This weekend I gave myself sometime to add a physical Charcoal on cartridge paper drawing to last weeks Digital version in my last post. I wanted to do some work in the style of Trevor Grimshaw as I like his drawings very much and felt there was a lot of value in attempting to produce my own versions, I feel that his use of monochrome with its many varying tones, so carefully worked is wonderful…
So here is my first attempt to produce an A3 size drawing 🙂 I am happy with the results but will keep working hard in order to refine this style of working with Charcoal as a medium ……
I also want to add some Acrylic painting works to the project but for now I am loving using Charcoal 🙂
I guess we always, no matter how long we have lived away from our place of birth feel that Home is Home!…
I have lived here in Ireland for almost two decades now but when it come to artists I still have two at the top of my list who lived and worked as artists in or around the greater Manchester area in the UK.
At the top of my list will always be Ls Lowry 🙂 I have a post on his work here Ls Lowry and here, If you want to know more about his life and work, Manchester has a great gallery (The lowry Gallery) dedicated to his life and his art work, its a fantastic Gallery and a great source for his history.
While I love the art work of LS Lowry the art work by my other favourite Manchester artist Travor Grimshaw has always been very much in my mind when I think of amazing drawings from the industrial past of the city Manchester, along with many other surrounding towns which at the time contained industrial landscapes such as Bolton.
What I like most about Grimshaw’s work is his ability to limit this images down to a single style and his limited use of materials – along with his his use of moody monochromes. I work a increasingly with drawings these days and love the feeling produced when just using medium’s such as charcoal or pastels along with graphite.
Here its like he knew perfectly well that these limited materials were perfect for representing the smoke and coal dust filled factory landscapes of the English north west and he stayed with these materials for the vast majority of this well know works.
Take this image (Two Telegraph Poles) for example, like a lot of his drawings and painting there is little subject matter in them, if you compare these images to the paintings of LS. lowry, these landscape are empty. There are none of the hundreds of people all going about their activities.
All the art work is done here by empty views that contain some of the most moody drawings I think I have ever seen ….
Here is a full description of Trevor’s life and his working career ….
Life and work
Grimshaw was born in Hyde, Cheshire in 1947 and studied at the Stockport College of Art from 1963 to 1968. He developed a unique style working in oils, charcoal and graphite to produce atmospheric, stylised images of the Northern industrial landscape, mainly in monochrome.
As a child he had a passion for steam engines and trainspotting, which continued into adulthood; for example he made the journey to the scrapyard at Barry in South Wales which held hundreds of steam locomotives awaiting scrapping, and made a personal photographic record of the occasion, 34 photo images being used in his publication “Stilled Life”. Much of his work overall features steam engines.
He spent much of his working career at Manchester advertising agency Stowe Bowden Ltd.
Grimshaw exhibited widely in the UK (including at the Royal Scottish Academy and the Royal Academy in the 1970s) and in the US and Germany. His work was included in the private collections of L.S. Lowry, Edward Heath (two drawings purchased in 1973), the Warburton (Bread) Family and Gerald Kaufman MP., and he is represented in a number of public collections, including The Tate Gallery, Salford Art Gallery, Stockport Art Gallery and Bury Art Gallery.
He illustrated The Singing Street, a book of poems by Mike Harding, and executed limited edition lithographs for Christie’s Contemporary Art. He also did the title slide images for the early BBC Great Railway Journeys of the World series. Artist Geoffrey Key described Grimshaw, a long time friend, as “one of the most important graphic artists working in the north during the last half of the 20th century”.[This quote needs a citation]
While Grimshaw is most celebrated for his black and grey graphite portrayal of post-industrial Britain (e.g. canals, cityscapes, viaducts, steam trains) his portfolio included diverse other subjects such as megaliths, Stonehenge, quarries in North Wales, motorway construction and the solstices (often in combination). Colour treatment was largely reserved for Cheshire landscapes, and pictures of Clarice Cliff ceramics.
L.S.Lowry attended one of his earliest exhibitions, buying three of his major early works to hang alongside his small collection of Pre-Raphaelites. Grimshaw became a regular visitor to Lowry’s home in Mottram.
In 1973 the North West Arts Association published Townscape: Trevor Grimshaw, a book reproducing 30 drawings. In 2004 a major retrospective exhibition was held at Stockport Art Gallery.
