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Anne Goodchild examines Pasmore’s formative years from his precocious entry into the London art scene to his paintings of landscapes and gardens made in Hammersmith during WWII. She considers the factors influencing his move away from figurative painting and the vexed question of whether his ‘going abstract’ should be seen as a discernible progression or Damascene conversion.
Image: Victor Pasmore Spiral Motif in Green, Violet, Blue and Gold: The Coast of the Inland Sea 1950. Oil on Canvas. Tate, London.
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