George Campbell RHA (1917-1979) My Window, Palo Oil on board, 61 x 46cm (24 x 18'') Signed, signed again, inscribed and dated 1952verso Exhibited: 'George Campbell Exhibition', The Ritchie...

George Campbell RHA (1917-1979) My Window, Palo Oil on board, 61 x 46cm (24 x 18'') Signed, signed again, inscribed and dated 1952verso Exhibited: 'George Campbell Exhibition', The Ritchie Hendriks Gallery, May 1960, Catalogue no. 7 Provenance: From the Estate of the artist's brother Arthur Campbell. Private collection. Literature: 'The Irish Figurists' Limited Edition by Susan Stairs, 1999, page 46, full page illustration page 47 and illustrated again back cover. Once again, Campbell presents us with a picture of brooding dark intensity. Like walking into a room after being out in strong sunlight, it takes our eyes some time to adjust to the shapes and colours whish he has used in this piece. Initially, we see a preponderance of browns, oranges and black, with little definition between shapes and shades. But it is exactly this misconception, which illustrates the talent of the artist. In using this technique, Campbell has urged us to examine; forced our eyes to search, so that it is only after lengthy scrutiny that we can pick out the beautiful detail of the piece. That detail, once revealed, is both revelatory and confusing. We see the table in the foreground - a conglomerate patchwork of colours and objects. A bowl of fruit; a drinking glass; a shell; a bulb of garlic- fruits of the land and sea- are placed upon it and they perhaps represent the tastes and flavours of the country Campbell loved so much. We make out the window itself and fishing boats moored together on the beach. Through the decorative ironwork of the window's balcony, stretching out in the distance is the curving coastline. We can see the waves curling on to the shore and the looming white cloud hanging over the sea. Campbell has applied the paint thinly - his usual technique - and has managed to achieve a visually stunning effect. It almost appears as if the picture is painted on glass; areas of thinly applied colour have here a luminosity about them, which gives the impression of stained glass. Given that Campbell designed several stained glass windows, this is hardly surprising. What could be regarded as remarkable though, is the artist's ability to use oil paint to this effect. Brushstrokes are barely discernible, and as in much of Dan O'Neill's work, the surface is as smooth as glass itself. Light seems to shine though patches of colour from behind with flat areas of black 'holding' them in place like bands of lead. Also evident here is Campbell's interest in collage which was first used by the Cubists in an effort to destroy our fixed comprehensions of scale and perspective. While not actually using pieces of paper and bits of printed pattern here, Campbell nonetheless manages to convey a sense of the piece as being composed of a series of 'patches' or 'cut-outs'. It is thus which gives the piece its quirky, somewhat confusing perspective. My Window, Palo is as fine a work by Campbell, as we are likely to see. A magnificent conglomeration of ideas and influences combined with a passionate fervour and singing energy, it is a testament to the sublime talent of its creator.

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