By the time of his death, in a house fire in November 2001, Grimshaw had become an alcoholic and a reclusive figure. He held his last show in 1997 in the County Museum and Art Gallery at Prostejov, Moravia, Czech Republic, his 50th show in his 50th year.
Grimshaw’s daughter organised a retrospective exhibition of her father’s work, which took place from February to May 2004 at Stockport Art Gallery.
In June 2014 an exhibition of his paintings, organised by family friend (and owner of the collection).
Ceridwen Grimshaw (Trevor’s youngest daughter) recently discovered negatives taken from Grimshaw’s 1970’s 3 trips to Barry Scrapyard (see above). Almost 100 of these images were unused and 90 will be exhibited at Stockport War Museum and Art Gallery from 11 May 2019 to June 15, titled “Trevor Grimshaw – Unseen Barry Photographs”. Grimshaw’s intention was to show the effects of Barry’s salt air on over 100 steam locomotives awaiting scrapping (although most were eventually saved).
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).
Christ of Saint John of the Cross, by Salvador Dalí 1951, Kelvingrove Art Gallery and Museum, Glasgow
At the start of May this year (2017) I visited the Kelvingrove Art Gallery and Museum in Glasgowm, there are many great works of art there, including a full collection of works by the Glasgow boys group of artists, I will share some of their paintings very soon.
One of the most famous works of art in the Gallery is “Christ of Saint John of the Cross, by Salvador Dalí painted in 1951”, the painting has its own viewing room with subdued lighting and a set of seats, so you can spend sometime viewing this amazing work of art by Dali. It was while in this room that I captured the above image of the painting.
There is something deep and spiritually moving about this painting even if your not a believer in its subject matter.
Here are some details :
Christ of Saint John of the Cross is a painting by Salvador Dalí made in 1951. It depicts Jesus Christ on the cross in a darkened sky floating over a body of water complete with a boat and fishermen. Although it is a depiction of the crucifixion, it is devoid of nails, blood, and a crown of thorns, because, according to Dalí, he was convinced by a dream that these features would mar his depiction of Christ. Also in a dream, the importance of depicting Christ in the extreme angle evident in the painting was revealed to him.
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ’s arms; the circle is formed by Christ’s head). The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do exist in the “three” but in the four, merry they be.
On the bottom of his studies for the painting, Dalí explained its inspiration: “In the first place, in 1950, I had a ‘cosmic dream’ in which I saw this image in colour and which in my dream represented the ‘nucleus of the atom.’ This nucleus later took on a metaphysical sense; I considered it ‘the very unity of the universe,’ the Christ!”
In order to create the figure of Christ, Dalí had Hollywood stuntman Russell Saunders suspended from an overhead gantry, so he could see how the body would appear from the desired angle  and also envisage the pull of gravity on the human body. The depicted body of water is the bay of Port Lligat, Dalí’s residence at the time of the painting.
The painting and intellectual property rights were acquired for Glasgow Corporation in the early 1950s by Tom Honeyman, then the Director of Glasgow Museums. Honeyman bought the painting for £8,200, a price considered high at the time although it was less than the £12,000 catalogue price, and included the copyright, which has earned Glasgow Museums back the original cost many times over.
The purchase was controversial and a petition against it, arguing that the money should be spent on exhibition space for local artists, was presented to the City Council by students at Glasgow School of Art. The controversy caused Honeyman and Dalí to become friends, corresponding with each other for many years after the original acquisition.
The painting first went on display at the city’s Kelvingrove Art Gallery and Museum on 23 June 1952. In 1961 a visitor attacked the painting with a stone and tore the canvas with his hands. It was successfully restored over several months by conservators at Kelvingrove and returned to public display. In 1993, the painting was moved to the city’s St Mungo Museum of Religious Life and Art, but returned to Kelvingrove for its reopening in July 2006. It won a poll to decide Scotland’s favourite painting in 2006, with 29% of the vote.
It is said that the Spanish government offered £80 million ($127 million USD) for the painting.
This painting has continued to generate controversy. At the time of its purchase by Honeyman, the verdict by Modern Art critics was that producing such a traditional painting was a stunt by an artist already famous for his surrealist art. In 2009 The Guardian art critic, Jonathan Jones, described it as “kitsch and lurid,” but noted that the painting was “for better or worse, probably the most enduring vision of the crucifixion painted in the 20th century.”
