George
Dannatt's involvement in this profession began some forty-five years
ago. "Involvement" is used advisedly; painting becomes part
of living as is so clearly enunciated through Ben Nicholson's observation
"Abstract
art doesn't arise 'out of the blue' and has a vitality only when it
grows out of the painter's personal experience; it must start from something,
and this is what it starts from."
Dannatt
is a strong believer in influences and a constant experimenter in a
wide range of mediums, mediums which include collage and three-dimensional
constructions. In his earlier years his so-called geometrical work was
clearly derived from landscape, or from objects observed within a landscape;
but this source has been absorbed so that drawings and paintings now
tend to derive through a geometrical approach, though if the geometry
fails to promote a lyrical content in the completed painting, then it
is not worth further consideration. Unusually, he has tended to come
to drawing after considerable experience of painting, not the
reverse. He is obsessive that paintings should possess an underlying
structure. Whilst Dannatt has never 'translated' a photograph into a
painting, he does use photography, preferably in black and white, to
record structure, structure so evident in nature, especially in winter.
His photographs are generally backed by notebook sketches. Reference
might be made to his conversation with Professor Brandon Taylor (Professor
of History of Art and Design, Faculty of Arts, University of Southampton)
entitled Structure,
Rhythm and Space; this reveals much of his philosophy in the arts.
A small
selection of work by George Dannatt is normally held by the London gallery,
Osborne
Samuel of Bruton Street, who represent the artist.