Alex Coleville - Horse and Train (1954)

seen from Malaysia
seen from Japan

seen from United States
seen from United States
seen from United States
seen from China
seen from United States
seen from Germany
seen from Australia

seen from United Kingdom
seen from United States

seen from United States
seen from Malaysia
seen from China

seen from United Kingdom
seen from United States

seen from United States

seen from United States

seen from Malaysia

seen from United Kingdom
Alex Coleville - Horse and Train (1954)
Heat - 1997
Michael Mann
Pacific - 1967
Alex Coleville
Alex Coleville
Bodies in a Grave, 1946
Drawing: pencil on paper
Painting: oil on canvas, 30" x 40"
Alex Coleville was with the British troops at the concentration camp, Belsen. They found more than 10 000 unburied bodies. I cannot imagine the horror and grief of being in the presence of such an atrocity. Coleville's detached perspective comes through here -- he says "the body has its own defence mechanism."
The drawing has much more power than the belaboured painting.
There is a directness to those lines, a sensitivity of observation, and a willingness to let things remain unsaid. The line searches, questions, and revises, while facing incomprehensible suffering and unjustice. The white paper leaves an emotional space, not cluttered with detail, for those charged lines to reverberate.
Alex Coleville Study for Church and Horse, 1964 pencil and inks on paper main sheet: 13 7/8 x 16 3/4 in. with fold-outs: 19 x 33 3/4 in
Church and Horse, 1964.
Acrylic on hardboard, 55.5 x 68.7 cm.
The Montreal Museum of Fine Arts, Purchase, 1966.