In May 2013, in BBC Radio 4’s Great Lives, British poet John Cooper Clarke described this image as being utterly different from any other image of the crucifixion, as the angle of view conveys the hanging pain of this method of execution, whilst hiding the ordinarily clichéd facial expressions normally seen in such depictions.
At the end of last week I posted an introduction about the artist LS Lowry, he is one of my favorite artists and from my home town of Manchester in the UK. I have started a full study of his work and intend to post a few times relating to his artistic development as well as the different styles he worked in and area he selected for his art works.
It think its important to match Lowry with his night school teach Pierre Adolphe Valette, who was a French Impressionist painter. His most acclaimed paintings are urban landscapes of Manchester, now in the collection of Manchester Art Gallery. Today, he is chiefly remembered as L. S. Lowry’s tutor. I post here some of his painting as they cover a lot of the inner Manchester city areas that Lowry also later work in.
L S Lowry is known mostly for paintings,however the artist valued his drawings just as much.
Lowry was concerned with the qualities of line and tone. He continued to draw compulsively until the last years of his life, producing a huge range of works. His work does not just consist of his industrial scenes, but also includes highly finished drawings of the life model, careful portrait studies, rapid sketches made on location and harming sketches of children and dogs.
Lowry did not merely see drawing as a means to an end in producing his paintings, but as a significant and worthwhile medium in its own right. He would often makPierre Adolphe Valettee sketches, in situ or from memory, and later produce a much more detailed, fine piece of art from this sketch. In his early work, Lowry drew in a very strict and linear style, with little or no shading. Over time, however, he came to prefer a technique of rubbing out and over-drawing. Lowry would rub heavily worked areas of tone with his finger to achieve a dense velvety smoothness.
This technique of layering often gave his work a sense of ghostliness especially where traces of an earlier drawing can be seen underneath. Lowry did use mediums other than pencil for his drawings and his collection of work includes pastel, chalk, pen and ink, felt-tip and biro drawings.
Lowrys Night school teach was Pierre Adolphe Valette, when Lowry became a pupil of Valette he expressed great admiration for his tutor, who taught him new techniques and showed him the potential of the urban landscape as a subject. He called him “a real teacher … a dedicated teacher” and added: “I cannot over-estimate the effect on me of the coming into this drab city of Adolphe Valette, full of French impressionists, aware of everything that was going on in Paris
Valette’s paintings are Impressionist, a style that suited the damp fogginess of Manchester. Manchester Art Gallery has a room devoted to him, where the viewer may compare some of his paintings with some of Lowry’s, and judge to what extent Lowry’s own style was influenced by him and by French Impressionism generally.
The Lowry hosted an exhibition of about 100 works by Valette, alongside works by Lowry, between October 2011 and January 2012. It included paintings of Manchester from Manchester Art Gallery and loans from private owners.
I feel that you can see just how well these two artists click in the night school classes, as the influence that Valette had over Lowry clearly stayed with him all his artistic life ….
The Painting of Pierre Adolphe Valette
More painting by Pierre Adolphe Valette here
Selection of drawing by LS Lowery
At the start of January while I was back in my home town of Manchester in The UK, I spent sometime with family members in visiting the Lowry Gallery in Salford, Manchester, UK.
Lowry is a much loved English artist, particularly in the North west of the UK, being born in Stretford, Manchester.
Here are some basic details about him,
Laurence Stephen Lowry was born 1 November 1887 in Barrett Street, Stretford. His father, Robert, worked as a clerk in an estate agent’s office. His mother, Elizabeth, was a talented pianist. By 1898 the family were living in Victoria Park, a leafy suburb in south Manchester, but in 1909 financial difficulties necessitated a move to Pendlebury, an industrial area between Manchester and Bolton. Lowry’s mother hated it, and so did Lowry, but, ‘After a year I got used to it. Within a few years I began to be interested and at length I became obsessed by it.’
After leaving school Lowry took a job as a clerk with a Manchester firm of chartered accountants, Thomas Aldred and Son. In 1910, after being made redundant from a second job, he became rent collector and clerk for the Pall Mall Property Company and stayed there until his retirement in 1952.
