Pomona

Albert Irvin’s Pomona: A Burst of Energy in Late 20th-Century Abstraction

Painted in 1991, Pomona stands as one of Albert Irvin’s most dynamic works from his late career, a period when his signature style—marked by explosive color and gestural vigor—reached its full maturity. The painting belongs to a body of work that emerged after Irvin’s tenure as a teacher at Goldsmiths College, where he influenced a generation of young British artists while refining his own approach to abstraction. Unlike the more restrained geometric compositions of his earlier years, Pomona embodies the unbridled freedom of Abstract Expressionism, filtered through Irvin’s distinctively British sensibility. The title itself, referencing the Roman goddess of fruit trees and abundance, hints at the work’s underlying vitality, though any literal interpretation dissolves into pure chromatic intensity.

Irvin’s method during this era involved layering thin washes of acrylic over thicker, more aggressive brushstrokes, creating a tension between transparency and opacity. Pomona exemplifies this technique: the canvas appears almost to vibrate, with hues of cadmium red, ultramarine, and viridian green clashing and harmonizing in equal measure. The composition avoids a central focal point, instead drawing the eye across a decentralized field of activity—a hallmark of Irvin’s rejection of traditional pictorial hierarchy. As noted by the Tate, his late works often “push the boundaries of abstraction while retaining a sense of rhythmic order,” a balance Pomona achieves through its carefully calibrated chaos.

Irvin in the 1990s: A Decade of Unrestrained Invention

By the 1990s, Albert Irvin had long since abandoned the figurative influences of his early career, instead embracing a form of abstraction that prioritized emotional resonance over intellectual detachment. This decade marked a turning point: his canvases grew larger, his colors more saturated, and his gestures more confident. Pomona emerged during this fertile period, when Irvin was in his late 60s but painting with the urgency of an artist half his age. The work reflects his deep engagement with American Abstract Expressionism—particularly the work of Willem de Kooning—while maintaining a connection to the British landscape tradition, albeit in a thoroughly abstracted form.

Critics often note that Irvin’s 1990s output possesses a musical quality, with compositions that unfold like improvisational jazz. Pomona is no exception: the sweeping arcs of paint suggest movement, as if the canvas were a snapshot of a performance in progress. Unlike his American counterparts, however, Irvin rarely worked on a monumental scale. The intimacy of Pomona’s 30×40 cm format invites close inspection, revealing the intricate interplay of glazes and impasto that might otherwise be lost in a larger work. This deliberate choice underscores Irvin’s belief that abstraction need not overwhelm to be immersive.

Pomona is less a painting to be viewed from a distance than an object to be experienced up close—its surface a topography of ridges and valleys where color becomes almost sculptural.

The Making of Pomona: Technique and Materiality

Composition: The Illusion of Spontaneity

Though Pomona appears spontaneously executed, Irvin’s process was anything but haphazard. He typically began with a lightly penciled grid, using it as an armature to structure the composition before applying paint. In this work, the underlying geometry is nearly imperceptible, buried beneath layers of fluid acrylic. The painting’s apparent chaos is, in fact, carefully orchestrated: the diagonal slashes of yellow and red counterbalance the vertical drips of blue, creating a sense of equilibrium amid the turbulence. Irvin’s training as a printmaker is evident in his precise control of negative space, particularly in the way he allows the raw canvas to peek through in strategic areas.

Color: The Psychology of Contrast

The color palette of Pomona is both jarring and harmonious, a testament to Irvin’s mastery of chromatic relationships. He juxtaposes complementary hues—such as the orange-red against the teal-green—to generate optical vibration, while analogous tones (the blues and purples) provide moments of repose. The acrylic medium, with its quick drying time, allowed Irvin to work rapidly, building up layers without the blending that characterizes oil paint. This technique results in a surface where colors retain their individual intensity, even as they overlap. The effect is akin to stained glass: light seems to pass through the thinner glazes, illuminating the denser passages beneath.

Where to Hang Pomona: A Design Primer

The bold energy of Pomona makes it a statement piece for modern interiors, but its 30×40 cm dimensions ensure it remains versatile. The painting’s dominant reds and blues demand a neutral backdrop: consider hanging it against a matte white or warm gray wall to allow the colors to sing. In a living room, position it above a low console table or sofa, where its vibrant palette can contrast with natural wood tones or black metal accents. For a more unexpected placement, try it in a home office or study—its dynamic composition can invigorate a space dedicated to focus and creativity.

Avoid overly busy surroundings; Pomona thrives in minimalist settings where it can command attention. If grouping with other artworks, pair it with black-and-white photography or line drawings to create visual breathing room. The print’s standard size also makes it ideal for gallery walls, where it can anchor a collection of smaller works. For lighting, a directional track or picture light will enhance the texture of the brushstrokes, while diffused natural light will soften the contrast between the vivid hues.

More Works by Albert Irvin

Discover the evolution of Irvin’s abstract language through these key pieces from his career.

Albert Irvin

Vincent

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Albert Irvin

Cathay

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Albert Irvin

St Germain

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Albert Irvin

Parade

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