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Showing posts with label della francesca. Show all posts
Showing posts with label della francesca. Show all posts

Monday, 15 September 2025

Everyday Wonder to Revelation: an exhibition of paintings by Alan Caine

I was recently honoured to be asked to write a catalogue essay for 'Everyday Wonder to Revelation', an exhibition of paintings by Alan Caine to be held shortly at Clare Hall in Cambridge. Full details of the exhibition can be found below:

Everyday Wonder to Revelation: an exhibition of paintings by Alan Caine
Date: Friday 10 October – Thursday 20 November 2025
Location: Clare Hall, Herschel Road, Cambridge CB3 9AL


Clare Hall is honoured to host an exhibition of paintings by Alan Caine (1936–2022), running from 10th October to 20th November 2025. Visitors are welcome daily between 10am and 5pm.

“Landscape (recollections)” 2000, 122x91cm, Acrylic on plywood

Alan Caine was an innovative and quietly charismatic teacher of art in the Adult Education Department of Leicester University. He took a primary role in the conception, funding and design of the University’s Attenborough Arts Centre, which opened in 1997. He was its associate director and continued teaching there until he was almost 80 years old.

In the midst of that busy academic life he took time, in the upstairs studio of his redbrick terrace house, to paint and draw. Caine’s art grasps at the essence of the everyday natural world. Its detritus found its way into that Leicester studio: fallen leaves, dried grasses, tangled vine stalks, eggs, rugs, and string. In these humble elements, their unfolding patterns, colour and geometry, Caine discovered a profound sense of wonder. Through the familiar and ordinary, he opens our eyes to the possibilities of the beyond.

Alan Caine 2006

Caine was born in South Dakota. After graduating with degrees in art and theology, he moved to France and then to England, where he settled in the mid-1960’s. He would speak of always feeling European. What he meant by European was centrally and crucially being an inheritor to its artists. From his teaching, it was evident Caine claimed for himself a grand succession of masters: Giotto, Fra Angelico, Piero della Francesca, Rembrandt…. of these, it was Piero who was the most important to him. Piero’s Christian Neo-Platonism and his creation of new, or at least relatively unexplored, scenes and images were a magnet to him.

'…spirituality (in art) is not a matter of being, or not being, religious or pious. It is about finding and using marks, shapes, materials; about the pursuit of ideas and visions which may be scarcely understood, but matter.' Alan Caine

Consequently, Caine’s paintings delve into the core, the Neo-Platonist idea of the one-ness of the world, the nodus mundi. We see this in his depictions of everyday objects: rugs, mopheads, carpets, and bundles of cloth. Though his subject matter is humble, the deep intricacy of his draughtsmanship reveals unity and cohesion. We see it too in his expansive and luminous landscapes. When Caine blends his perceptions of space and shimmering light in the landscape with his exploration of the core in everyday things, he presents us with a vision of worlds beyond. His images invite us to step through a veil into barely imagined possibilities. Through his exploration of the small, the infinite beckons; through his exploration of the wonder of the everyday, revelation becomes possible.

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Anna Lapwood - Make You Feel My Love.

Tuesday, 15 October 2024

Church Times - Art review: Hockney and Piero: A Longer Look (National Gallery)

 My latest review for Church Times is on “Hockney and Piero: A Longer Look” at the National Gallery:

'ROUGHLY one third of the paintings in the National Gallery’s collection of Western European art are of religious subjects and nearly all of these are Christian. These images, originally made for churches or domestic settings, are now displayed in an entirely different context in the Gallery, which has the task of both exploring what they might have meant to their original viewers and discovering what they might mean to beholders today.

The National Gallery does an excellent job of exploring both aspects of these works, often bringing them into dialogue with other works of art in ways that are engaging and challenging. This small but fascinating exhibition aims to explore what one of the most famous Christian images from the collection means to an artist who isn’t interested in its Christian content. As a result, this is an exhibition offering ways in to the art of Christendom for those who are not believers.'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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The Moody Blues - Eyes Of A Child I.