Patrick Caulfield & Gary Hume at the Tate

Having gone to the Tate Britain just to see the Patrick Caulfield exhibition, we were informed upon arrival that our ticket price also included entry to the Gary Hume exhibition. Seeing the two together turned out to be rather interesting:

Patrick Caulfield

Patrick Caulfield 'Portrait of Juan Gris', 1963. Image from Tate website.

Patrick Caulfield ‘Portrait of Juan Gris’, 1963. Image from Tate website.

Caulfield is well known for his use of bold blocks of colour and heavy, black outlines. The exhibition feels both inviting and playful as you walk around a series of large canvases in spacious rooms.

Excellent organisation of the exhibition in chronological order shows the progression of Caulfield’s works from far more simple, stripped-back compositions in the first room, to textured, elaborate canvases in the fifth. My brother even eloquently labelled one painting in the final room a ‘mind f**k’ due to its complex structure and optical illusion.

Patrick Caulfield ‘After Lunch’, 1975. Image from Tate website.

‘After Lunch’ is one of many highlights in the exhibition. I often think that Caulfield painted the idyllic postcard scene just to prove he could paint realistically! The merging of two genres is both striking and impressive and it is this innovation of composition that sets Caulfield’s work apart for me.

Gary Hume

Photo of the doors to the Gary Hume exhibition

Photo of the doors to the Gary Hume exhibition.

The next half of our visit to the Tate took us through doors specially designed by Gary Hume for this showcase of his work. The colourful walls and optical illusions spilled over from Caulfield’s exhibition but in a more abstract way.

Admittedly, a comparison of the artists may not be a fruitful one to make (I have not researched their practices or influences) but it is also unavoidable when viewing the exhibitions in such close succession.

Gary Hume 'Tulips', 2009. Image from Tate website.

Gary Hume ‘Tulips’, 2009. Image from Tate website.

One aspect of Hume’s work that I did particularly enjoy was his use of thick paint to create lines. This technique contrasted Caulfield’s use of black outlines splendidly, as Hume uses the same tone of paint either thickened or dented to create impressions. This subtle means of depiction is very beautiful and effective on large canvases, often encouraging the viewer to walk in closer to inspect the shapes.

Both exhibitions are showing at Tate Britain until 1st September. To find out more information visit the Tate’s website.


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