Some much Art I see in galleries is Tamely Framed. All energy is lost and the fight has moved from aesthetics to money. From the gallery to the work all is lost in simple transactions. Do not give in to your being tamed in this way. Let it be free. Let it soar as you intended.
Divine Devon Art is from an indigenous culture and from modern peasants or other laboring peoples. In contrast to’Art’ folk art is primarily utilitarian and decorative and majorly aesthetic.Devon Folk Art is characterized by a naive style, in which traditional rules of proportion and perspective are defied.
Alcohol, cocaine, sex, soaps, lottery, all are an addictive dream.
All money is debt
So the poor are judged by the rich. 12 of us against the money of the past http://www.huffingtonpost.co.uk/2014/08/27/elitist-britain-cabinet-mps-oxbridge-private-independent-schools_n_5723662.html
From stardust to stardust each of of us makes an evolutionary step. [shopify product=http://brambleart.myshopify.com/products/madonna-and-child]
I always feel that no-one outside those that know the person can ever tell the likeness but everyone can feel the truth.
I must admit this poem by Philip Larkin cuts to the core of my feelings here in deepest Devon. I can not express in words like him so I paint both him and the land I love so much as it disappears before my eyes.
Under Norman yoke transformed into Capitalist smoke I, a simple Saxon, hang with memories and dreams.
GOING, GOING by Philip Larkin. (January 1972)
I thought it would last my time –
The sense that, beyond the town,
There would always be fields and farms,
Where the village louts could climb
Such trees as were not cut down;
I knew there’d be false alarms
In the papers about old streets
And split level shopping, but some
Have always been left so far;
And when the old part retreats
As the bleak high-risers come
We can always escape in the car.
Things are tougher than we are, just
As earth will always respond
However we mess it about;
Chuck filth in the sea, if you must:
The tides will be clean beyond.
– But what do I feel now? Doubt?
Or age, simply? The crowd
Is young in the M1 cafe;
Their kids are screaming for more –
More houses, more parking allowed,
More caravan sites, more pay.
On the Business Page, a score
Of spectacled grins approve
Some takeover bid that entails
Five per cent profit (and ten
Per cent more in the estuaries): move
Your works to the unspoilt dales
(Grey area grants)! And when
You try to get near the sea
In summer . . .
It seems, just now,
To be happening so very fast;
Despite all the land left free
For the first time I feel somehow
That it isn’t going to last,
That before I snuff it, the whole
Boiling will be bricked in
Except for the tourist parts –
First slum of Europe: a role
It won’t be hard to win,
With a cast of crooks and tarts.
And that will be England gone,
The shadows, the meadows, the lanes,
The guildhalls, the carved choirs.
There’ll be books; it will linger on
In galleries; but all that remains
For us will be concrete and tyres.
Most things are never meant.
This won’t be, most likely; but greeds
And garbage are too thick-strewn
To be swept up now, or invent
Excuses that make them all needs.
I just think it will happen, soon.
Thank You for visiting my blog.
Visiting the Catalan port of Collioure 110 years after Derain And Matisse it is not difficult, despite the inevitable development, to recognise the amazing light and scenery that was to inspire their art. Situated on the Mediterranean and in the foothills of the Pyrenees the old fishing village provides a perfect muse. Ever since their fateful visit in 1905 the village of Collioure has been warmly linked to the birth of a new approach to painting – Fauvism.
Matisse arrived in May and was joined by Derain a few weeks later at the start of July and they were to work together throughout the forthcomming summer. Their work had up to then had been steeped in the post-impressionist approach but during this time in Collioure their work was to make a bold leap. Spuring each other on through times of doubt and excitement such by Steptember they had produced, between them, around 100 watercolours, 50 canvases and over 100 drawings.
Although their work was similar in outcome they appear to have worked in very different ways; Derain harnessing his instinct to produce direct work at speed whist Matisse seems to have worked in a slower, much more calculated manner. It is interesting to to see how far they had come when compared to work of their friend Manguin who was working further along the French coast in St Tropez at the same time.
Matisse never worked with Derain again and although Matisse was to return to Collioure many time Derain never did.
The first time their paintings were shown to public at the 1905 Salon d’Automme in Room VII alongside work by Vlaminck, Camoin, Marquet and a couple of conventional sculptures by Albert Marque. The experience of the room was to cause the critic Louis Vauxcelles to make his now famous pronouncement ‘..Donatello at home among the wild beasts (Fauves)’.
To see my latest efforts! https://www.etsy.com/uk/shop/BrambleArt
For what the critics say about the artist: http://auspat.blogspot.com/2015/01/the-trees-are-blue.html