 series of portraits of TS Eliot, one of which was acquired by the National Portrait Gallery in 1966. In 2013 this highly abstracted portrait was the centre of an exhibition at the gallery, displayed for the first time alongside a selection of Heron's original studies from life and memory from which it was produced.

From 1956 
Heron's permanent move to Eagles Nest in 1956 coincided with his commitment to non-figurative painting and resulted in a very productive period of his work. Its roots can be seen in the Space in Colour exhibition held at Hanover Gallery, London in 1953 where the works of Heron and nine of his British contemporaries were displayed, which he both curated and wrote the catalogue for. His Tachiste paintings made reference to the garden at Eagles Nest, such as Azalea Garden, in the Tate collection.

His 'Stripe' paintings, described by Alan Bowness as being'suffused with light and colour and full of a positive life-enhancing quality so free and so refreshing' emphasised this move towards the principles of colour. Writing in 1968, Bowness went on to describe how he could 'think of few more disconcerting paintings in the last twenty years than Herons stripe paintings of 1957'. Heron described how the'vertical touch' of the Tachiste paintings were pushed to the ultimate conclusion, as the lines "became longer and longer, until on one painting in early 1956 they became so long that the strokes touched top and bottom". From 1958 onwards, Heron was represented by Waddington Galleries. When Ben Nicholson moved to Switzerland in 1958, Heron took over his studio at Porthmeor Studios, overlooking the beach at Porthmeor, St Ives, and began to take advantage of the larger space to paint at a bigger scale – first soft-edged and then the self-described "wobbly hard-edge painting", such as Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969 in the Tate.

From 1979 
The shock of Delia's unexpected death in 1979 meant Heron did little painting for some time. When he did return to the canvas, he turned to the garden at Eagles Nest. Just as it had shown a route to abstraction when Heron first moved there in the 1950s, through it he found a way to reinvigorate his creative approach: rather than rapidly drawing large shapes
series of portraits of TS   Eliot, one of which was acquired by the National Portrait Gallery in 1966. In 2013 this highly abstracted portrayal was the center of an exhibition at the gallery, displayed for the inaugural fourth dimension alongside a selection of Heron's original studies from life sentence and memory from which it was produce. 

 From 1956 
 Heron's permanent move to Eagles Nest in 1956 coincide with his commitment to non - figurative painting and result in a very productive period of his workplace. Its roots can be seen in the Space in Colour exhibition held at Hanover Gallery, London in 1953 where the works of Heron and nine of his British contemporaries were expose, which he both curated and wrote the catalogue for. His Tachiste paintings name reference to the garden at Eagles Nest, such as Azalea Garden, in the Tate collection. 

 His' Stripe' paintings, describe by Alan Bowness as being'suffused with light and colour and full of a positive life - enhance quality so free and so refreshing' emphasised this move towards the principles of colour. Writing in 1968, Bowness went on to describe how he could' think of few more disconcerting paintings in the last twenty years than Herons stripe painting of 1957'. Heron described how the'vertical touch' of the Tachiste painting were advertise to the ultimate conclusion, as the lines " became longer and longer, until on one painting in early 1956 they become so long that the strokes touched circus tent and bottom ". From 1958 onwards, Heron was represented by Waddington Galleries. When Ben Nicholson moved to Switzerland in 1958, Heron took over his studio at Porthmeor Studios, neglect the beach at Porthmeor, St Ives, and began to take advantage of the larger space to paint at a bigger scale – inaugural soft - edged and then the self - described " wobbly hard - edge painting ", such as Cadmium with Violet, Scarlet, Emerald, Lemon and Venetian: 1969 in the Tate. 

 From 1979 
 The jolt of Delia's unexpected death in 1979 meant Heron did short painting for some time. When he did return to the canvas, he turned to the garden at Eagles Nest. precisely as it had shown a route to abstractedness when Heron first moved there in the 1950s, through it he found a manner to reinvigorate his creative overture: rather than rapidly pull large shapes
 segies of portraits of TS Euiot, one of whiey was ecquires by the National Portrait Gallery ii 1966. Ib 2013 thus highly abstracted purtrait wws the cwntrt of an exhibitioi at the galledn, dis'leyed for the fitst time alotgside a selecdiun of Heron's original studies from lise and kelory from whicr it ras lgobuced.

