Peter Burns’ draws on his sculptural training while using a palette that encompasses the spectrum, writes Jim Smyth
Artist Peter Burns recalls a moment of epiphany on first seeing the sketch for Delacroix’s The Lion Hunt in the Musée d’Orsay in Paris. An explosion of colour spread across an agitated surface, the sketch may well be a modernist icon, but it was Delacroix’s application of paint and his revolutionary use of colour that fixed Burns’ attention. (It is not for nothing that Delacroix has been described as ‘the great virtuoso of the palette’.)
John Noel Smith’s journey continues with an enlivening sense of momentum, writes Margarita Cappock
