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Thursday, 30 July 2009
Monday, 27 July 2009
Guillaume Apollinaire - Il Pleut
Early Sketch...
Typographic final version
It's raining
It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below
Typographic final version
It's raining
It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below
Tuesday, 21 July 2009
This is nice, yeah?
A collection of drawings by one of the funniest people I know. Influenced by the cynical, ironic law of the so called sod and her fascination with, household objects and potato based products... its the small things in life. Sketches by Lyndsey Monaghan©
Friday, 17 July 2009
The Colourful Mr Eggleston
William Eggleston is one of the most influential and original photographers alive today.
A Mississippi aristocrat with a fondness for guns, drink and women, he dragged colour into the world of art photography. Reviled in the 1970s, he is now considered a legend whose unique visual style has influenced generations of photographers and filmmakers.
Imagine shows the normally shy and elusive Eggleston at work - taking photographs on the road, in and around his home town of Memphis.
Thursday, 16 July 2009
Maurice de Vlaminck
'Good painting is like good cooking; it can be tasted, but not explained.' Maurice de Vlaminck
Village on the River, 1915
The Mortagne Road
The Harvest
'I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.' Maurice de Vlaminck
Fauvism is the movement with which Vlaminck will always be most closely associated.
However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didn't and wouldn't care what we call his approach--he was simply being true to his gut.
How He Came to Art
Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter André Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.)
When Art Noticed Him
Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincent's color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas.
Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon d'Automne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle.
Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this "wild beast." After meeting Paul Cézanne, Vlaminck's work took a turn towards balancing color with more structured compositions.
He is best known today for his Fauvism period--a span of no more than seven years. Vlaminck's later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books.
Village on the River, 1915
The Mortagne Road
The Harvest
'I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.' Maurice de Vlaminck
Fauvism is the movement with which Vlaminck will always be most closely associated.
However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didn't and wouldn't care what we call his approach--he was simply being true to his gut.
How He Came to Art
Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter André Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.)
When Art Noticed Him
Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincent's color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas.
Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon d'Automne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle.
Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this "wild beast." After meeting Paul Cézanne, Vlaminck's work took a turn towards balancing color with more structured compositions.
He is best known today for his Fauvism period--a span of no more than seven years. Vlaminck's later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books.
Wednesday, 15 July 2009
Blaise Cendrars
'The devil plays piano
His gnarled fingers titillate all the women '
Still, I was an extremely bad poet
I didn't know how to go about it
I was hungry
And all the days and all the women in the cafés and all the glasses
I so wanted to drink them and break them
And all the houses and all the streets
And all the wheels of the carriages, twisting like cyclones
over the bad pavements
I would have liked to plunge them into an armorer's furnace
And I would have liked to smash all the bones
And tear out all the tongues
And liquify all those big bodies, unfamiliar and naked under garments
that made me crazy ...
I foresaw the coming the big red Christ of the Russian Revolution ...
And the sun was an ugly wound
Split open like glowing coals.
extract from La Prose du Transsibérien et de la Petite Jehanne de France
Brilliant interview from the paris review
Tuesday, 14 July 2009
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