Lucian Freud, Francis Bacon, Leon Kossoff, Frank Auerbach, Howard Hodgkin. We know those post-war figurative painters the School of London well, and guzzle down the mythology that surrounds them: sex, drugs and almighty benders in Soho.

There was among them, though, an elusive, utterly radiant and now-forgotten man. But following a Tate Britain retrospective and a new Gagosian exhibition, the late artist Michael Andrews perhaps steps out from the shadows at last.

Andrews gained attention in the 60s with his portraits of the rollicking parties of Soho's glory days: wild nights in the bilious green interior of the Colony Room, drawn-out sessions at the French House. But while his School of London contemporaries carried on with these portraits and interiors, Andrews moved into the fresh air.

For the last twenty-five years of his life, Andrews was preoccupied with four series of landscapes—Lights, Scotland, Ayers Rock/Australia, and English Landscape—as well as School, a series depicting different groups of fish. In this Gagosian exhibition, selected works from the five related series will be presented under three elemental themes: earth, air, and water.

No other British artist in the second half of the twentieth century immersed himself in the elements of landscape to such an extent. "It seems to me impossible not to paint religious landscapes of aboriginal Australia," he wrote in 1986, "just as it is almost impossible not to paint historical landscapes in Scotland."

Come and discover these poetic, dreamlike canvases, as well as a forgotten master, this winter at the Gagosian.