As a child he had enjoyed drawing, and he used part of his income to pay for private painting lessons with the artists William Fitz and Reginald Barber. In 1905 he began attending evening classes at Manchester Municipal College of Art. His tutor in the life drawing class there was the Frenchman Adolphe Valette, who brought first-hand knowledge of the Impressionists, such as Claude Monet and Camille Pissarro to his classes. ‘I cannot over-estimate the effect on me at that time of the coming into this drab city of Adolphe Valette… He had a freshness and a breadth of experience that exhilarated his students.’
By 1915 Lowry had begun attending evening classes at Salford School of Art, based in the Royal Technical College on the edges of Peel Park. One of his tutors there, Bernard Taylor (art critic for the Manchester Guardian) advised Lowry that his paintings were too dark. In response, Lowry tried painting on a pure white background, a technique he was to retain for the rest of his career.
Peel Park, and the views across it from the Technical College windows, appear regularly in Lowry’s work. He had begun to see the possibilities of painting what he saw on his doorstep, rather than more conventional landscapes based on the countryside nearby. The best known story Lowry told of how he became interested in the industrial scene described how, after missing a train at Pendlebury station, he saw the Acme Spinning Company’s mill turning out, ‘I watched this scene – which I’d looked at many times without seeing – with rapture.’
A closer study of Lowry
Over the next few days and weeks I want to take a much closer look at the paintings and drawings that Laurence produced, looking at the subjects that he worked with and the technique’s he used to record his world.
As an artist he has been labeled and stereotyped as a naïve “Sunday painter”, based on the way he painted his landscapes and drew people along with animals.
During this visit to the Lowry Gallery however and with the help of the guided tour, it became very clear just what a complete artist Lowry was. Having a chance to see a collection of his work from his very early days at night school, until the final works of art he produce has helped to show me just how diverse and skilled an artist he was.
The areas of his work I want to study can be seen in his work I have selected below, including (Life drawing, pencil sketches, oil paints, landscape and city scape work), I will enjoy very much looking at his art work and I hope to learn a great deal from him, for my own efforts at drawing and painting.
Art works by LS Lowry
Friday Art reviews
Back in the Summer I did a weeks worth of posts that related to some of the artists I like the most. I really enjoyed doing the research behind these posts and so I want to start looking at some more artists and their work , In the long term I am planning to put each Friday aside for these posts, this December however I may post a lot more than one day per week, as I want to dig a lot deeper into the subject of landscape and cityscape art and artists ……
Artist Edward Bawden
British Artist Edward Bawden, one of a group of artists associated with a community of artists that existed around Great Bardfield in Essex, England during the middle years of the 20th century.
Great Bardfield :
is a village in north west Essex, England. The principal artists who lived there between 1930 and 1970 were John Aldridge RA, Edward Bawden CBE RA, George Chapman, Stanley Clifford-Smith, Audrey Cruddas, Walter Hoyle (principally a printmaker, who ran the printing workshops at Cambridge Art School when I was there, and taught me to do linocuts in the style of Bawden and himself), Eric Ravilious, Sheila Robinson, Michael Rothenstein, Kenneth Rowntree and Marianne Straub. Other artists associated with the group include Duffy Ayers, John Bolam (who taught me painting at Cambridge Art School, and later became the Principal of the school), Bernard Cheese, Tirzah Garwood, Joan Glass, David Low and Laurence Scarfe. Great Bardfield Artists were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives art community in Cornwall, who, after the war, were chiefly dominated by abstractionists.
Edward Bawden (1903 – 1989)
can be seen as a key artist in the Bardfield group. His long career spanned most of the twentieth century, and comfortably straddled boundaries and borders between the fine and applied arts, boundaries which are seen as so immovable today. Even before his appointment as an Official War Artist in 1940, Bawden had established a reputation as a designer, illustrator and painter. As well as these areas his output over the years include murals, posters, designs for wallpaper, ceramics, lithographic prints and watercolours.
Edward Bawden was born in Braintree, Essex in 1903, and was perhaps more firmly rooted in Essex than any other artist represented in the North West Essex Collection. Bawden attended the Friends’ School in Saffron Walden. At the age of eleven he strained his heart and was excused participation in sports. This may have allowed him to devote more time to drawing, and his portraits and caricatures attracted the attention of his tutors who arranged for him to spend a day a week at the Cambridge School of Art. The school, now part of Anglia Ruskin University, had been founded to comply with the Ruskinian philosophies of improving design for industry, and encouraging amateur aspirations. Bawden fitted perfectly.