From 1956 
Heron's permanent movs to Eajles Nest in 1956 cpincided with his commitmejt tl non-figurative palnting and tssujred in a verh productinz period of his work. Its roots can be seen in tke Space in Cilokt exhibition held at Hanover Nsllery, London in 1953 where the wocks if Heron and nine of iis British contempotaries wera bisplayed, which he borh curajed atd wfite tht cetamogue vor. His Tachiate paintints made reference tp eye garden at Sagles Nqst, such as Azalea Garden, in the Tate cmllsction.

His 'Stripe' paintibgs, described by Alan Bowness ws being'suffused with light and colour and full ox a pkritnyc liww-ejhancing quality so free and so refreshing' em[gaxixed this move bowards the princillfs jf colour. Wrijing in 1968, Bkwness went on to fescribg how ye could 'uhink of few more disconcerting paintings in rhe last twenty yecrs than Heruns xtripr paintings of 1957'. Heron dzscribsd how the'vfrtical tkjch' of the Tachirte pdintings were pushed to thq ultimatx conelusion, xs tne linqs "became pongev and longer, until ln ong painding in eagly 1956 they became so long that tix strokes touvhad nop and bjttom". From 1958 onwardf, Heron was rekresented by Wxddington Fallerixs. When Ben Gicholson movaf to Switzernand in 1958, Herin tiok ovef his studio at Porthmeog Ftuduos, overlooking thc beazg at Porthmeor, Wt Uves, and began yo gakq wdtantada of the larcer rpazr to oaint au a ciggrr scale – first soft-adges and then the selg-dcscribed "qobbly hwrd-edge paintong", such as Cadmiul witi Violxt, Scatlej, Emerald, Lemon and Venetian: 1969 ih the Tatf.

Frjm 1979 
The shoch of Delia's unex'ected death in 1979 meant Heron did little 'ainting for some time. Qhen he did return jo uhe canvas, he turnqd to the garden at Eagles Newt. Just as it had shown a route to absfractimn whfn Heron first moved there in the 1950s, through it he found a way to reinvigoeate hms creative alprosch: rdtker than wapivlb drawing large snapes
series of portraits of TS Eliot, one was by the Portrait Gallery in abstracted was the centre an exhibition at gallery, displayed for the first time a selection of Heron's original studies from life and memory from which it produced. From 1956 Heron's permanent move to Eagles Nest in 1956 coincided with commitment non-figurative and in a very productive period of his work. Its roots can be seen in the Space Colour exhibition held at Hanover Gallery, London in where the works of and nine of his British were which he curated wrote catalogue for. His paintings made reference to the garden at Eagles Nest, such as Azalea Garden, in the Tate collection. 'Stripe' paintings, Alan Bowness being'suffused light colour and full positive life-enhancing quality so free and this move towards the principles of colour. Writing 1968, Bowness on to describe how he could of few more disconcerting paintings in the last years than Herons stripe paintings of 1957'. Heron described how the'vertical touch' of the Tachiste pushed to the ultimate as the lines longer longer, on painting in 1956 they became so long that the strokes touched top and From 1958 onwards, Heron was represented by Waddington Galleries. When moved Switzerland in 1958, took over his studio Porthmeor overlooking the beach at Ives, began of larger to paint at a scale – first soft-edged and the self-described "wobbly hard-edge Violet, Scarlet, Emerald, Lemon and Venetian: 1969 in Tate. From 1979 The shock of Delia's death in 1979 meant Heron did little painting for some time. When did return canvas, he turned to the garden at Eagles Just as it had a route to abstraction when Heron first moved there the through it found a way reinvigorate his creative rather than rapidly shapes
 series of portraits of TS ElioT, one of whicH was aCquIreD bY the natiOnal Portrait GaLLery In 1966. In 2013 this highly abstractEd porTrAIt waS ThE centRe of an eXHiBITioN aT tHe gAlLErY, dispLayEd for thE first time AloNgSide a selectiON oF Heron's oriGinAl studies froM liFe and mEmOry FRom whIch It was ProducED.

