on canvas, 66 x 60 in., 167.6 x 152.4 cm 16

Afternoon Skaters V, NYC, 2014 oil on canvas, 48 x 53 7/8 x 1 3/8 in., 121.9 x 136.8 x 3.5 cm 17

Gridlock Intersection, NYC, 2011-2013 oil on canvas, 24 x 30 in., 61 x 76.2 cm 18

Double Skaters II, NYC, 2012 oil on canvas, diptych, overall: 20 x 32 in., 50.8 x 81.3 cm 19

San Maurizio: Processione I, Venice, 2004 oil on canvas, 72 x 50 in., 182.9 x 127 cm 20

Ponte degli Ucelli I, Venice, 2004 oil on canvas, 78 x 60 in., 198.1 x 152.4 cm 21

Umbrella Crossing II, NYC, 2016 oil on canvas, 60 x 66 in., 152.4 x 167.6 cm 22

Embrace: Grand Central III, 2016 oil on canvas, 48 x 42 in.,121.9 x 106.7 cm 23

Hub I, NYC, 2016 oil on canvas, 60 x 54 in., 152.4 x 137.2 cm 24

Harbour With Sun and Clouds II, NYC, 2016 oil on canvas, 66 x 60 in., 167.6 x 152.4 cm 25

Arno II, Florence, 2016 oil on canvas, 66 x 60 in., 167.6 x 152.4 cm 26

MONOTYPES

When the Fat Lady Sings, 2016 monotype, 29 1/2 x 39 1/2 in., 74.9 x 100.3 cm

Tempest in the Square IV, 2016 monotype, 39 1/2 x 29 1/2 in.,100.3 x 74.9 cm

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Stars and Sea at Night A, 2016 monotype, 39 1/2 x 29 1/2 in.,100.3 x 74.9 cm

Arno II, 2016 monotype, 39 1/2 x 29 1/2 in.,100.3 x 74.9 cm

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Bill Jacklin at the Center for Contemporary Printmaking, Norwalk, CT photo by Paul DeRuvo

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BILL JACKLIN 1943 Born in Hampstead, London, England 1960 Studied graphics at Walthamstow School of Art, London, England (through 1961) 1961 Worked as a graphic designer at Studio Seven, London, England (through 1962) 1962 Returned to Walthamstow School of Art to study painting (through 1964) 1964 Royal College of Art, Painting School, London, England (through 1967) 1967 Taught at various art colleges (through 1975) 1975 Devoted himself full-time to painting 1985 Relocated to New York, New York

The artist lives and works in New York, New York and Newport, Rhode Island.

S E L E C T E D AWA R D S A N D R E S I D E N C I E S

1975

Bursary Award, Arts Council England, London, England 1989 Elected Associate Member, Royal Academy of Arts, London, England 1991 Elected Royal Academician, Royal Academy of Arts, London, England 1993 Official Artist-in-Residence for the British Council, Hong Kong (through 1994) 2004 Elected Fellow, The Royal Society of Painters and Printmakers, London, England S E L E C T E D S O LO E X H I B I T I O N S

1970

1971 1973 1975 1977 1980 1983 1985 1987 1988 1990 1992

Royal College of Art, Upper Gallery, London, England Nigel Greenwood, London, England Nigel Greenwood, London, England Hester van Royen Gallery, London, England Nigel Greenwood, London, England Hester van Royen Gallery, London, England Bill Jacklin: Paintings and Watercolours, Marlborough Fine Art, London, England Bill Jacklin: Recent Paintings, Marlborough Fine Art, London, England Bill Jacklin: Works on Paper, Marlborough Gallery, New York, New York Bill Jacklin, Recent Work: New York Paintings, Pastels and Drawings, Marlborough Gallery, New York, New York Bill Jacklin: Urban Portraits, Marlborough Fine Art, London, England Bill Jacklin: Urban Portraits, New York, 1990, Marlborough Gallery, New York, New York Bill Jacklin: Urban Portraits, Coney Island Series, 1992, Marlborough Fine Art, London, England Bill Jacklin: Urban Portraits, New York 19861992, Museum of Modern Art, Oxford, England; traveled to Museo do Pobo Galego, Santiago de Compostela, Spain (through 1993)

