In the early 1950s, John Minton was &ldquo;probably Britain&rsquo;s most popular artist&rdquo;, said Mark Hudson in The Daily Telegraph. His colourful and romantic paintings won over postwar British audiences with their &ldquo;alluring vision of foreign climes&rdquo;, and his reputation eclipsed those of his contemporaries Francis Bacon and Lucian Freud. How quickly &ndash; and in Minton&rsquo;s case, calamitously &ndash; fortunes can change. Within a few years, he found himself out of fashion, unable to come to terms with his &ldquo;conflicted personality&rdquo;, and battling with drink and drugs. He died of a possibly self-Fadministered overdose in 1957, aged just 39. Posterity has not been kind. Minton is little remembered these days. His work &ndash; if thought of at all &ndash; is seen as &ldquo;reflecting the provincialism of postwar British art&rdquo;. Now, a century on from his birth, an &ldquo;atmospheric&rdquo; new retrospective at Chichester&rsquo;s Pallant House Gallery aims to reaffirm his status as a &ldquo;significant artist&rdquo;. The show brings together a wealth of Minton&rsquo;s paintings and drawings, alongside some &ldquo;wonderfully evocative&rdquo; archive material. This &ldquo;delightful&rdquo; exhibition demonstrates that although he spent much of his life in &ldquo;despair&rdquo;, Minton&rsquo;s art abounds with &ldquo;joie de vivre&rdquo;.Minton was an &ldquo;abundantly gifted draughtsman and graphic artist&rdquo;, said Laura Cumming in The Observer. A series of drawings of Blitz-ravaged London (drawn after he was invalided out of the Army on medical grounds) are superb, balancing &ldquo;desolation&rdquo; with &ldquo;exhilaration&rdquo;. Better still are the works he produced after the War. A view across the Thames painted in 1946 makes the capital look like &ldquo;some magnificent blackened Venice&rdquo;, while a series of paintings of early 1950s Jamaica mark the show&rsquo;s &ldquo;apogee&rdquo;. They are full of &ldquo;frozen figures&rdquo;, &ldquo;blue-edged in the Caribbean streetlight&rdquo;. From here on, however, it was all downhill. By the mid-1950s, Minton&rsquo;s style was deemed obsolete compared with the newly fashionable abstract art coming out of the US. He went into a downturn, &ldquo;losing his grasp&rdquo; and producing lacklustre images.Far from it, said Richard Cork in the FT. The &ldquo;most poignant&rdquo; picture here is Composition: The Death of James Dean (1957), an unfinished painting created shortly before Minton&rsquo;s death. The body of the film star, whom the artist adored, is surrounded by &ldquo;mourning figures&rdquo; who themselves seem to be &ldquo;fading away&rdquo;, &ldquo;as if acknowledging not only Dean&rsquo;s death but also the imminence of Minton&rsquo;s own&rdquo;. This &ldquo;fascinating&rdquo; exhibition only underlines &ldquo;just how much was lost&rdquo; with his tragic demise.&nbsp;

Exhibition Of The Week John Minton: A Centenary

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