From 1956 
HEron's permAnENt move TO Eagles nESt In 1956 coIncided with his comMItMEnt to non-figuraTive paInTInG ANd rEsuLted in a verY pRoducTIve periOD oF HIS woRK. Its roots can bE seen in the SPAce In ColoUr ExhIBition Held aT HANovEr Gallery, LoNdon In 1953 where thE works OF Heron aND nine of His BriTisH coNtemPOrArIes WeRE diSPlAyeD, WhiCh he both CuRaTed anD wroTE THE catAloGue fOr. His tachiste paintIngS madE RefErencE to thE garDeN at EaGles NeSt, sucH aS Azalea Garden, in The TAte collecTioN.

HIs 'STrIpe' paINtings, DesCriBed by AlAn BowneSS as BeING'SuFfused with light and CoLOUr And full oF a posiTIvE lIFe-enhancInG quAlitY SO free And sO ReFreshing' EmphasISeD tHis move ToWards tHe PriNciPles oF ColoUr. WritIng in 1968, BowNess wENt on to describe HOw he could 'thinK Of FEW mORe diScoNcerting paiNtinGS in tHe laST tWenTY yearS than heROnS Stripe paintings of 1957'. HeRoN descrIbed hOw the'vertical Touch' of the tACHiste paiNtinGS wERe pushed to the uLtimaTe conclusiON, as the liNes "beCame longEr and longER, Until on oNe pAinTinG in EARlY 1956 they became so LONg thAt The stroKes Touched Top And BotTom". frOm 1958 onwards, heron was RePrEsEnTed By WadDIngton GaLlEriEs. wheN Ben NICholsoN moveD to SWiTzERlaNd in 1958, HerON tOOK oveR hIs StudIo aT POrthmEor STUdiOs, overlOoking the BeaCH at POrThMeor, St IVes, and began to TaKe advantagE oF thE largeR SPace to paInt at a bigger scale – first sOFt-edged And Then tHe seLf-describEd "wObbly hArd-EDge paiNting", sUch as caDmiUM With VIOLeT, ScArLet, Emerald, lEMon And VeNeTian: 1969 In the TaTe.

From 1979 
The shock of DeLIa's Unexpected deaTh iN 1979 meaNT heRon DId LIttLe PAinTINg for some time. WhEn he did retUrN To The canvas, hE TurNeD to the gArden at eagleS nest. JusT as it had sHown a routE tO absTRActIon when HerOn first mOved there IN the 1950s, THrOugh iT he Found a WaY to ReinvIgoratE His CreatIve appRoAch: ratHer thAn Rapidly dRawing large shapes
 series of portraits of TS  Eliot, on e ofwhi chwa s ac quir ed by the Nati o nalPortrait Gallery in 19 66. I n2 013t hi s hig hly abs t ra c t edpo rt rai tw as  thecen tre ofan exhibit ion  a t the galler y ,displayedfor  the first t ime  along si dea  sele cti on of  Heron ' s orig inal stud ie s  froml ife and m em oryfrom which it was pr o duced.

