As the Millennium approaches, critic and curator Bryan Robertson makes his selection of artwork for two rather different exhibitions, opening this week in Cambridge. Kettle's Yard will be showing the critic's personal view of contemporary British painting and sculpture, '45-'99. In a related exhibition, the Fitzwilliam Museum will be displaying Robertson's choice of French paintings, enamels and manuscripts from its own permanent collection.
As the Millennium approaches, critic and curator Bryan Robertson makes his selection of artwork for two rather different exhibitions, opening this week in Cambridge. Kettle's Yard will be showing the critic's personal view of contemporary British painting and sculpture, '45-'99. In a related exhibition, the Fitzwilliam Museum will be displaying Robertson's choice of French paintings, enamels and manuscripts from its own permanent collection.
As the Millennium approaches, critic and curator Bryan Robertson makes his selection of artwork for two rather different exhibitions, opening this week in Cambridge. Kettle's Yard will be showing the critic's personal view of contemporary British painting and sculpture, '45-'99. In a related exhibition, the Fitzwilliam Museum will be displaying Robertson's choice of French paintings, enamels and manuscripts from its own permanent collection.
Burn by Bridget Riley, 1964: part of the exhibition at Kettle's Yard.
Bryan Robertson began his career fifty years ago, in 1949, at the Heffer's Gallery in Cambridge. He later made his name as the Director of the Whitechapel Art Gallery during the '50s and '60s. He then moved to the United States for a prolonged period as an arts administrator before returning to the UK to establish yet another innovative venture, the Warwickshire Arts Trust.
His selection of paintings and sculpture for Kettle's Yard reflects this wide experience. It takes us from the post-war years of Edward Burra, Ceri Richards and Barbara Hepworth, to the '60s exhilaration of Bridget Riley, Anthony Caro and the New Generation exhibitions where he featured such artists as Phillip King and Patrick Caulfield, and on to young artists of today including Gary Hume and Fiona Rae.
His selection from the Fitzwilliam's Collection ranges from a fourteenth century Book of Hours, made for Phillipe Le Hardi, Duke of Burgundy, to post-impressionist paintings.
The Oil Lamp, by Pierre Bonnard: part of the display at the Fitzwilliam Museum.
Both exhibitions are now open and will run until January 9, 2000.
Further information about locations and opening times:
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