The Portsmouth exhibition harvests over seventy of Gertrude Fiske’s paintings from private and public collections. It is a modest venue for an ambitious agenda, namely the revival of an artist whose reputation has languished for the balance of the last century.
Coldstream seemed to me a talented curiosity: dry, meticulous, influenced by Cézanne, and—though this is no debit—reliably irresolute. He worried his paintings through dozens of sessions without ever falling victim to a conventional standard of finish.
This is Edvard Munch, the first artist to present a tormented visual autobiography in full view of the public, and an artist for whom the designation “Expressionist” too narrowly circumscribes his range and impact.