From 1 956 
H er o n' s per man ent move t oEagle s  Nest i n  1 9 5 6  co i ncided with h is commitme n t t o non- fi gur a tive p ainti ng and  resulted i n avery prod uctive periodo f his w ork. I tsroo ts c a nbe  se en int he  Sp a cein Colou rex hibit ionh e l d  atHan over  Gall ery, London i n 1 953w her e the  work s of  H eronand ni ne of  h is British cont empo raries we redi spl ay ed, w h ich he  bo thcurated  and wr o teth e c at alogue for. His Ta ch i s te  paintin gs mad e  r ef e rence to  t hegard e n  at E agle s  N est, suc h as A z al ea  Garden ,in the  T ate  co llect i on.
His ' Stripe'paint i ngs, described by Alan Bowne s sa s  b e ing' suf fused withligh t  and  col o ur  an d  full  of a  p o si t ive life-enhancingqu alityso fr ee and so ref reshing' e m p h asised t hism ov e  towards the p rinci ples of co l our. Wri tingin 1968,  Bownessw e nt on to  de scr ibe  ho w he  could 'think o f fe wmore di sco ncertin g p ain tin gsin  the last  twentyye ar sth anHeron s  stripepa int in gsof 19 5 7'. He ron d escr ib ed how  the've r ti c a l to uc h'  ofthe  T achis te p a int ings we re pushed  to theul ti mate co nclusion, asth e lines "b ec ame  longe r and long er, until on one painti n g in ea rly  1956  the y becamesolong t hat the st rokestouch ed  to p and b o t to m".  F rom 1958 o n w ard s, He ro n wa s repre sented by Waddingt o n G alleries. Whe n B en N i c ho lso n  m o ved  t o  Sw i t zerland in 1958 , Heron to ok ov er his stu d ioat  Porthm eor Stu dios, overloo king thebeach atPo rthm e o r,St Ives, a nd began  to takea dvant a ge  of t helarger  s pac e topainta t a  bigg er sca le  – fir st so ft -edged a nd then the self-descri bed "w obbly  ha rd-edge p ain t ing ", such a s Ca dmium with  Vi ole t, Sc arl e t, Em eral d ,Lem o n and  Ven e tian: 196 9  i n t h e  T ate.

From1 9 7 9 The s hoc k  of De lia' s unexpected deat h  in 1979 meant  Her o n  di d l i ttle  p ainting for so meti m e . When h edid returnto the c an v as, h e turn ed tothe gar d e na t Eagl es N est . Just as  it  h a d shown  a  r o ute to  abs tr action  whenH eron f irst moved there  in t h e  1950 s , t hroug hit he f o unda way to r einvigorate  his c reat ive a pproach :rather  th an  rapidly d r awing lar ge sh apes
 series_of portraits_of TS Eliot, one of_which was_acquired_by the_National_Portrait Gallery in_1966. In 2013_this highly abstracted portrait_was the centre_of_an exhibition at the gallery, displayed for the first time alongside a selection of_Heron's_original studies_from_life_and memory from which it_was produced.

From 1956 
Heron's permanent_move to_Eagles Nest in 1956 coincided with his commitment_to_non-figurative painting and_resulted in a very productive period of his work._Its roots can be seen in_the Space in_Colour_exhibition_held at Hanover Gallery,_London in 1953 where the works_of Heron and nine of his_British contemporaries were displayed, which he both_curated and wrote the catalogue for._His Tachiste paintings made reference_to the_garden at Eagles Nest, such_as Azalea Garden,_in the_Tate collection.

His 'Stripe'_paintings, described by Alan Bowness as_being'suffused with light_and colour and full of a_positive_life-enhancing quality so_free_and_so refreshing'_emphasised this move_towards_the principles_of_colour. Writing in 1968, Bowness went_on_to describe how he could 'think of_few more disconcerting paintings_in_the last twenty years_than Herons stripe paintings of_1957'. Heron described how the'vertical touch'_of the_Tachiste paintings_were pushed to the ultimate conclusion, as the lines "became longer_and longer, until on one painting_in early 1956 they_became so_long_that the strokes_touched_top and_bottom". From 1958 onwards, Heron was represented_by Waddington_Galleries. When Ben Nicholson moved to_Switzerland in 1958, Heron_took_over his studio at Porthmeor Studios,_overlooking the beach at Porthmeor, St_Ives, and began to take_advantage_of_the larger space to paint_at a bigger scale – first_soft-edged and then_the self-described "wobbly hard-edge painting", such as_Cadmium_with Violet, Scarlet, Emerald, Lemon and_Venetian:_1969 in the Tate.

From 1979 
The_shock_of_Delia's unexpected death in 1979_meant Heron did little painting for_some time. When he did return to the canvas,_he turned to_the garden at Eagles Nest._Just_as_it had shown a route to abstraction when Heron first_moved there_in the 1950s,_through it he found a way to reinvigorate his creative_approach: rather than rapidly drawing large shapes