Andrew Cranston

Shukin, yeah.

Yeah, I think he'd been collecting old masters and then –

discovered Matisse and he compared Matisse to a kind of light kind of meal rather than a heavy salad almost or a kind of nice dessert rather than a kind of heavy meal and it's the sort of mixture of like simplicity in one level but

a sort of in a way hard won kind of way in which he's achieved he sensed it in the work and he just had this way of things fell into a kind of shape and arrangement it's like they've always existed in a way

Yeah.

Yeah.

I mean, I always enjoyed a thing I'd read.

It was once blue, the red studio.

And he then sort of started working on red.

But the lines in the painting are blue.

So he's bringing the red paint up to meet the blue.

And that's how the line is created.

You know, that little kind of decisions that he's making like that, little judgments, surfaces, all these things which, you know, really are the telltale signs of, you know, is the painting a kind of good one?

And lastly, what is art for?

I think John Berger said a thing where it's a kind of, it's a need for living, you know, art that helps you live.

I mean, personally, in a sort of way, quite like what Alfred Wallace said, where he was asked why he was painting art.

And he said, company.

And there's something, a sense where you're less lonely.

You know, what is art for?

In the wider sense, there's a way in which we see something represented...