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拍品专文
In the mid-1950s Cordell embarked on a very physical series of female body studies in which she built up translucent layers of pigment mixed in glazes of plastic polymer resin. These paintings, along with her sculptures, prompted the critic and writer, Reyner Banham, in his essay 'The New Brutalism' (Architectural Review, December 1955), to include Cordell's work with that of Burri, Paolozzi and Pollock. Exhibitions at the ICA and the Hanover Gallery followed with Lawrence Alloway writing the catalogue notes to the 1956 Hanover Gallery exhibition.
'The artist's gesture is now a sign ... A style has developed which preserves the physical means of action painting (with its lexicon of sensual effects) but in which the physical act of painting is not the end. The problem artists have set themselves is to establish images in the way of painting without becoming merely formal ... Magda Cordell elaborates intricately the primary fact of the surface ... Her medium is inhabited, massively yet ingratiatingly, by a cast of women and long necked figures' (exhibition catalogue, Magda Cordell Paintings, London, Hanover Gallery, 1956).
'The artist's gesture is now a sign ... A style has developed which preserves the physical means of action painting (with its lexicon of sensual effects) but in which the physical act of painting is not the end. The problem artists have set themselves is to establish images in the way of painting without becoming merely formal ... Magda Cordell elaborates intricately the primary fact of the surface ... Her medium is inhabited, massively yet ingratiatingly, by a cast of women and long necked figures' (exhibition catalogue, Magda Cordell Paintings, London, Hanover Gallery, 1956).