And so, in 1999, I felt the need to celebrate with this set of colourful, impasto gouache sketches, done as postcards; intended to express our sense of freedom and joy at the regaining of our lost paradise. But never in our wildest dreams could we have imagined, even in that seminal year of 1999, just quite how fortunate we really were…
Not until experiencing the madness of three months of semi-house arrest in a small Oxford apartment (I refuse to dignify the “L” word by using it), followed by the oddly, even more disturbing new “normality”, did we truly grasp how blessed we are to have our little, private, mask-less, socially intimate, sanctuary of peace and sanity.
(I should add, that I still have the entire original set of 10 postcards, signed, titled and dated, and in near-mint condition, and far brighter and more charming in real life. I had originally intended to send them to select friends and family, but for some reason never got around to it. So now, I would be happy to sell them as a set for £200 – or other currency equivalent – plus postage. If anyone is interested please contact me through the “Purchasing artwork” link at the top of this page.)
In 1983 I painted one of my largest oils on canvas, and at over seven feet high (about 2.1 meters) it was certainly the tallest oil I ever did. It dates to the height of my post Saint Martin’s landscape period, intended as the centre piece for a proposed exhibition of my works at the Israeli embassy in London (why that show never materialised is a story for another post). At the time, I still harboured a naive ambition to become a sort of 20th century successor to artists like Claude Lorraine and William Turner, and was thus obsessed with the spectacular, the epic and visions of the sublime. As with the subject of an earlier post , I was still, at this stage, exclusively applying the paint with brushes, and consequently, my pictures could take weeks to complete.
Mount Meron from Sefad manifested as one of the more arduous pictures I painted, taking around a full month from sketch to final brush stroke. But, it was also one of the most satisfying experiences of my painting career as regards both making the painting, and my contentment with the finished work. My “technical intention” had been to draw the viewer in from the bottom of the picture and then send them on a virtual journey down into the valley and then upwards towards the distant mountain. My “intellectual intention” had been to stir the mind of viewer by the use of “sublime” tonality and rich graduated colour. Whether or not I succeeded as well as I believed back then is hard to tell without standing in front of the painting itself (last I heard, residing on the walls of a private home somewhere in France), but from the little one can tell from this format I didn’t do too badly.
Ten years later, toward the end of 1993 I made another large oil painting of another mountain, but for very different reasons, and with a very different approach. Around the mid to late 80’s I’d become bored with brushes and moved on to the more immediate and primal method of applying thick daubs of paint with palette knives. My mostly large canvases, were still spectacular and even epic, but “the sublime” had been replaced with raw painterly passion. The spacial illusion of the former supplanted by a flat tapestry of thick impasto.
[Mount] Maroma Sunbathed turned out to be the final large scale oil on canvas I ever painted – or “knifed” (about 4 foot square). I did it the first day my studio was set up in our then-brand new house in southern Spain. After eight long, hard months of building the house and living rough the work was a celebratory expression of pure joy and relief. I merely pointed the easel at the mountain across the gorge from our home and proceeded to pictorially express the view before me. It took only about two hours, from start to finish.
Two oil paintings of two different mountains; executed in two hugely contrasting styles, separated geographically by 3000 miles and ten years in time. But here’s the funny thing; the genuinely wondrous thing. For, totally unbeknownst to me until I prepared and researched this post; I was painting two mountains with the same name!
Briefly; the name of the Galilean mountain, Meron is recorded in the Bible, in which it is also known as Merom, which itself (and this is the bit I was ignorant of until very recently) is an ancient Hebrew derivation from the earlier Canaanite Maroma.
The Canaanites in question were either identical with, or at least closely related to the Phoenicians of ancient Lebanon, and who ruled over what later became Galilean Israel well into the time of the early Israelite kings – perhaps as late as around 950 BCE.
About 800 BCE, Phoenicians settled along the southern and south western coast of Spain and quite possibly, in a way identical to European colonisers of the New World, brought the place names from their old world with them for recycling in their new land.
Bearing in mind the similarities the settlers would have noticed between the two mountains; both being the tallest in their native locales (the Galilee and the Axarquia respectively) and both sharing strikingly similar physical form, it seems highly plausible that they named their new mountain after the original Maroma.
This is at least as plausible as the currently accepted theory, that the word maroma (which means a rope or a cord, or a twisted flax in modern Spanish) has vague Arabic origins, but with no apparent etymological evidence for such a linkage. Far more likely it seems to me, that just as the Phoenicians indisputably named the nearby city of Malaga (Malaka – mlk), so too they named the region’s most imposing mountain, Maroma! The fact they were the subjects of my two most ambitious mountain landscapes proves nothing on the other hand, but it is one hell of a coincidence…