Peter Kinley 1926 - 1988


The artist ex 5941
Gimpel Fils, London


Bodilly Gallery, Cambridge 1994


Catherine Kinley & Marco Livingstone, Peter Kinley, Lund Humphries, 2010, pl 25 illus colour


In the early years of the 1960’s, Kinley’s interests began to move away from the paint as a means of forming the image and he began to look at how colour could achieve the same ends. In this, his prime influence was Matisse, although he was also a great admirer of Bonnard.
In this and the preceding painting, we see this development in action. In Studio Interior painted in 1960, the studio table, a common enough subject, is formed from a combination of strong colour, simple shapes and thick slabs of paint. However, the colour is beginning to take over as the prime element, giving high levels of spatial recession to the objects depicted. In this later painting, colour has come further to the fore, quite clearly applied in thinner layers with the brush rather than the knife, and in places, its thinness allows the luminosity of the support to glow through, lifting the tone and adding a lightness and movement to the work. The increased vigour of the colour allowed Kinley to further pare down the complexity of his forms, and in this work we can see this process taking place. Walking Figure looks forward to the wholly painted but intensely stylised canvases, that were to be exhibited in his 1964 show, which marked his final severing with the legacy of de Stael.