Dimensions: support: 610 x 457 mm frame: 800 x 647 x 60 mm
Copyright: © Tate | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Victor Pasmore’s "Roses in a Jar," located in the Tate Collections, presents a striking arrangement of geometric forms alongside the delicate roses. The raw texture of the materials really stands out. What's your take on how Pasmore uses these contrasting elements? Curator: Note the tension between the carefully constructed blocks of color and the perceived naturalism of the floral arrangement. Consider the industrial production of paint itself versus the labor of rendering a rose. How does this challenge our traditional understanding of "nature" versus "industry"? Editor: That’s a good point. I never thought about the paint itself as a manufactured product. Curator: Exactly! And how does that knowledge shift your understanding of the artist's intention, or even your own consumption of the artwork? Editor: That’s fascinating, it definitely gives me a new lens through which to view his work and art in general.
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This is one of a series of still lifes and landscapes painted while the artist was living at Blackheath. It was made in the late 1940s when he was exploring the writing and paintings of the great Post-Impressionists, Cézanne, Gauguin, Van Gogh and Seurat. According to Pasmore 'these were the last of my post-impressionist paintings, which ended in purely independent abstraction'. The relationship of the roses and jar to the blocked in square shapes before and behind them, indicate that this is a transitional work, combining abstract and representational elements. Gallery label, September 2004
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