The Fletcher Gate Fine Art Gallery

14/06/2025

WEEKEND ART SHARE🔥💯🙌🏻

Before his time, here Monet zooms in the lens and makes the mountain play as a geometric form, in order that the viewer concentrates on the physical elements of the painting. Hence a new way of seeing and the magic to be found in ‘form’ was born GENIUS 🔥🙌🏻💯🤝

Exploring the tranquil majesty of Claude Monet's "Cliff at Dieppe" (1882), this painting captivates with its vibrant interplay of natural light and color, hallmarks of Monet's impressionistic style. The work portrays the rugged beauty of Dieppe's cliffs with swift, textured brushstrokes, creating a dynamic scene that seems to pulse with the ebb and flow of the tides. Monet's use of colors-hues of blues and greens against the more vivid touches of earth tones-enriches the visual experience, reflecting his fascination with capturing fleeting moments of natural light and atmosphere.

Monet's artistic vision is prominently showcased through his unique approach to light and shadow, enhancing the ephemeral qualities of the landscape. His technique employs a series of short, thick strokes of paint that capture the essence of the subject rather than the details, a style that was controversial at the time. Critics often disparaged Monet's work for what they perceived as a 'sketchy' finish and a departure from the traditional norms of fine art.

The controversies surrounding Impressionism, particularly Monet's deviation from conventional methods, often centered on the movement's radical break with narrative content and the focus on light and color over precision. Despite skepticism, Monet's persistence in exploring optical experiences and atmosphere eventually gained profound recognition, influencing countless artists and shaping the direction of modern art.

14/06/2025

ART SHARE WEEKEND 💯🤝🔥

AN ART APPETISER

09/06/2025

GLOBAL ART SHARE 🔥💯🙌🏻🥰👏🏻

In this reflective Instagram post, we dive into Henri Matisse’s captivating work "Spanish Still Life" from 1911, a testament to his unique artistic vision during his Fauvism period. This vibrant painting exemplifies Matisse's audacious use of bold, expressive colors and simplified forms.

"Spanish Still Life" showcases a brilliant composition of vivid colors and abstracted objects, transforming traditional still life into a dynamic interplay of forms and saturated hues. The painting is executed using oil on canvas, a medium through which Matisse masterfully blends texture with color to elevate the everyday subject to something monumental. The juxtaposition of intense reds and soothing blues not only reflects Fauvist ideals but also invokes a balance of warmth and coolness, creating an inviting yet provocative scene.

Matisse’s artistic vision in this piece foregrounds his approach to color as a principal conveyer of emotion and structure. He breaks away from realistic representation, choosing instead forms that suggest rather than define, allowing the viewer’s eye to travel fluidly throughout the composition.

Controversially, Matisse and his Fauvist contemporaries faced significant criticism for their radical use of unnatural colors and simplified forms. Critics often deemed their works as crude, challenging the very boundaries of traditional art during the early 20th century. Matisse, however, persevered through these challenges, influencing a host of modern art movements and leaving an indelible mark on the art world.

#1911

08/06/2025

SUNDAY’S ART SHARE🔥🔥🔥🔥

I came across this image of Rodin’s painting
“L’Enfant Prodigue” and it blew me away.

Happy Sunday🤝💯
Claire Moore

Image source: Google images

07/06/2025

ART SHARE💯🔥🥰🙌🏻

Where ART meets cinematography and pure magic is born💯🔥🙌🏻👏🏻⭐️

On 3rd June 1966, the vibrant heart of London’s East End played host to a unique moment in film history as American screen legend Sidney Poitier and English character actress Rita Webb were captured filming on location in Watney Street Market. The busy market, known for its spirited traders and everyday bustle, provided a vivid and authentic backdrop for the production, offering a striking contrast to the polished sets of Hollywood. This pairing of global star power with gritty realism was emblematic of a changing era in cinema.

Sidney Poitier, already an established figure and the first Black man to win the Academy Award for Best Actor, brought a calm intensity and unmistakable dignity to the scene. His presence in the East End drew crowds and curiosity, blending the glamour of international film with the grounded energy of a working-class London neighbourhood. Opposite him, Rita Webb—a beloved British actress known for her colourful roles and strong Cockney persona—added local flavour and comic warmth, creating a dynamic blend of cultures and acting styles.

The Watney Street Market location shoot reflected the social and cinematic shifts of the 1960s, a decade when realism and diversity began to find their place on screen. As Poitier and Webb filmed amid the market stalls and curious onlookers, they captured more than a scene—they captured a slice of real life, immortalising a moment when Hollywood met the East End. The photograph from that day remains a joyful reminder of two vastly different talents sharing the same screen under the London sun.

06/06/2025

ART SHARE🔥🙌🏻🥰💯

‘TALLOW HORSE FAIR” by Arthur K. Maderson

A stunning work by the renowned Irish artist which has since sold

Arthur K Maderson was born in London in 1942. From 1959-63 he studied Fine Art at Camberwell School of Art and in 1963 won the prestigious Anna Berry award in an open competition with all final year graduates of the leading art schools of the period. His progress has been a rapid success producing a series of one man shows in the West Country and in London. In Sept 1989 he moved to Ireland realising a life long ambition and is now recognised as being one of Ireland’s strongest figurative painters.

In Maderson’s words:

, “A major obstacle in painting is the impossibility of seeing the rich raw ambiguous initial information before it has been processed and reinforced by what we expect to see….The evolution of seeing starts with seeing objects –then the value of objects to values in themselves – unhitched from forms”.