1994

University Gallery and Baring Wing, Northumbria University, Newcastle upon Tyne, Northumberland, England

London Print Workshop, London, England

Marlborough Graphics, London, England 1995 Bill Jacklin, Urban Portraits: Hong Kong 19931995, Hong Kong Arts Centre, Hong Kong

Bill Jacklin: New Monotypes and Etchings, Marlborough Graphics, London, England 1997 New Monotypes and Etchings, Skovridder Gallery, Oslo, Norway

Bill Jacklin: New York City: The Collective Image 1996-1997, Marlborough Gallery, New York, New York; traveled to Marlborough Fine Art and Graphics, London, England 1999 New York City: The Connected Image 1997-99, Marlborough Gallery, New York, New York 2000 Bill Jacklin: Silhouettes and Shadows: New York City, Marlborough Fine Art, London, England 2002 Bill Jacklin: Central Park, New York City: Recent Paintings and Monoprints, Marlborough Gallery, New York, New York 2003 Bill Jacklin: Recent Monotypes, Marlborough Gallery, New York, New York 2004 Bill Jacklin. Recent Monotypes, GalerĂ­a Marlborough, Madrid, Spain

Bill Jacklin: A Venetian Affair: Paintings and Monotypes, Marlborough Fine Art, London, England 2005 Bill Jacklin: New York Skaters: Paintings and Monotypes, Marlborough Fine Art, London, England 2007 Bill Jacklin: People and Places: Recent Paintings, Marlborough Gallery, New York, New York

Bill Jacklin: People and Places: New Monotypes, Marlborough Graphics, London, England 2008 Bill Jacklin: People and Places II: Paintings and Prints, Marlborough Fine Art, London, England; traveled to Marlborough Monaco, Monte Carlo, Monaco (through 2009)

Bill Jacklin: Paintings, Prints and Monotypes, University Gallery and Baring Wing, Northumbria University, Newcastle upon Tyne, Northumberland, England 2011 Bill Jacklin, RA: The Lightness of Being, Brook Gallery, Devon, England 2012 Bill Jacklin: Recent Work, New York, Marlborough Gallery, New York, New York

Bill Jacklin: New Monotypes, Bohun Gallery, Henley on Thames, England 2013 Bill Jacklin: Paintings, Pastels & Prints, Marlborough Fine Art, London, England 2014 Bill Jacklin: New York Paintings, Marlborough Gallery, New York, New York 2016 A Survey of Graphic Work from the Sixties to the Present, The Royal Academy of Art, London, England Bill Jacklin: Paintings and Monotypes, Marlborough Fine Art, London, England

S E L E C T E D P U B L I C CO M M I S S I O N S

1988 Futures Market, commissioned by The Bank of England, London, England

The Ivy, commissioned by the Ivy Restaurant, London, England 1993 The Park, tapestry, commissioned by De Beers, London, England (completed 1995) 1994 The Rink, commissioned by the Metropolitan Washington Airports Authority as part of the Architectural Enhancement Program at the new North Terminal for Washington National Airport, Washington, D.C.; CĂŠsar Pelli and Associates, Design Architect; Leo A. Daly Company, Architect of Record 1995 Bar Centrale, commissioned by Orsino Restaurant, London, England 2000 After the Event I, commissioned by The Print Club of New York, New York, NewYork

Millenium Print, The Print Club of New York, New York, New York 2003 Target Benchmarks Central Park, commissioned by the Central Park Conservancy for a benefit auction, New York, New York S E L E C T E D P U B L I C CO L L E C T I O N S

Arkansas Arts Center, Little Rock, Arkansas Art Collection, University of Alberta, Edmonton, Canada Art Gallery of New South Wales, Sydney, Australia Arts Council United Kingdom, London, England Bayly Art Museum, University of Virginia, Charlottesville, Virginia British Council, London, England British Museum, London, England Brooklyn Museum, Brooklyn, New York City Art Gallery, Bradford, England Contemporary Art Society, London, England Fondation Veranneman, Kruishoutem, Belgium Government Art Collection, London, England Kemper Museum of Contemporary Art, Kansas City, Missouri Library of Congress, Washington, D.C Museum Boijmans Van Beuningen, Rotterdam, the Netherlands National Portrait Gallery, Smithsonian Institution, Washington, D.C Neuberger Museum of Art, Purchase, New York Northumbria University, Newcastle upon Tyne, England Portland Museum of Art, Portland, Oregon Royal Academy of Arts, London, England Tampa Museum of Art, Tampa, Florida Tate, London, United Kingdom The Arts Council, Dublin, Ireland The Ashmolean Museum of Art and Archaeology, University of Oxford, Oxford, England The Billy Rose Theatre Collection, The New York 31

