Painter Bryan Wynter (1915-75) is the subject of a retrospective exhibition at Tate St. Ives until October 31.

Wynter was a major figure in British painting throughout the Fifties and Sixties - but his reputation is now somewhat diminished.

Left , Green Confluence, 1974, Oil on canvas.

This Tate showing might just give a new generation of painters a glimpse of something quite different from current artistic directions.

The exhibition is a survey of three phases in Wynter's development. The first section shows early figurative landscapes, made from the 1940s onwards.

Right, Mars Ascends, 1956, oil on canvas.

The early neo-romantic images examine in close-up the coastline around the tip of Cornwall. Born in London, Wynter moved to Zennor, near St. Ives, in 1945.

Zennor sits within a remote but beautiful landscape - on the edge of mainland Britain, where the Atlantic meets the granite coast.

Above, Red River, 1974, oil on canvas.

The second phase is an interesting exploration of the relationship between optics, light and collage, called the IMOOS series - this stood for Images Moving Out Of Space.

Right, IMOOS VI, 1965, kinetic sculpture.

These card constructions are part-painting, part-sculpture, mostly experimental, with perhaps a little bit of Kurt Schwitter's 'merzconstruction.'

Left, Riverbed, 1959, oil on canvas.

Finally, Wynter moved on - in the 1960's and 70's he made some dramatic abstractions from the ever-changing granite coastline: bleakly seen but realistically colourful impressions of the peninsula.

Right, Firestreak, 1962, oil on canvas.

These late works are flatter, more linear, more geometrical than the earlier, more conventional landscapes: there is still a concentration on the essence of the landscape, but less intention to spell out the shapes of the land as everyone else painted them.