Wellington Arch's Quadriga Gallery opens an exhibition of works by Daniel Crews-Chubb
The First Art Newspaper on the Net    Established in 1996 Tuesday, July 16, 2024

Wellington Arch's Quadriga Gallery opens an exhibition of works by Daniel Crews-Chubb
Installation view. © of the artist and Vigo Gallery, London. Photo: Will Amlot

LONDON.- Vigo, in association with English Heritage, is presenting The Consequences of Play, a series of six epic paintings by British artist Daniel Crews-Chubb relating to Wellington Arch, Apsley House and its environs and inspired by Peter Paul Rubens’ painting The Consequences of War (1638/9), which allegorically depicted Europe in the aftermath of the Thirty Years War (1618-1648). Commissioned by Ferdinando II de Medici, Rubens employed numerous references, both contemporary and ancient, to illustrate the dire state of the continent after one of the longest and most brutal wars in human history where fighting, famine and disease claimed more than 8 million casualties. Holding up a mirror in equally testing times, Crews-Chubb has turned the themes in Ruben’s masterwork on their head and reinterpreted them within today’s context and through his own artistic lens:

“History is never one story, it is forever retold, reformed and recontextualised. For this show I was very aware of the context of the venue, and I wanted to explore themes relating to war, victory and heroism. I started to look at art depicting war from the beginning of time until now, looking at it from a purely visual perspective, dismissing any narrative. Then I arrived at Rubens and his painting The Consequences of War. Rubens was the perfect inspiration for this show, as in his paintings – in the melee of man and beast – the narrative becomes unclear. You forget that you are looking at a depiction of war because the movement, energy and colour take over.

The six paintings I’ve made for Wellington Arch convey stances, actions and characters associated with the war theme. Yet in looking at artifacts from different eras, cultures and perspectives I found beauty in a subject that we usually associate with horror and devastation.”

Crews-Chubb's paintings combine powerful visual archetypes, both contemporary and historical, taking from myth and legend and other subject matter oft addressed by artists, common threads within the human experience and storytelling. Flowers, mythical people and beasts, the nude, the tree, acrobats, dancers, and portraits are all rendered with a raw and organic additive painting process that involves using his canvas structure like an ever-evolving collage, conceptually and physically. If dissected, the paintings’ architecture would reveal these numerous iterations, thoughts, and actions, that led to the final state of rest.

This repetition of figurative motifs also becomes a vehicle for exploring the act of painting itself, utilising a repertoire of marks that are worked and reworked. Although figurative when taken in the whole, up close they become remarkably abstract, and the eye is drawn to the raw physicality of their making. He uses oils, acrylics, spray paint, sand, charcoal, and pastel with abandon on rough, stretched, and re- stretched canvases that he often scrapes back and over-paints many times. Corrections are brutal, collaging further canvas and assorted material on top of past imagery to edit and proceed quickly, retaining spontaneity in the development of his ideas. The paintings are at once the product of their own layering and time-worn physical history whilst remaining dynamic and gestural; a patinated record of progress and recession. With their reference to historical figurative parallels, both abstract and figurative, we experience a kind of displaced memory we can’t quite place.

Crews-Chubb employs many strategies for bringing these disparate elements of interest together. For example, the Chariot in The Consequences of Play 3 echoes the sculpture created by Adrian Jones on top of the arch that stands proudly above the exhibition. The statue, the largest bronze sculpture in Europe, depicts the Angel of Peace descending on the 'Quadriga' - or four-horsed Chariot - of War. Crews-Chubb uses this motif to, in a sense, drag his multiple characters through time. The paintings capture time in its many guises, but this notion is broad, fuzzy, and fluid, skirting past, through and around the definition. With the aplomb of an amateur anthropologist, he searches for the authentic, the raw and the unrefined, skating in tandem with the history of art and mark making, from cave painting to expressionism and filtering this through his own existence within the digital age.

Characters are introduced and reintroduced, one feeding the next. Ancient gods and goddesses vie with Instagram portrayals of femininity and 80s gaming characters. These are his own history paintings, which have landed in the hallowed space of Wellington Arch, a monument which itself has been made and unmade. Built between 1825–7 and originally intended as an outer entrance to Buckingham Palace, it stood facing the Hyde Park Screen, moving to its present position in the 1880s. Its original design was never complete. The original giant statue of the Duke of Wellington, which was erected on top of it in 1846, was also replaced in 1912 by the Landmark Quadriga sculpture that now crowns the arch. The venue seems uniquely relevant to showcase this exciting body of work.

--Toby Clarke, June 2021.

Today's News

July 1, 2021

From gutter to gallery: Aleph Contemporary exhibits works by Henry Ward

Minneapolis Institute of Art acquires nearly 800 works on paper by Theodore Roszak

The World Wide Web sells for $5.4 million

New Hans Christian Andersen museum opens in Denmark

V&A reveals new creative vision for V&A East, alongside first acquisitions

Over 200 million years ago, nature called. It was full of beetles.

Exhibition at the Städel Museum sheds light on modern photography's wide-ranging trends

Kunstmuseen Krefeld presents 'Lehmbruck - Kolbe - Mies van der Rohe: Artificial Biotopes'

Kenjirō Okazaki joins Blum & Poe

Gainsborough's masterpiece The Blue Boy to return to the UK - exactly 100 years, to the day, since it left

High Museum receives $3.1 million conservation grant from Sara Giles Moore Foundation

Hello, i'm Victor (FEWOCiOUS) and This Is My Life totals $2.16 million

Chadwick masterpieces triumph at Bonhams Modern British and Irish Art sale

Whistling as an art almost died off. Can Molly Lewis keep it alive?

ARTA accelerates integrations with art galleries, marketplaces and auction houses to support surge in online sales

Modern Art announces representation of the Estate of Karlo Kacharava

Hollywood history worn by Marilyn Monroe, Grace Kelly and more struts into Heritage Auctions

The Steinway that traveled the world with Elton John lands at Heritage Auctions

Wellington Arch's Quadriga Gallery opens an exhibition of works by Daniel Crews-Chubb

The $30 million founding father: How 'Hamilton' got federal aid

Ellen McIlwaine, slide guitarist with a power voice, dies at 75

Black Dance Stories: By the artists, for the people

'It's a rush of culture!' Americans return to Paris

Important group of medals awarded to Captain Peter Townsend to be sold at Dix Noonan Webb

Artist Gloria Gao Q&A

How to Identify a High Quality CBD Oil

5 Ways to Get Creative With CBD Oils

How to start an online payment processing company?

Uncontested & Contested Divorce in Arkansas │ What's the Difference?

DIY tricks for cowboy hat painting

Top 6 Pros of Ceramic Bands That Are Worth Knowing

Advantages and disadvantages of working with FxPro broker

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful