Very recently I attended an intriguing talk by Sue Astles, Ousey’s neice about this little known Northern Artist. I found myself wondering just how such a brilliant colourist could seemingly be rather overlooked. Further information and background can be found at
and at https://en.wikipedia.org/wiki/Harry_Ousey
There are two possible factors which one might surmise for this aberration. Firstly, it seems that his interest in experimenting in so many various styles may have mitigated his being recognised for any definite style. His restless interest in both conventional and abstract work is not difficult to recognise. There is a certain interest in certain themes such as stone wall construction and the sea horizon. Certain influences seem to be lurking in the background from Miro, Dufy and perhaps Rothko. However, the multiplicity of his painting styles, doubtless including original work, could have inhibited proper recognition.
Such recognition might have been easier if he had access to gallery display. My second point is that I surmise that the influence of more recognised and prominent figures in the St Ives nexus made this difficult. Artists like Denis Mitchell and Terry Frost would have understood this. There was a social class barrier to surmount and I am fairly sure this is a pressure that a less wealthy northern painter would have encountered this even in the more enlightened postwar period. A glass ceiling even amongst progressives and bohemians!
Ousey’s later interest in environmental compositions reminded me also of the not dissimilar work of Margaret Mellis. (Not to be confused on grounds of alliteration with the abstract Penwith artist Marlow Moss!)
Pier in Colombo, Abbildung aus dem Buch “Wanderings East of Suez in Ceylon, India, China and Japan” von F. C…
Sohar Fort, Oman
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