Born in Frankfurt-am-Main in 1918, Feiler fled to England from Nazi rule in 1933, and from 1936-39 studied at the Slade School of Art alongside Patrick Heron and Bryan Wynter. His childhood experiences proved significant—the effects of light and shifting perspectives when mountaineering in the Alps; a visit to the Market Gate of Miletus in the Pergamon Museum; glimpses of colonnades on a trip to Venice in 1947.
In 1949, Feiler’s visit to Cornwall inspired minimal, painterly abstractions of the local landscape. Here he met up with schoolmates Heron and Wynter – with whom he exhibited at Bristol Art Gallery in 1949 – and was introduced to William Scott and Peter Lanyon. After a successful solo show at the Redfern Gallery in 1953, Feiler moved to Kerris, near Penzance. He began teaching at the St Ives summer school started by Terry Frost, and his work was included in group shows alongside that of Wynter, Lanyon and Scott (who became great friends with Feiler). His heavily encrusted surfaces, likened by Scott to the paintings of Nicolas de Staël, immediately distinguished Feiler’s work from that of his St Ives contemporaries. During this period, Feiler’s paintings were selected for inclusion in important group exhibitions, such as the British Council’s British Abstract Painting, which toured to Paris, Milan, Montreal, and Melbourne in 1957, and British Paintings in the 1960s at the Tate Gallery in 1961. In 1964, Feiler showed alongside Lanyon, Roger Hilton and Alan Davie at the Arnolfini Gallery, Bristol.
However, Feiler was uncomfortable with the idea of being part of a group, and so in the late 1960s, his work took a quite different turn; inspired by the lunar landings, he began making simplified compositions of circles and vertical bars, reminiscent of Malevich’s pure Supremacist studies. Feiler was inching ever closer to his quest for capturing ‘elusive space’, and in 1969, he painted a series of concentric squares, at the centre of which a circle was enclosed. This was the first of his so-called shrine paintings, which he spent the next four decades developing and refining, taking inspiration from early sights of classical architecture. The delicate colour gradations also hark back to his Cornish landscapes, even if the paint by this time was applied in flat, meticulous strokes. His work had won the support of the art historian John Steer, and a solo exhibition was organised by the Scottish Arts Council. Curated by Bryan Robertson, it toured England and Germany from 1980 to 1981.
Much amused by the palindrome of his surname (Feiler-Relief), it was not long before Feiler used collage, cutting out and overlaying vertical strips of gessoed board onto the painted surface, allowing a more advanced exploration of pictorial space. A growing sense of mysticism was shown by the use of gold and silver leaf. In 2005, Feiler showcased his new work in The Near and The Far, a one-man exhibition at Tate St Ives. From 2008 until his death in 2013, Feiler broke new ground with a series of Square Reliefs, where the collaged composition incorporated both painted and Perspex elements, before being enclosed under a Perspex frame.
Paul Feiler's Estate is represented by the Redfern Gallery.
Paul FeilerZenicon XVII, 2006Oil, gold and silver leaf, and gessoed board, on canvas71.1 x 71.1 cm
Paul FeilerJanicon LIX, 2002Oil, gold and silver leaf, and gessoed board, on canvas142.2 x 142.2 cm
Paul FeilerOrbis XIV, 1967/68Oil on canvas on wood137.7 x 121.9 cm
Paul FeilerIntersecting Forms, Grey, 1966Oil on canvas101.6 x 132.1 cm
Paul FeilerGrey Receding, 1962Oil on canvas laid on wood152.4 x 182.9 cm
Paul FeilerJanuary - Yellow and Black, 1957Oil on canvas45.7 x 66 cm
Paul FeilerWhite, Sienna & Black, 1956Oil on board70 x 106 cm