Connemara, Co. Galway
Mary O’Malley is truly the person who has written Connemara, her writing laced with the fierce beauty of the landscape, and the sounds of the sea. In ‘Porpoises’ she sends our minds out to sea from the most westerly point of the county:
The sky is close.
Out from the once manned rock
White electric light
Arcs over the Water
Difficult not to agree with her when she states that the sea is “just the place from which all things make sense”.
Pierce Hutchinson, also writing on Connemara, said:
There are chinks between
the neat stones to let the wind through safe,
You can see the blue sun through them.
But coming eastward in the same county,
the walls grow higher, dark grey;
an ugly grey. And the chinks disappear:
through those walls you can see nothing.
Perhaps our poetic landscapes remind us of that – to keep our hearts alert for experiences of water, wind and wonder.
Born 6 April 1917
Clayton-le-Woods, Lancashire, England
For me leonara Carrington is one of histories great Artists, Personally and I feel the best female artists of all time(IMO), although correctly she fought all her life again the label of “Female Artist” and just wanted to be call an ARTIST period !
Her work should be much better known and would be so but for a few facts , she was producing art at the same time as some the now best known European artist, who would later become house hold names but also she lived and worked during the Nazi period of European Art theft and art control, because of this she ended up in the end making her home in Mexico in a period when no one took anyone not working in Europe or America seriously.
In 1936, Leonora saw the work of the German surrealist Max Ernst at the International Surrealist Exhibition in London and was attracted to the Surrealist artist before she even met him. In 1937, Carrington met Ernst at a party held in London. The artists bonded and returned together to Paris, where Ernst promptly separated from his wife. In 1938, leaving Paris, they settled in Saint Martin d’Ardèche in southern France.
The new couple collaborated and supported each other’s artistic development. The two artists created sculptures of guardian animals (Ernst created his birds and Carrington created a plaster horse head) to decorate their home in Saint Martin d’Ardèche.
With the outbreak of World War II Ernst, who was German, was arrested by the French authorities for being a “hostile alien”. With the intercession of Paul Éluard, and other friends, including the American journalist Varian Fry, he was discharged a few weeks later. Soon after the Nazis invaded France, Ernst was arrested again, this time by the Gestapo, because his art was considered by the Nazis to be “degenerate”. He managed to escape and, leaving Carrington behind, fled to America with the help of Peggy Guggenheim, who was a sponsor of the arts.
After Ernst’s arrest, Carrington was devastated and fled to Spain. Paralyzing anxiety and growing delusions culminated in a final breakdown at the British Embassy in Madrid. Her parents intervened and had her hospitalised. She was given “convulsive therapy” and was treated with the drugs cardiazol, a powerful anxiolytic drug (eventually banned by some authorities, including the US Food and Drug Administration (FDA)), and Luminal, a barbiturate. After being released into the care of a nurse who took her to Lisbon, Carrington ran away and sought refuge in the Mexican Embassy. Meanwhile, Ernst had married Peggy Guggenheim in New York in 1941. That marriage ended a few years later. Ernst and Carrington never resumed their relationship.
In 1939, Carrington painted a portrait of Max Ernst, as a tribute to their relationship. The portrait was her first Surrealist work, and it was called The Inn of the Dawn Horse. It is now in the Metropolitan Museum of Art. The person in the painting is a cross between a male and a female, who is seated in a room with a rocking horse on the wall.
She also painting this portrait with him as the main character ..
Portrait of Max Ernst
Oil on canvas
date created: About 1939
From the very first time I viewed Leonara’s art works I was captivated, her paintings are full of mystery and magical subjects, without falling into more traditional and classical mythological stories.
I found myself wanting to understand more about the fantasy world that her painting capture, a world of hidden meanings, I still don’t fully understand and here in this video she tells us not of over analyses art and just to enjoy living in the moment. However just looking at her creations you know she must have held many stories in her mind, I will keep looking and discovering!
(6 April 1917 – 25 May 2011) was an English-born Mexican artist, surrealist painter, and novelist. She lived most of her adult life in Mexico City, and was one of the last surviving participants in the Surrealist movement of the 1930s. Carrington was also a founding member of the Women’s Liberation Movement in Mexico during the 1970s.
Looking at many of her painting you can clearly see that her life and work is the source for the movie Pan’s Labyrinth, Director: Guillermo del Toro, Writer: Guillermo del Toro , set in the falangist Spain of 1944, about a bookish young stepdaughter of a sadistic army officer escapes into an eerie but captivating fantasy world, the very same kind of fantasy worlds Leonora Carrington imagined and reflected on in her work.
The best surrealist movie of all time 🙂
Leonora Carrington – Imagination is everything !!!
Since I returned to Ireland from a holiday in Germany during November, I have found myself turning to my drawing and painting much more again. This is only natural I feel during the winter months , so far this November and December we have had nearly 200mm of rain here in county Kilkenny, (amazing when you think that this is more than double the about for the entire summer) so its been hard to carry and use a camera as much as in a normal winter.
To help me get inspired and make a start I always find myself looking at my most admired classic painters like John Constable.
To me Constable is one of the most misinterpreted classic artist, mainly due to the fact that today his art work has become Synonymous of twee landscapes used on box’s of chocolates and for jigsaw puzzles. Yet when he was starting his carrier as a painter very few people would take on landscape painting and expect to make a living of any kind. Most of the artists of his day would paint classical works reflecting upon mythical stores or portrait works as commissions for the super-wealthy of his day.
The idea that an artist as good as John Constable was, would spend his time painting open landscapes, farms or rivers made little sense to any of his tutors or his peers, many disowned him for doing so. It is this fact that pulls me so much toward his work, he was one of the first of his kind and cutting edge!, sketching and then painting from life, mostly outside in the surroundings he was painting.
The simple truth is that he was and still is very cutting edge when it come to his abilities to capture people in the landscape, if it were not for the fact he did so and produced so much work, little memory would remain of the places and people he captured.
The Stour 27 September 1810
The Stour is one of the first of his painting I ever looked at and I still love this painting very much today, I love the loose use of the oil paint and brush work, the limited palette of colours but above all the atmosphere he has captured.
Its also painted in the format I love the most, at 23×23 a Square format. Its not easy to compose an image in a square! but I feel that the results can produces a great painting or photo with great concentration on the subjects you want to capture the most.
Painted Between 1808 and 1816 – the year of his marriage to Maria Bicknell – Constable spent most of his summers at East Bergholt, sketching in the fields and the surrounding countryside. From 1810 he began to paint images of the River Stour, and the activities associated with it, particularly in the area near his father’s mill at Flatford. Indeed, the bulk of his subjects during the first half of his career are images of Suffolk. Many of these are rapidly executed, evocative sketches, painted entirely, or substantially in the open air – often depicting transient atmospheric effects.
Constable painted this view outdoors in the vicinity of Flatford Lock at sunset. He cut his canvas to fit into the paint box he carried, and pinned it to the opened lid while painting.
The landscape around the Stour Valley and Dedham Vale had been admired by poets and artists before Constable (Tate 1991, pp. 53–54), but he made the area particularly his own by painting it over and over again. Constable wrote in later years: ‘I associate my “careless boyhood” to all that lies on the banks of the Stour. They made me a painter (& I am gratefull)‘ (Beckett VI, p. 78).