A painter living in the wilds of Yorkshire (Sheffield, so not really 'wilds' as such). Has been painting for 15 years, properly established in 2008.
Visit my portfoilio website at www.artbyandyonline.com

Wednesday, 30 November 2016

Alain De Botton - 'How to Make an Attractive City', 'The Ruin of London'

Though obviously London centric the following videos presented by Alain De Botton are saliant views of city planning and some of the huge errors that have been incured in recent years and how to mititgate such errors.

Alain De Botton: 'How to Make an Attractive City' - We've grown good at making many things in the modern world - but strangely the art of making attractive cities has been lost. Here are some key principles for how to make attractive cities once again



Alain de Botton: 'The Ruin of London' - London's skyline was for decades protected by regulations governing the heights of buildings in the historic core. These regulations have now been torn up, and an unprecedented tower building-boom has been unleashed.

The ghastly tragedy of the suburbs - TED talk by James Howard Kunstler

James Howard Kunstler is an author who stirs up strong feelings. In this TED talk he is deliberatly provocative in tone and wants to elicit feelings when talking about architecture and town/city planning, something which has been leeched out of all conversation around those spheres. You may agree or you may disagree, but whatever you think this is well worth a watch to my mind.




I highly recommend Kunstler's 1994 book 'The Geography Of Nowhere: The Rise And Decline of America's Man-Made Landscape':

click here to buy at Waterstone's online Marketplace


'The Geography Of Nowhere: The Rise And Decline of America's Man-Made Landscape', 1994
By James Howard Kunstler
ISBN-13: 978-0671888251 (Out of print)

I came across this book when looking for writing about cities going through huge moments of change. The title alone had me hooked.

This following general synopsis from the Waterstone's Marketplace Online describes the book perfectly -

"Eighty percent of everything ever built in America has been built since the end of World War II. This tragic landscape of highway strips, parking lots, housing tracts, mega-malls, junked cities, and ravaged countryside is not simply an expression of our economic predicament, but in large part a cause. It is the everyday environment where most Americans live and work, and it represents a gathering calamity whose effects we have hardly begun to measure. In The Geography of Nowhere, James Howard Kunstler traces America's evolution from a nation of Main Streets and coherent communities to a land where every place is like no place in particular, where the city is a dead zone and the countryside a wasteland of cars and blacktop. Now that the great suburban build-out is over, Kunstler argues, we are stuck with the consequences: a national living arrangement that destroys civic life while imposing enormous social costs and economic burdens."

(Though 'out of print' it is available to buy online from the Waterstone's Marketplace here.)

Also see -
'Home from Nowhere: Remaking Our Everyday World for the 21st Century', 1998
by James Howard Kunstler
ISBN-13: 978-0684837376
Abebooks link

'The City in Mind: Notes on the Urban Condition', 2003
by James Howard Kunstler
ISBN-13: 978-0743227230
Abebooks link

Kunstler's website - http://kunstler.com/


Friday, 25 November 2016

Some Views of the Show

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/view-of-show-before-launc-h.html )











Panoramic view (use bar to scroll horizontally)



Prints are available to buy from the show


I'm glad to say that with this new show I have 4 prints available to buy printed by Louisa and James of Go To Design.


Clockwise from top left - 'Good to Go II', 'Tram Tracks', 'Bus Stop', and 'Alley'

Each individual print is 50 x 50cm (5cm gap around each side). Printed on 230gsm archival paper. The price is £45 (postage and packing is an extra £6).

To buy or for further information click here

For an example of how good Go To Design have been with the quality of the prints do look at this following comparison image (painting on the left, print on the right).


Ax

Some Night Paintings of John Atkinson Grimshaw

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/some-night-paintings-of-john-atkinson.html )

I'm embarrassed to say I have very little knowledge about the painter John Atkinson Grimshaw. Though I have seen odd pieces of his work before it's only been within the past 2 years that I've begun to actively look at it.


