Clare Littleton - Critique by Timothy Warrington

Clare Littleton Artist Art CritiqueClare Littleton effortlessly communicates a wealth of worldly experiences through her inherent artistic skill as she relentlessly develops her creative technique in order to eloquently and realistically convey three dimensional ideas through painting. Her delicate artworks are augmented through an expert application of oil, onto either canvas or copper, that presents the viewer with an illusionary sense of reality that stimulates the imagination and encourages them to consider the deeper meanings that lay beneath the surface. Littleton, heavily influenced by the natural world and the human form, fluently translates sincere and soulful emotions through depictions of diverse subjects that span across the globe through diverse cultures and express her profound affinity with the utmost organic aspects of the earth.
 
Littleton’s works harbour a wonderful quality of intrigue that playfully provokes curiosity through the exceptional depth captured in each composition. Viewers are often enticed by the hidden secrets concealed around corners or through cavernous doorways and induced to ponder what lies ahead. Littleton’s enigmatic presentation of vast desert scenes inextricably links her works to that of Salvador Dali and Alexander Kanoldt when considering their ability to prompt the imagination of the viewer. Littleton’s pieces ‘The Glimpse’ and ‘My Cave Snake Monument’ share philosophical ideals with Kanoldt’s depictions of winding paths running through cityscapes as well as Dali’s ability to portray the sheer expanse of the world around us; a quality that culminates in Littleton’s works with an intensely gripping sense of mystery that encompasses her paintings.
 
Through a close analysis of Littleton’s natural compositions, an influence of Flemish Renaissance artists such as Cornelis Metsys can be seen in the style and the sensual meanders with which the landscapes are conceived. Further inspiration can be detected from Baroque artists such as Jan Siberechts in relation to the inherent ability to capture an intrinsically emotive atmosphere. Both Littleton and Siberechts immortalise innately peaceful emotions in their landscape works, particularly when considering their masterful presentation of water, while creating a remarkably realistic touch of life that brings an entirely transportative element to the paintings. The comparisons continue with the excellent semblance of depth that Littleton deploys to proffer the thought that the anfractuous landscapes envisaged lead to much wider perspectives of the world.
 
Boundless travels and her own academic perspective are strong references in Littleton’s abstract collection. Her connatural philosophical ideals are eloquently communicated with the viewer through deeply restful and calming works of art that radiate with tranquility comparable with that of Hai Tong’s ‘Leshan Giant Buddha’ found in Mount Lingyun, China. This articulate use of artistic skill provides an entirely individual aesthetic to Littleton’s paintings as her transcendental creations become a direct connection between her personal experiences and those observing the works.
 
Littleton endeavours to reference distinct layers of human emotion in her figurative works that can be detected in the beautifully painted faces and postures of her models; indeed it is clearly possible to perceive an influence of Sandro Botticelli when considering the serene expressions found on the subjects. Every composition reflects a passion for life in its most organic form as Littleton celebrates the natural processes through her works. The artwork ‘The Kiss’ offers insight into the artist’s mind through the amorous couple depicted as well as in the tenderness of the expectant mother illustrated in ‘Lady Elenore’. Littleton elegantly incorporates magical scenes into her figurative works; the figures she portrays are often presented in the foreground of a sweeping field or with blossoming flowers cascading through their hair. This symbolic detail evokes the primordial connection between man and nature which continues to inspire Littleton’s works, whilst suggesting an influence of Frida Kahlo who also had a sincere connection with nature and famously integrated leaves and flowers into her self portraits. Further analysis reveals a deeper link between the colour palettes utilised by Littleton and Khalo who both adopt bright and earthy hues in their works to enhance the organic semblance of their depictions.
 
Clare Littleton’s works radiate with an ineffable sense of her distinct and individual view of the world which she fluently shares through her captivating artistic style. The soothing compositions convey equanimity and allow the viewer to gaining an insight into the mind and philosophies of the artist. Littleton’s delicate and skillful creations are vibrant representations of her own experiences that have profoundly stimulating and meditative qualities that are effortlessly conveyed to the viewer.