Welcome to a blog in which you will find examples of my work in two areas and comments on whatever topics come to mind.

Sunday, February 21, 2010

'WE MUST LABOUR TO BE BEAUTIFUL'


Oil on Canvas 18 x 15in (46 x 38cm)

The lady cogitates, wonders whether to apply a touch more white lead, noticing herself older today than she was yesterday morning, before the ball..
Why paint the past? -- In this case merely because an old print of an 18th century pencil sketch of table and lady came to hand and I started on the drapery, thinking it would be a good exercise in dealing in colour with the folds, highlights and shadows, and of course texture, rendered in the drawing.  Once started, I felt obliged to provide a setting; and this became in the end quite elaborate.  Other than that, though, I could equally turn the question:  Why not paint the past -- at least occasionally?. 

Saturday, February 20, 2010

Half Jug with Two and a Half Oranges

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Oil on Painting Paper 9.5 x 12in

This is my entry for the new Rookie Painter blog challenge.  I send best wishes for success and long life to the new enterprise.  .

Wednesday, February 10, 2010

Snow in Paris


Oil on Canvas 30 x 4Ocm (12 x 16in)

Snow is much in the news this week -- Washington up to its waist in it; much of the U.K. ditto.  Well, it snows in Paris too, but not as much.  This exercise in 'Snow Pointilisme' came partly from a false memory syndrome:   I thought I recalled the great Impressionists -- Monet, Sisley especially -- having painted snow when it was falling; but I was wrong.  They wisely waited till the snow was on the ground (cf. Sisley's 'Road at Louveciennes,' and Monet's 'La Pie,' that wonderfully lit snowed-in gate with the magpie perched on it).  No, it's not easy and quite time consuming making all these snowflakes, and all equidistant from each other!

Tuesday, February 2, 2010

RENDEZ-VOUS à l’ARC DE TRIOMPHE

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Oil on Canvas Board 18 x 24cm (7 x 9 1/2in)

   A summer day on the Champs de l’Elysée, belonging to a young woman who strides in the prime of health and beauty, 'assured of certain certainties' -- one of these being that she has the world at her feet.

Monday, February 1, 2010

ANATOLIAN SPRING, a novel

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  Turkey is or was a great place to start a bicycle trip, as I found a few years back, when I started with a girl friend (subsequently my wife) from Izmir (ancient Smyrna) down the gorgeous Anatolian coast.  A couple of cyclists was a novel sight for the inhabitants. Cruise ships, yes; solitary cyclists no.  The classical sites, the scenery, the friendly people -- all made for an unforgettable trip.
  Intrigued by the stories, half legendary, half authentic, of Croesus -- the alledgedly fabulously rich king of what is now south-west Turkey -- I wrote the noveL.

  Here is a resumé:

 While touring the classical sites of south-western Turkey during the early 1980s the beautiful American wife of a rich dealer in Middle Eastern artifacts finds herself mysteriously stranded in Ephesus, and obliged to seek help from a Scottish archaeologist who faces the even more puzzling – and graver – problem of having just killed in self-defence an unknown assailant.  Subsequent events assume a disquieting resemblance to those in a tale, half history, half myth, concerning a beautiful and murderous queen, her lover, and the fate of Croesus, last king of the region.
Order from Trafford Publishing, http://www.trafford.com/Bookstore/BookSearchResults.aspx?Search=osler.  $13.99. Or from the author.

Friday, January 29, 2010

Hommage to Robert Henri

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Oil on Canvas Board 18 x 24cm (7 x 9 1/2in)

This is a variant of a Paris street scene by Robert Henri. I find it more difficult copying an impressionist work than a realist one. An obviously rapid brush stroke in the original can be executed with equal rapidity – but not necessarily with anything like such a fortuitous result!  I like adding figures, preferably women, frequently with their backs turned. (The viewer is to run ahead in imagination, to see if they are really beautiful.)
This was my submission for the month of February for Following the Masters of Michelle Burnett..
From the first letter in Robert Henri’s The Art Spirit I am reminded that: 1) you start with something you want to say about the subject, having defined for yourself what attracted you; 2) you retain this -- ‘preserve the moment of revelation’ -- working as much as possible from the memory of it; 3) you block in the larger masses first, and their relationship; 4) you fully comprehend the character of a feature before setting brush to canvas; 5) you work as quickly as possible, ‘there is no virtue in delay.’ Pondering these suggestions I find the idea of working from memory the most daunting.

Monday, January 25, 2010

THE HEALER

My GP's pills having done me no good, and the common wisdom gleaned by my wife from local women pointing to the absolute necessity of seeking a 'healer,' I took my shingle-stricken self off to Mme M, who received me in a cabin at the bottom of her garden; a cabin windowless, containing wicker chairs, a carpet-covered plank bed, a desk supporting a lighted candle and an appointment book, and a stool on which I sat for half an hour or so while the lady gently stroked my painful right side -- face, neck, shoulder, arm -- descending to end at the wrist with a wringing of her hands, as though she were committing some substance to the earth.


I ought not to have let three weeks slip by before coming to her, she said; as the virus was now well established, more than one session with her would be needed, but she would certainly make me better. She does not charge; patients pay what they wish, or do not. She is not in it for the money, but is a sincere and dedicated worker. She is no quack, of that I'm convinced. If what she does is ineffectual she remains unaware of it. She exudes confidence; she believes unswervingly in her ability and in her mission of relieving pain. She boasts a loyal following in the region. Beginning by treating a nephew's third-degree burns, all traces of which vanished in two weeks, she claims, she has dealt with cases of shingles, burns, nervous ailments, over the last twenty years.

When she explained that her ability to heal had been passed on to her by her grandmother on her death bed, it flashed on me that she was a direct descendant of grandmothers and grand daughters, custodians of plant remedies and spells, passers on of secret knowledge, stretching back to the era of the witch mania; when many a harmless old woman was deemed to have entered into a pact with the devil and killed her neighbour's livestock or caused an outbreak of the King's Evil. Somehow, Mme M's progenitors had escaped; though many thousands of these poor 'sorcerers' were burned alive in towns and villages across Europe during the fifteenth and sixteenth centuries.

But I soon realized that this fanciful genealogy left something to be desired. When Mme M pressed and caressed a paper towel, then folded it and slipped it in an envelope which I was to put under my pillow for the night, I remembered Mesmer and the Magnetisers.

Born in 1734 in Swabia, FRANZ MESMER studied medecin in Vienna, before finding that he could cure merely by passing his hands downwards towards the feet of his patients. He formed the idea that a magnetic fluid pervaded the universe and could be used, charged by the will, as a cure-all. The laying on of hands was important; but objects -- paper, wood, glass -- could be rendered magnetic for his purpose. He set up shop in Paris and caused a furor. A royal commission of the Faculty of Medicin apppointed in 1784 and seconded  by another commission of the Académie des Sciences to investigate his claims concluded that imagination accounted for any and all favourable results. It was a singular case of mind over matter; and of how 'we are fearfully and wonderfully made.'

Lack of official approval did nothing to dampen the enthusiasm of Mesmer (or reduce his by then enormous income), however; his fame spread thoughout nineteenth century France, his pupils and imitators established 'Societies of Hamony' for curing diseases by means of magnetism.

It is from Mesmer that Mme M may trace her more direct descent, I suppose. Along with half a dozen other 'healers,' their cabins dotted among the charmed vineyards of South West France.

'The wonderful influence of imagination in the cure of diseases is well known,' Charles Mackay drily remarks in beginning his essay, 'The Magnetisers', in Extraordinary Popular Delusions and the Madness of Crowds.



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