John Atkinson Grimshaw
'
October Gold' (1889)
Oil paint on canvas,
59 × 44.5 cm 
for more details see here - link

Brief history via wikipedia - https://en.wikipedia.org/wiki/John_Atkinson_Grimshaw
John Atkinson Grimshaw was born 6 September 1836 in Leeds. In 1856 he married his cousin Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the Great Northern Railway to become a painter. He first exhibited in 1862, mostly paintings of birds, fruit and blossom, under the patronage of the Leeds Philosophical and Literary Society. He became successful in the 1870s and rented a second home in Scarborough, which became a favourite subject...Grimshaw's primary influence was the Pre-Raphaelites ... In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the studio of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that  "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures".
During the 1870's when Atkinson Grimshaw lived in London he worked under the influence of James Tissot and was associated with the "art for art's sake" Aesthetic Movement  (other notable associates Aubrey Beardsley, Oscar Wilde) whose aims were to support the emphasis of aesthetic values more than social-political themes for literature, fine art, music and other arts. This meant that Art from this particular movement focused more on being beautiful rather than having any deeper meaning. There is very little social comment which takes place within his work. It can appear that he is looking at his world with quite an alienated dispassionate eye.

I don't want to deconstruct Atkinson Grimshaw's work in this blog. merely to provide a very brief introduction and present some examples that I find extremely engaging and hope that you will do too



John Atkinson Grimshaw
'Autumn Morning' (?)
Oil paint on canvas, 76.2 × 50.8 cm
for more details see here - link


John Atkinson Grimshaw
'A Yorkshire Lane in November' (?)
Oil paint on canvas,
54.6 x 43.2 cm
for more details see here - link


John Atkinson Grimshaw
'Greenock Dock' (?)
Oil paint on canvas, ?
for more details see here - link


John Atkinson Grimshaw
'Evening, Whitby Harbour' (1893)
Oil paint on canvas
for more details see here - link


John Atkinson Grimshaw
'Nightfall Down the Thames' (
1880)
Oil paint on canvas, 40.2 x 63.1 cm
for more details see here - link


John Atkinson Grimshaw
' Old Scarborough, Full Moon, High Water' (1879)
Oil paint on canvas ,
53 x 93 cm 
for more details see here - link


John Atkinson Grimshaw
'The Harvest Moon ' (1872)
Oil paint on canvas, 50.8 x 76.2 cm
for more details see here - link




Links for further interest
Wikipedia Links - John Atkinson Grimshaw - https://en.wikipedia.org/wiki/John_Atkinson_Grimshaw
Wikiart - John Atkinson Grimshaw - https://www.wikiart.org/en/john-atkinson-grimshaw
Google image search - John Atkinson Grimshaw - link

Whistler's Nocturnes

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/whistlers-nocturnes.html )

James Abbott McNeill Whistler (1834–1903) is a painter whose work has had a huge impact and followed me all the way through my painting career. During my studies in the early 1990's I was often able to visit the Tate Gallery (Tate Britain). I always remember being swept by the sensation of seeing large art pieces screaming for attention, all wanting to convince, shock, and/or entertain to a point of being overwhelming. However, there was always one painting on display which rather than existing on the large monumental scale existed in the relatively small. Whistler's 'Nocturne: Blue and Silver - Cremorne Lights' of 1872. It did not shout for attention it was not aiming to entertain. It was a painting whose aims included contemplation but also had an undefinable something else. A painting that was avowedly introverted.



James Abbott McNeill Whistler
'Nocturne: Blue and Silver - Cremorne Lights', 1872
Oil paint on canvas, 50.2 x 74.3 cm
for more details see here - link


The summary that accompanies the painting on the Tate website (link) -
Whistler's aim in this picture, as in all his Nocturnes, is to convey a sense of the beauty and tranquility of the Thames by night. The epithet 'nocturne' was first suggested by Frederick Leyland, since it conveys the sense of a night scene, but also has musical associations. The expression was quickly adopted by Whistler, who later explained,

    By using the word 'nocturne' I wished to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of line, form and colour first' (quoted in Dorment and MacDonald, p.122).

