Hanging Gardens Of Hammersmith No 2 (1949)

Victor Pasmore's Abstract Vision of Hammersmith

Painted in 1949, Hanging Gardens Of Hammersmith No 2 represents Victor Pasmore's pivotal transition from figurative painting to complete abstraction. This work emerged during a period of intense experimentation in British art, as artists sought new visual languages to express the complexities of post-war existence. Pasmore, who had been associated with the Euston Road School in the 1930s, began developing his distinctive abstract style in the late 1940s, influenced by the geometric abstractions of Ben Nicholson and the emotional intensity of American Abstract Expressionism.

The painting's title suggests a connection to the London district of Hammersmith, though Pasmore transformed this urban landscape into a composition of floating geometric forms. These forms, reminiscent of architectural elements and natural motifs, create a sense of depth and movement that invites prolonged contemplation. The careful balance between organic and geometric shapes in this work demonstrates Pasmore's ability to reconcile seemingly opposing visual elements.

Pasmore's Journey into Abstraction

Victor Pasmore's artistic evolution from representational painting to abstract art reflects the broader shifts in British modernism during the mid-20th century. By 1949, when he created Hanging Gardens Of Hammersmith No 2, Pasmore had become one of the leading figures in the British abstract movement, alongside artists like William Scott and Roger Hilton. This period marked a deliberate break from the figurative tradition that had dominated British art for decades.

What distinguishes Pasmore's abstraction from his contemporaries is his integration of architectural elements with natural forms. His work often suggests landscapes or urban spaces without depicting them literally, creating what art historian Alan Bowness described as "a new kind of pictorial space." This approach is particularly evident in the Hammersmith series, where Pasmore used abstract forms to evoke specific places while maintaining complete visual abstraction.

The Technique Behind the Composition

Geometric Balance and Spatial Illusion

Pasmore's composition in this work demonstrates his mastery of geometric abstraction. The painting features carefully balanced rectangular forms that appear to float in space, creating a sense of depth without relying on traditional perspective techniques. These geometric elements are arranged in overlapping layers, with some forms appearing to recede while others seem to advance toward the viewer.

The artist achieved this spatial illusion through subtle variations in color intensity and the precise positioning of each form. The larger rectangular shapes serve as anchors for the composition, while smaller triangular and circular elements create visual counterpoints that maintain the overall balance.

Color Harmony and Contrast

Color plays a crucial role in Hanging Gardens Of Hammersmith No 2, with Pasmore employing a restrained palette dominated by earth tones and muted blues. This color scheme reflects the urban environment of Hammersmith while maintaining the work's abstract quality. The artist used subtle variations within this limited palette to create depth and dimension, with warmer tones appearing to advance and cooler tones receding.

Particularly striking is Pasmore's use of juxtaposed complementary colors in small accents throughout the composition. These carefully placed color contrasts create focal points that draw the viewer's eye across the canvas, encouraging an active engagement with the work's formal elements.

Print & Frame Details

Interior Design Recommendations

This print's balanced composition and muted color palette make it exceptionally versatile for various interior settings. The 30×40 cm size works particularly well in modern living rooms, home offices, or above a console table in an entryway. Consider pairing it with other abstract works from the same period to create a cohesive gallery wall that celebrates mid-century modern design.

The artwork's earth tones complement both warm and cool interior color schemes. In spaces with neutral walls, the print can serve as a focal point, while in rooms with bolder colors, it provides a sophisticated counterpoint. For optimal viewing, position the print where it can be appreciated from both near and far distances, allowing viewers to take in both the overall composition and the subtle details of Pasmore's technique.

Frequently Asked Questions

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