Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
Milton Avery (1885-1965) has, for the most part, fallen between the cracks of art historical consideration. Where he is known, he is often much more famous for his mentorship of Abstract Expressionist heavyweights like Rothko and Gottlieb than for any merit inherent in his own work. Part of this can be attributed to his awkward positioning between the zeniths of two dominant trends in 20th century American art - Avery’s paintings inhabit a liminal period, being too late to be Impressionistic and too early to be considered truly Abstract Expressionist.
His temporal and stylistic plasticity may have hindered the formation of any significant artistic legacy, but with the show Milton Avery: American Colourist, the Royal Academy makes a compelling case to suggest that his works’ borderlessness in fact makes it prime subject matter for a retrospective. The RA’s show brings together almost 70 paintings across three decades of the artist’s work, making it the most comprehensive retrospective of his art ever held (his last solo exhibition was at the Whitney in 1982). It is also the first solo show of his work ever to be held in Europe.
Some broad themes are clearly visible throughout Avery’s art: his work is still clearly representational (unlike the Abstract Expressionists), though he increasingly deviates from the typical Western preoccupations with creating the illusion of depth and reality. Instead, his unique talent was in the creation of artworks with flattened stylized forms depicted in luminous harmonies of colour - each of the strongest works on view are those which most delicately unite his brilliant intuition for both palette and shape. Walking through the exhibition’s three galleries gives a clear sense of this lifelong progression towards increasing abstraction, beginning with his early postcard-esque kitschy canvases and steadily building to the riotous crescendos of colour which typify his later works.
The show opens with some of Avery’s earliest canvases, a series of pleasant-but-not-much-else landscapes which date between 1910 and 1920. Each owes a clear debt to Impressionism - perhaps most visible in the gently gnarled tree trunks and weightless clouds of Blossoming, a charming and nondescript little work which could pass easily as a Pissarro pastiche. Avery’s deft brushstrokes and gentle attention to light can be considered evidence of his commitment to painting en plein-air, a habit to which he adhered for the rest of his life.
Circumambulating the first room, landscapes unfold one after another each flatter and simpler than the last. One of the latest and most spectacular of these is Blue Trees, which was painted in 1945 - the colours are so soft and his use of is texture so balanced you feel almost as if leaves could be tugged off the canvas like candy floss, and the sky scooped up like sorbet. It is at this point that it becomes clear Avery’s ambitions have been mastered and we are witnessing the work of a painter who has truly come into their own.
In the domestic sphere, Avery's brilliance as a colourist truly shines; the second section of the exhibition guides us intimately through the Milton home, where his family are documented with such tenderness and in such radiant colours that the most simple detritus of daily life - a stuffed toy, an empty cola bottle, a lamp - are elevated to objects d’art. His family are his most common and most beautifully realised subjects. Seated girl with dog is an absolute highlight - his daughter’s face has been flattened to its most extreme form, his use of shadow geometrically bisecting panels of colour. Their dog - who was named Picasso - is a mass of flat black but Avery’s use of brushwork and sgraffito (the art of scratching into wet paint to add detail) renders his coat glossy and shining. Alongside them hangs are a surprisingly different series of works from the mid 1930s of his New York neighbourhood, among them a muddy blur of ochre showing what seems to be a strip show, and Chariot Race, from which a haze of clown faces emerge from shadow.
American Colourist succeeds as a retrospective by reminding us that art exists to be more than the sum of its parts: many exhibitions rely on gathering pundits by promoting a small handful of magnum opera but not all are able to communicate a coherent story which can holistically show, not tell, the consecutive movements of art through time. Avery’s connection with Rothko is referenced periodically throughout the wall text, and their mentor-pupil relationship is especially visible in Avery’s later canvases such as Boathouse by the Sea which is composed entirely of weightless expanses of colour.
Sally Michel Avery and March Avery - Milton Avery’s wife and daughter - are also visible throughout the exhibition. Like Milton, both were artists, and together the trio were to collaborate on what has come to be known as the ‘Avery style’. Unfortunately, Sally Avery has yet to be exhibited on this side of the Atlantic. Art connoisseurs hoping to delve deeper into the Avery family art and history will be pleased to know that March Avery, however, is currently the recipient of a solo exhibition at Waddington Custot - less than a five minute walk away from the Royal Academy. Her work, like her fathers, is predominantly marked by gorgeously warm and joyful domestic scenes and seeing the two in succession adds an extra dimension to each exhibition in turn.
Milton Avery: American Colourist is on view at the Royal Academy until October 17th, with standard admission prices at £17.00 a ticket.
March Avery - In the Studio is currently showing at Waddington Custot. Entry is free and viewing will run through until September 17th.
Don’t forget to collect your Yamos when you visit!