The composition of this work, with empty foreground and high horizon, relates closely to Nocturne in Blue and Silver - Chelsea (Tate T01571) of the previous year. The view is from Battersea Bridge, looking upriver towards Battersea on the left and the lights of the Cremorne Pleasure Gardens on the right. Whistler preferred the calm of the river at night to the noise and bustle of the Thames by day. With would set off in a rowing boat at twilight and sometimes remain on the river all night, sketching and memorising the scene. He never painted his Nocturnes on the spot, but rather from memory in his studio, employing a special material devised for painting swiftly in oils. He thinned his paint with copal, turpentine and linseed oil, creating what he called a 'sauce', which he applied in thin, transparent layers, wiping it away until he was satisfied.

This particular scene is painted over a composition of four or more robed figures. Whistler presumably rubbed down the figure composition before adding a thin layer of pinkish grey paint, with which he worked out the main features of the river scene. The expanse of blue sky and water, creating a phosphorescent surface right across the canvas, enhances the mood of peace and tranquility. The orange lights of the pleasure gardens twinkle in the distance, adding to the dreamlike atmosphere. The reeds and raft in the foreground are barely indicated, with deft, calligraphic strokes of paint. The influence of Japanese art is evident here, and also in the restricted palette, the economy of line and Whistler's characteristic butterfly signature on the right.

Frederick Leyland's suggestion of the nocturne name to Whistler was rooted in Chopin's series of Nocturne's between 1827 and 1846.

Chopin - The 21 Nocturnes as played by Claudio Arrau

Some other Nocturnes of note (public domain pictures via wikipedia and wikiart)- 


James Abbott McNeill Whistler
'Nocturne in Blue and Gold: Old Battersea Bridge' (c. 1872-1875)
Oil paint on canvas, 66.6 × 50.2 cm
for more details see here - link


James Abbott McNeill Whistler
Nocturne in Black and Gold The Falling Rocket' (c. 1874 - 1875)
Oil paint on canvas, 60.3 × 46.4 cm
for more details see here - link


James Abbott McNeill Whistler
'Nocturne in Gray and Gold, Westminster Bridge' (c. 1871-1874)
Oil paint on canvas,
47 × 62.3 cm
for more details see here - link



James Abbott McNeill Whistler
'Nocturne in Gray and Silver' (c. 1873-1875)
Oil paint on canvas, 51.4 x 31.1 cm

for more details see here - link




James Abbott McNeill Whistler
'Nocturne, Blue and Silver: Battersea Reach' (c. 1870 - 1875)
Oil paint on canvas, 49.9 x 72.3 cm

for more details see here - link



 James Abbott McNeill Whistler
'Nocturne, Blue and Silver: Battersea Reach' (c. 1872-1878)
Oil paint on canvas, 62.9 x 39.4 cm

for more details see here - link 


Links for further interest

Wikipedia Links

Tate Links

A Google image search Whistler's Nocturne paintings on - link
A Google Arts & Culture search for "Whistler + nocturne" - link

Sunday, 13 November 2016

Interviewed by Mick Biggs of Social Sheffield

I've been interviewed!

I recently met up with Mick Biggs of Social Sheffield (a very informative website detailing all kinds of contemporary what's on goodness ) where we had a chat and he interviewed me about some of the goings on behind the creation of my work. To see the resulting interview do have a look via the following link.
Ax

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/interview-by-mick-biggs-of-social.html )


Thursday, 3 November 2016

I'm in Exposed magazine's "Artist Spotlight" section for November 2016

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/im-in-exposed-magazines-artist.html )

I'm very very pleased to say that my painting "Alley" London Road, 2016, has been chosen for Sheffield's Exposed magazine's "Artist Spotlight" for November so to help highlight the upcoming show at Bank Street Arts. Great stuff!!


Please visit Exposed magazine online at the following link - http://www.exposedmagazine.co.uk/