Review by David Sweet


From a review on of 'Kaleidoscope: Colour and Sequence in 1960's British Art', at Longside Gallery, Yorkshire Sculpture Park, 2017


By far the strongest painting in the exhibition is Cape Red (1965) by Jeremy Moon. Moon was probably the best painter of that generation, making work that was clear-cut and avoided the iffyness and approximations that many of his contemporaries indulged in. He was influenced by American art, as were the others, but he was the only one that seems to have worked out the pertinence of shape in the development of pictorial abstraction. Choosing a square and flipping it 45 degrees, excludes the lingering suggestions of landscape or still-life that Smith and Hoyland cling to. The half circles, pushed into the corners by a suggestion of centrifugal force, pinch the dominant red area, twisting its profile out of true, making it more formally active. Because the colour does not rely on the luminosity of the ground, it doesn’t show its age and the particularity of the red, decided, mixed and adjusted fifty years ago, still looks the right choice.