Whilst conceived to stand as a pinnacle of economic growth, its facade was apparently modeled on the cloak of one of Piero della Francesca's Virgin Mary polyptychs
, a provocative re-examination of the relationship between the Dome of St Paul's and an ever proliferating London skyline.
In this latter case, what might come to mind is the tradition of European wood sculpture and polyptychs
as abstract compositions that begin with the staging of a figurative subject.
The cycle of paintings, grouped into polyptychs
, shows how the artist has drawn inspiration from the medieval Book of Hours, where the hours of day and night were given liturgical significance.
There are some 30 individual pictures and polyptychs
in all: a fair achievement for sixteen years of activity, one may suppose, since he painted in exacting detail on a small scale.
Much the most interesting of the unknowns is the Birmingham-born Francis Hoyland (born 1930), whose polyptychs
- paintings divided into several scenes like an altarpiece - show biblical and domestic scenes or, in the case of of his Nativity Polyp-tych, the Three Wise Men backpacking through the Lickey Hills.
The obvious standout is the remarkable "bed" series from the '70s: several giant polyptychs
depicting a couple having sex in what appears to be the middle of a lazy weekend brunch.
114) Law and Gospel became the signifier of evangelical art, asserting confessional identity when it came into contact with other subjects, for example when it took its place among other, more traditional subjects in the program of later polyptychs
Meilman's own examples of precedents (including polyptychs
, predelle, and Carpaccio's Martyrdom and Apotheosis of the Ten Thousand of 1515) belie the claim.
You can argue, of course, that Western museums are filled with things wrenched from their original contexts: Greek sculptures removed from once-sacred precincts, Medieval altarpieces detached from altars, fragments of Renaissance polyptychs
made to stand on their own, "homeless" eighteenth-century portraits, and so on.
The ground floor of the gallery featured a sampling of works ranging from 1968 to 2012 and passing through Brazil, Germany, and Japan: singular images of great power, such as the photo Horses Eye, 1998/2012, which seemed to dominate the room; polyptychs
organized with a noteworthy spatial and chromatic rhythm, such as Motel de Babel, 2005/2012, in which the artist spies on an intimate scene inside a motel room, or Cinelandia, 1992/2012, in which he frames the legs of women on the street; and paintings that could be abstract but whose color and organic forms hint at female bodies.
2), the polyptychs
from Recanati and Ponteranica, the St Antoninus giving Aims from Santi Giovanni e Paolo in Venice and the Madonna of the Rosary from Cingoli.
But all three polyptychs
would have been visible from the grate, which functioned as the site from which nuns received the Eucharist.