Before long, he had gained entry to the Royal College of Art. Here he was taught by Paul Nash (a lasting influence on Bawden and his contemporaries), and the popular E. W. Tristram. It was at the RCA that Bawden first met his ‘kindred spirit’, Eric Ravilious, the two quickly becoming firm friends, though entirely different in temperament. Shortly after leaving the college, the pair gained a prestigious commission to paint a mural for the refreshment room of Morley College in London. He first rented half of Brick House, the imposing Georgian house in Great Bardfield in the mid-1920s with Ravilious, and after his father purchased the whole house for him on his marriage to Charlotte Epton in 1932, he continued to live there until moving to Saffron Walden in 1970 after Charlotte’s death.
On a Personal note …..
I really like Edwards London market prints, his use of limited colour and strong geometric shapes, to me this is print making at its very best. They are almost poster like yet retain strong connections to art not commercial based prints.
I like very much the sense of movement and activity that he captures from the people he includes in these prints, you can almost hear the noise and imagine the chatter that is taking place, the sound of wheels on the flag stones. The cold in the winter and the heat of the city in the summer.
These prints are full of life and capture London markets in 1967 in an almost timeless way 🙂 🙂
In 1967 Bawden made a series of six prints of London markets, commissioned by Curwen Prints. The markets were Billingsgate, Borough, Covent Garden (2), Leadenhall and Smithfield:
Joseph McWilliams PPRUA
I am taking time this week to do a study of some landscape artists/photographers who’s work I very much like very much.
I feel the need to take a look at the work of the artists I know of again, who use the landscape of Ireland both North and South along with the British Isles, in there drawings and painting and Photographs.
I first came across the art work of Joseph McWilliams when I visited an exhibition called “Landscapes north and south”, the the exhibition was held at the Glebe House Gallery, County Donegal.
A little about : Joseph McWilliams PPRUA
Joe McWilliams was born in Belfast in 1938. He studied at the Belfast College of Art and at the Open University. Later he lectured in Art Education at the Ulster Polytechnic in Belfast and was Senior Lecturer and Senior Course Tutor at the University of Ulster. Since 1986 he and his wife, artist Catherine McWilliams have managed the Cave Hill Gallery, Belfast. He has had numerous solo exhibitions and has been represented in major Irish group shows both in Ireland and abroad; Recently his work was seen in an exhibition entitled ‘Dreams and Traditions: 300 Years of British and Irish Painting’ from the Ulster Museum Collection which toured the USA in conjunction with the Smithsonian Institute, Washington. His work is held in numerous collections including: NI Arts Council, Queen’s University, Coras Iompair Éireann, the Department of the Environment (NI), AIB, the National Self Portrait Collection of Ireland.
McWilliams is a regular lecturer and broadcaster on the Visual Arts in Northern Ireland and has been invited to speak on the Arts a number of times in Boston, USA. He has also published articles and reviews on the subject. He has written many scripts for BBC radio and has presented, his own script “The Way that I Went” which was seen on BBC world services as well as locally and in Britain. His own work has been exhibited at a variety of venues in Ireland, Britain, Europe and the USA. He is perhaps best known for his paintings of ‘The Troubles’ evidenced in exhibitions such as ‘Art for Society’ Whitechapel Gallery, London; ‘Documenta 6’ Kassel, W.Germany; ‘A Troubled Journey 1966-1989’ and ‘Colour on the March’ both at the Cavehill Gallery, Belfast.
I liked Joseph’s paintings very much for both their painting style and the fact that he used the world around himself for subjects to paint, even using his own back Garden for much of his work.
Here I link to his web page http://www.josephmcwilliams.com/, for some of the painting I like the most.
About Peoples Art
At least once a year I try to visit the Peoples art exhibition and sale at St. Stephen’s Green in Dublin , this is a great day for an art lover as its one of the biggest open air art displays in Europe.
The images posted here are all taken on a very warm summers afternoon and I got lots of great images of the artists and their work along with getting to see some great painting and drawings from Landscapes to portraits.
People’s Art Dublin is a voluntary, part time, non profit making group, brought together by Dublin City Council to promote the visual arts to the public of Dublin. Each year after expenses are paid, donations are made to various charities.
The co-operation and assistance of Dublin City Council and The Office of Public Works ( OPW ) , which makes these events possible, is gratefully acknowledged by all the artists involved.
Any artist can apply to exhibit but there are some rules that apply, it costs each artist just €25.