THE FOYER

This web site is a showcase for Peter Eccleston's work and ideas. As well as fine art there is a large section on his views of art, past and present and related issues (to be found in the Library) and also to give artists or people with an interest in art, the opportunity to view a studio and all  its idiosyncrasies, in its attempt to become a fully functioning seat of creation.

Peter Eccleston is an artist based in the North West of England and works from a large purpose built studio (built with blood sweat and tears).

He has exhibited at the Royal Academy with painting, Cork Street with sculpture and regularly takes private commissions.

Referred to as a genius and cross between Sickert and Rembrandt by a Cork Street Gallery.

---------------------

And as a " proper painter " by the President of the Royal Academy, Sir Hugh Casson.

----------------

Also through his interest in perspective and Leonardo's ' Trattato Della Pittura ' produced a formula for a definitive computing program for 3D reproduction. He would like to thank Dr Martin for his help in integrating this formula.

----------------

Picasso's boast to Herbert Read ( then Director of the Tate ) that he could draw like Raphael when he was a child can be seen here to be totally  and completely untrue.

How he got away with such gross deception for so long and why the deception is still being perpetrated is stranger than fiction and will be explained in the library section.

However the comparison that is invited, that of how artists of today compare with artists of the Renaissance, was answered by a colleague of Peter's, who was amazed by Peter's ability without the help of the slightest indication of mapping or drawing.

On comparing Peter's latest work with the drawn and coloured in Michelangelo he had been studying, he realized it could be clearly seen (unlike Picasso's boast) that the work by Peter was light years ahead.

ECCLESTON	MICHELANGELO

Similarly, comparisons with the material show a marked difference, the shimmering, vibrating, shinny, less stodgy material of Peter's, being much more convincing even though painted with such panache and bravura and stunning range of colours;

ECCLESTON	MICHELANGELO

With regard to colour there is no question that they are there, one instinctively knows that they are not made up but that they do exist.

A possible explanation for this strange phenomenon, having talked to Peter at great length about this, is that it seems that neural pathways have been made which switch on when he starts to paint, making colours not just enhanced, but almost becoming a new dimension.

--------------------

Its is pleasing to see the proverbial 'oil tanker of the art world' turning round.

Although philosophically apposed to the 'scratching in' approach to reproduce hair etc,  Peter was pleased to see paintings like those of Andrew Wyeth, commanding prices like $3 million, which the painting 'Christine Olson' fetched in 1997. Until then, outside of the Old Masters, it was only the De Kooning's and Rothko's et al which commanded such prices.

-------------------------------------

By

 Suzan Dye.