Since then Charlesworth has been working virtually exclusively for this show. Whereas the 1999 exhibition was inevitably a little disjointed, this body of work has far more cohesion, in terms of palette, structure and brushwork. I believe that John is a truly brilliant painter, in terms of both conception and execution. Naturally, he draws on his life experiences for his subject material but his interpretation of these memories are surreal and humorous -- a very special imagination at work. Of course, the images would mean little, per se, to the viewer without John's rather dry, understated narratives which give a small insight into both the paintings and the mind of their originator. No one has ever bought a Charlesworth from me without insisting on having the narrative that accompanies it.

The skill with the brush is obvious. Although he paints virtually every day, John cannot produce more than fifteen works in a year, so painstakingly is each one executed. In this exhibition, he shows the breadth of his abilities in terms of both technique and subject matter.

'Lakeland Interlude' is a tender painting which evokes in me memories of the 50s. It could be the cover of one of my pencil tins when I was a boy. 'Dell Hell' was a painting which I, as an avid Southampton fan and he a life-long Blackpool supporter, asked John to create. The movement and perspective are marvellous and the simultaneous events of the move leading up to the goal and the goal itself are masterly. (Of course, he would choose a match which Blackpool won!). And, above all, John's self-portrait, his sign-off for this show, is not only a remarkable likeness but also captures both the spirit and the character of the man perfectly -- for me, the true gauge of successful portraiture.(continued..)

more paintings from John Charlesworth's exhibition

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click here to see paintings from John Charlesworth's last exhibition