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A demonstration of the Plinth theme for Omeka Classic: the museum and its collection are fictional, and the images were made with AI. About this site
Wrenfield Museum of Art
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Exhibitions

Quiet Weather

Quiet Weather

Paintings and prints from the collection, 1958 to 1994

Gallery 2 · Through 8 March 2027

Fields, rooms and horizons that hold still. Quiet Weather brings together painters and printmakers who worked in the valley in the second half of the twentieth century and kept returning to the same few things: a field at the same hour, a window in winter, the interval between two colors.

A color field painting of three softly edged horizontal bands, warm ochre at the top, rust red in the middle and deep night blue at the bottom, floating on a dark blue-grey ground; thin oil washes with feathered edges; the linen weave shows through.

Field at Dusk

Lind painted the field behind her Harlow studio at the same hour for a whole autumn. The bands are less a horizon than a temperature: warm ground, the rust of last light, and the blue that arrives before the stars.

  • A color field painting of soft horizontal bands of straw yellow, pale sage green and dusty violet, feathered edges, thin translucent oil washes on linen.
  • An abstract painting of stacked horizontal bands in cool greys and slate blues, the lowest band the darkest, soft brushy edges, oil on board.
  • A nearly black deep navy painting with a single thin horizontal line of golden ochre two thirds of the way down, subtle variations of deep blue in the dark field, matte oil on linen.
  • A hard-edge geometric abstract painting on an off-white ground: a tall black rectangle, a red square overlapping it, and a wide grey rectangle across the bottom, flat acrylic color with crisp edges.
  • A minimalist painting of seven vertical bands of grey side by side, each a little warmer than the one before, from cool blue-grey on the left to warm taupe on the right, flat acrylic.
  • A gouache landscape painting on paper: a row of round dark green apple trees dotted with small orange apples, a pale warm sky band above, olive green ground, simple flattened shapes, visible paper grain.
  • A gouache painting of a mountain ridge seen from a valley: a blue-grey mountain with bare white paper left for the snow above one crisp line, a dark band of pine forest below, a pale sky, simplified flat shapes.
  • A black ink woodcut print on cream Japanese paper of eight wavy horizontal lines across the sheet, the top line thickest and each line below a little thinner, wood grain visible in the ink.
  • A screenprint of four nested squares of blue, deep navy outside to pale sky blue inside, each square set slightly low inside the one around it, flat ink, slight paper texture.
  • An etching with aquatint of three round dandelion seed heads on thin stems against a soft grey tone, fine white lines for the seeds, the plate mark visible on cream paper.
  • A charcoal drawing on off-white paper of a four-pane window with soft light coming through, smudged charcoal shading on the wall around it, visible paper texture and erasure marks.

In the exhibition