Public Library, New York, New York The Brian Montgomery Collection, Museum of Fine Arts, Budapest, Hungary The Fitzwilliam Museum, University of Cambridge, Cambridge, England The Hunterian, University of Glasgow, Glasgow, England The Isle of Man Arts Council, Isle of Man, England The Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey The Metropolitan Museum of Art, New York, New York The Morgan Library and Museum, New York, New York The Museum of Modern Art, New York, New York Thyssen-Bornemisza Foundation, Villa Favorita, Castagnola, Switzerland University of Guelph, Ontario, Canada University of Leicester, Leicester, England Victoria and Albert Museum, London, England Yale Center for British Art, Yale University, New Haven, Connecticut SELECTED BIBLIOGRAPHY

1971

Russell, John. “One Man’s Marks.” Sunday Times, December 19.

1972 Cork, Richard. “Review.” Evening Standard, January 6.

Marcus, Penelope. Tate Gallery Catalogue 1970 – 72. London: Tate Gallery, p. 128.

1973 Lucie-Smith, Edward. English Painting Today.

Paris: Musée d’Art Moderne 1974 Sandiford, M. “Introduction.” Six Jeunes Artistes Anglais. Menton: Xe Biennale International d’Art, No. 359-363.

1975 Lynton, Norbert. Contemporary British Drawing. London: British Council.

1980 Lucie-Smith, Edward. Art International, vol.

XXXIII, no. 10, March- April.

1983 Taylor, John Russell. “Transcending all the Easy Formulas.” The Times, November 8.

1985 Ratcliff, Carter. “An Introspective View.” The Philips Industries Collection, Dayton, Ohio: Philips Industries.

Taylor, John Russell. “Bill Jacklin: Recent Work: New York Paintings, Pastels and Drawings.” Bill Jacklin: Recent Work: New York Paintings, Pastels and Drawings. New York: Marlborough Gallery, Inc.

Taylor, John Russell. The New York Times, April 5.

1988 Berryman, Larry. “Bill Jacklin: Urban Portraits.” The Independent, June 6.

Berryman, Larry. “Urban Portraits.” Arts Review, June 3.

Kent, Sarah. “Art: Bill Jacklin.” Time Out, June 8-15.

Kent, Sarah. Pictures by Living British Artists.

London: Bank of England.

Rosenblum, Robert. Bill Jacklin: Urban Portraits. London: Marlborough Fine Art Ltd.

1989 1990

1991 1992

1993

1995 1997

1999

2000

2001 2003

2004

Rosenblum, Robert. “Scenes from Urban Life.” The Observer Magazine, May 15.

Sewell, Brian. “The Rebel in Reverse.”

Evening Standard, June 3.

Taylor, John Russell. “Irresistible Logic of Adventure.” The Times, May 31.

L’Europe des Grands Maîtres: quand ils etaient jeunes. Paris: Musée Jacquemart-André.

Kobal, John. “Bill Jacklin: Urban Portraits, New York, 1990.” Bill Jacklin: Urban Portraits, New York, 1990. New York: Marlborough Gallery, Inc. Lucie-Smith, Edward. Art in the Eighties.

London: Phaidon Universe Publications.

Bass, Ruth. “Bill Jacklin: Marlborough.”

ArtNews, Vol. 90, No. 3, March.

Bevan, Roger. “Jacklin at Marlborough and Oxford’s MoMA.” The Art Newspaper, No. 22, November.

Elliott, David. Bill Jacklin: Urban Portraits, New York 1986 - 1992. Oxford: Museum of Modern Art. Glueck, Grace. New York: The Painted City.

New York: Peregrine Smith Books.

Bill Jacklin, Urban Portraits: Coney Island Series, London: Marlborough Fine Art Ltd. O’Heara, Anthony. “Bill Jacklin.” Modern Painters, Winter.

