[W]ere it possible to 'explain' Ben Nicholson's reliefs there would be little need for the relief's themselves.
In November 1960, Nicholson was looking forward to moving into the new house and studio that he and his wife Felicitas Vogler were having built in Gadero, in the municipality of Brissago, Switzerland. With the promise of compelling views across Lake Maggiore being constantly present, Nicholson jokily enthused to his ex-wife Winifred that they had even got some of ‘the mountains in the right place without going to the expense of moving them’.
‘I have favourite places — Mycenae and Pisa, and Siena, for instance — and I feel that in a previous life I must have laid two or three of the stones in Siena Cathedral, or even perhaps one or two of those at Mycenae!’
"He thrives on the directness of the work, the broad and hairsbreadth decisions that immediately answer back in tangible forms, energies of form responding via material fact to mental energy and muscular work. Nicholson’s line has often been called incisive. Here it is literally incisive, and if we can recognize the intimate rightness for Nicholson of drawing with a knife into the thickness of a board we can also see how much the material action of pencil on paper mattered to him: these are key aspects of the reality he seeks."
Norbert Lynton
'It's not the drawing that is difficult but finding and recognizing the mood. When in this mood one knows well that something will come.'
I should be very sorry indeed if my work contained no element of the romantic, as it would be rather like preventing the moon from getting up behind the mountains.’
In September 1974, Nicholson moved into his new 'studio house' at 2B Pilgrim's Lane, Hampstead. After a hiatus of over three years Nicholson once again had the space to work on his carved reliefs; 1974 (moonrise) was one of the first. As is evoked by both the title and composition of this relief, impressions of the winter moonrise over Lake Maggiore were perhaps triggered by his return to working in this medium.
This work is on loan from Pallant House Gallery, Chichester
On numerous occasions throughout his career Nicholson revisited and reworked his paintings and reliefs. This work was started in Brissago, Switzerland, in around 1960 and later finished in Hampstead in 1979. Central to this practice was the notion of palimpsest, in which traces of the earlier work (or ‘idea’) remain, no matter how visible or intact.
‘It is very interesting scraping an early [painting] because the thoughts of 20 years ago which one had when making the [painting] come back’
Ben Nicholson speaking to Adrian Stokes
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