The sharpness and clarity of Snee's work is reminiscent of the Californian 'hard-edge' abstract painters of the 1960s and '70s, who, like Snee, drew on the early work of Malevich, Kandinsky and Mondrian. Snee also acknowleges Picasso, Klee, Walter Gropius and the Bauhaus. But Gordon Snee is not concerned with pure abstraction. Instead, he occupies a peculiarly British space, in between abstraction and figuration. In this sense, he is part of a rich current of post-war art led
The rationale for showing Snee's work lies first and foremost in the quality of this treasure trove of unseen pictures. We believe that Gordon Snee is an unknown master of form, colour and movement, a leading figure among British abstract painters. But there is also a compelling secondary, social factor. The exhibition illuminates a suppressed chapter in the story of post-war European abstract art, at a time when it is keenly relevant to the contemporary art world. The Abstra
Many of Snee's pictures are recognisable as abstract landscapes, with trees, fields and hedgerows; many more as head and shoulders portraits. There are recurring motifs: columns that often morph into human figures, 'shell and skull' double-head portraits, homages to Picasso, portraits of Wyndham Lewis, railway pictures.
Once he had found his true voice, Snee enjoyed a long high summer of creativity: twenty years of pictures that positively radiate joy and vibrancy, and bear