From the thickly rendered surfaces of Leon Kossoff’s paintings, layered with drips, furrows, and painterly sweeps of oils, arise intensely personal pictures of reclining and seated female models; images of works by Poussin, Rembrandt, and Rubens; Kossoff’s own face, and scenes of Londoners trudging through the Kilburn Underground or the Willesden district of the city. While this list of subjects is varied, it also possesses an underlying consistency: Kossoff returns to the same subjects again and again because these are the people and places that move him. They are his objective correlatives