Mallo, Albino. “Bill Jacklin quiere pintar la luz que hay en Galicia.” El Correo Gallego, January 21.

Noyce, Richard. “Interview with Bill Jacklin.” Art Line Magazine, Summer.

Binks, Hilary. “Bill Jacklin’s Hong Kong.”

Window Magazine, January 20.

Bevan, Roger. “London Diary: Bill Jacklin Skater.” The Art Newspaper, No. 70, May. Muir, Robin. “An Englishman in New York.”

The Independent Magazine, March 29.

O’Shaughnessy, Tracy. “A Product of His Environment: The Evolution of a Painter.”

Republican American, May 11.

Taylor, John Russell. Bill Jacklin. London: Phaidon Press.

Taylor, John Russell. “Bill Jacklin Monograph.” London Magazine, June-July.

“Review: Monograph by John Russell Taylor.” Big Issue, May 12.

The Times Literary Supplement, July 4.

Hoban, Phoebe. “New York City-The Connected Image.” Bill Jacklin: New York City, The Connected Image 1997-99, New York: Marlborough Gallery, Inc. Lloyd, Jill. “Silhouettes and Shadows, New York City.” Bill Jacklin: Silhouettes and Shadows, New York City, London: Marlborough Fine Art Ltd. Sandler, Irving. Art Transplant: British Artists in New York. New York: British ConsulGeneral.

La Fête. Biarritz: Pentagraf Impresores, S.L. Taylor, John Russell. “Not sorry to be safe.”

The Times, June 2.

Beaumont, Mary Rose. “Bill Jacklin: A Venetian Affair: Paintings and Monotypes.”

Bill Jacklin: A Venetian Affair: Paintings and Monotypes, London: Marlborough Fine Art Ltd.

Taylor, John Russell. “Crowd Pleaser.” Royal Academy of Arts Magazine, no. 84, Autumn 2006 Holubizky, Ihor. “The Past is Forgiven, Herman Levey & Josef Herman.” Hamilton, Ontario, Canada: McMaster Museum of Art. 2007 Lloyd, Jill. “Bill Jacklin: People and Places.”

Bill Jacklin: People and Places: Recent Paintings.

New York: Marlborough Gallery, Inc. 2008 Clark, Robert. “The Guide: Exhibitions: Bill Jacklin, Newcastle upon Tyne.” The Guardian, April 19.

Pill, Steve. “Bill Jacklin RA City Dwelling,” Artist and Illustrators, May.

2012

“Exhibition of new paintings and a steel wall-hanging by the artist Bill Jacklin at Marlborough Gallery.” Art Daily, February 16.

“Royal Academy Summer Show.” Kensington and Chelsea Today, June 17.

St.-Lascaux, David. “Bill Jacklin, Recent Work, New York.” The Brooklyn Rail, March.

2013

“Exhibition of new work by British artist Bill Jacklin opens at Marlborough Fine Art in London.” Art Daily, June 6.

Wullschlager, Jackie. “Summer Exhibition, Royal Academy, London – review.” Financial Times, June 9.

2014

Celdran, Helena. “Bill Jacklin, London portrays New York in a romantic Nebula.”

20 minutos, March 10.

2016

“Take a Tour Through Artist Bill Jacklin’s Studio.” Vanity Fair, April 5.

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COVER IMAGE:

Umbrella Crossing II, NYC, 2016, oil on canvas, 60 x 66 in., 152.4 x 167.6 cm

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Important Works available by: Twentieth-Century European Masters; Post-War American Artists D E S I G N / Dan McCann P H O T O G R A P H Y / Erin Davis, Miggs Burroughs P R I N T E D I N N E W YO R K B Y P R O J E C T

© 2017 Marlborough Gallery, Inc. ISBN 978-0-89797-496-7

BILL JACKLIN Pa i n t i n gs f rom 1 9 8 6 t o 2 0 1 6

FEBRUARY 8 - MARCH 4, 2017

4 0 W E S T 57 T H S T R E E T N E W YO R K , N E W YO R K 1 0 0 1 9 | 2 1 2 - 5 4 1 - 4 9 0 0 M A R L B O R O U G H G A L L E R Y.C O M