IMELDA, BANQUETS AND LAMPSHADES…

and a tale of early “upcycling”

Regular readers of these pages will know that my wife Dido’s first career was as a professional ballerina, mostly, as a member of the touring arm of the London’s Royal Ballet; The Sadler’s Wells Royal Ballet (since renamed and relocated as the Birmingham Royal Ballet). Being the premier national touring company, the main remit of the Sadler’s Wells was to bring top-class classical ballet to all corners of the British Isles, otherwise starved of such elite spectacle. However, during foreign tours (which occurred about every two years), the company had the additional role of being artistic, cultural ambassadors for the United Kingdom. More often than not, when meeting the great and the good of other nations, this responsibility could seem like a perk, but on occasion, it was more of a burden, when the handshakes and smiles were purely diplomatic.

Perhaps the starkest (not to mention most surreal) example of the latter occurrence in Dido’s Sadler’s Wells career happened during the 1980 tour of the Far East (to South Korea, Malaysia, The Philippines, Singapore, Thailand and Hong Kong), during the company’s visit to The Philippines when they were hosted by the infamous Ferdinand Marcos, and – most especially – by his wife Imelda.

The self-proclaimed ex-diva and lover of the arts took a personal interest in the visit of the company, setting up their performances at her newly built Cultural Centre (part of the complex built for the visit of Pope John Paul to Manilla the previous year). She also attended all of their shows (including two matinees, they typically performed 7 times a week), and lavished the company with ostentatious hospitality. This included the dubious privilege, following the company’s final performance in The Philippines, of being invited to the Malacañang Palace for a banquet being held to honour another well-known visitor to Manilla, David Rockefeller.

The main banquet, with a full-service supper was held in the Heroes’ Hall, after which Imelda took the company upstairs, where she had laid on a disco, and more food – an enormous buffet – before the highlight of the evening, a tour of her shoe collection.

The first lady’s parting gesture, was to give every member of the company (over 60 dancers, management and crew all-told) goody bags, stuffed with an eclectic selection of gifts. While the audio-cassette of Imelda singing her “greatest hits” was merely an acquired taste, the set of teak salad bowls and servers were actually tasteful and useful (we use Dido’s to this day); but things like shell-decorated flowerpots (with accompanying plant), mahogany and shell-decorated light shades, were not only garish, but constituted a serious logistical problem for the already overladen company.

Ultimately, it was as much as people could manage, to schlep the unwanted extra luggage to the company’s next port of call, Singapore, where they were staying at the Mandarin Hotel. Thus, at the end of their stay there, rather than lug the goody bags to Thailand and beyond, all 63 company members left the pot covers and light shades in their rooms.

Two years later, the Sadler’s Wells returned to Singapore, and the Mandarin Hotel, where they were housed on the same two floors as on the earlier visit. To their collective astonishment, they found that all the rooms had been redecorated, and refurbished with Imelda’s light shades and flower pots! Who knew that the queen of shoes was also a pioneer of high-end upcycling – albeit, unwittingly – and as for her “greatest hits” cassettes, nobody knows what happened to them?

This was the menu for the main sit-down dinner and it’s worth bearing in mind that the meal started at midnight, following the company’s final performance immediately before. And all this on top of a matinee earlier in the day! The dinner took hours, including half-a-dozen speeches given by the hosts and the guests, all of zero interest to a bunch of exhausted dancers. Fortunately this was a Saturday night with Sunday off…
…Following the formal supper, Imelda took the company upstairs to her own private palace disco (she loved dancing) where she had also laid on this ginormous “after-dinner” buffet. While it’s true that dancers are generally ravenous after shows, this was all too much, even for them…
The first lady boogying with one of the company members. The disco (including a break for a tour of her shoe collection) lasted until almost daybreak…
…Waiting at the airport in Manilla to board the plane for Singapore, together with their goody bags…
Gisselle was one of the main ballets of the tour, and here is my lovely Dido in her costume, on stage at Manilla.

SYDNEY OR MELBOURNE?

LOCAL / NATIONAL RIVALRIES between urban giants

Cities that enjoy unrivalled pre-eminence within their countries are rare and especially in many of the lands of the newer worlds. As a native of London – a city which similarly to Paris and France, enjoys sole national supremacy – this phenomenon has always interested me. While this development seems natural in geographically enormous countries like Russia (Moscow and Saint Petersburg), China (Beijing and Shanghai) and the USA (New York City and Los Angeles) it is also true of smaller nations, such as New Zealand (Wellington and Auckland), Spain (Madrid and Barcelona) and Italy (Rome and Milan).*

City rivalries develop for a whole host of reasons, including geography, internal competing nationalisms, politics, local nationalisms, commerce and of course, history. Occasionally these rivalries can blow up into full blown rows, and given sufficient regional identity, even war. Often, newer countries with two or more “competing” cities have avoided potential trouble by creating distinct administrative/political national capital cities – such as Brasilia, in the case of Brazil (cf Rio versus Sao Paulo); or by elevating a non rival city to the same position – such as Canberra in the case of Australia (cf Melbourne versus Sydney). Even in newer countries with relatively long-established capitals, such as Washington DC (USA) Durban (South Africa), and Ottawa (Canada), these cities rarely evolve into their respective nations commercial or cultural urban powerhouses.

Presented below are my thoughts on three famous urban rivalries I am familiar with…

This image has an empty alt attribute; its file name is melbourne-v-sydney.jpg
MELBOURNE AND SYDNEY – I seem to recollect the late, great Clive James once describing Sydney as appearing like a fabulous jewel neckless from the air (or words to that effect), and while there’s no doubting that Australia’s largest city wins hands down in the beauty stakes, I have enjoyed my visits to its great rival, (and nearly as large) Melbourne far more. Apart from its truly iconic architecture and geography, Sydney seems parochial and dull compared to its cosmopolitan and vibrant Victorian neighbour. Not only is Melbourne the beating heart of the Aussie arts and culture scene (with all due apologies to the Sydney Opera House), it’s also the sporting capital; not just of Australia, but of the entire southern hemisphere; and not to mention, a gourmet’s paradise – I mean, where else in the world (including Greece) can one find a truly great Greek restaurant?!

This image has an empty alt attribute; its file name is toronto-v-montreal.jpg
TORONTO AND MONTREAL – With the risk of this beginning to seem like an exercise in contrary-ism, I often find myself not liking the cities I’m “supposed” to like, while preferring their less hyped rivals. In truth, this might have more to do with the fact that I have always had a conditioned reflex against hype of all kinds, in all walks of life. Thus, I guess that I was always going to be one of those oddballs who much preferred Toronto over Montreal. In fairness, and unlike with Melbourne and Sydney, there isn’t much to distinguish the two Canadian giants vis-à-vis appearances – although even the most die-hard Montreal lovers would probably own that Toronto’s lake-front profile gives it the edge in looks. No, it wasn’t the appearance of Toronto that got under my skin so much as, like Melbourne, it has that almost tangible zing of a happening, swinging town, in stark contrast to Montreal’s overwhelming atmosphere of stale lethargy. Moreover (and this also resembled the Aussie cities), whereas Toronto felt confident and assured, Montreal felt arrogant and complacent.

TEL AVIV AND JERUSALEM – Of the six example cities discussed here, I know these two the best. Having lived in Israel on two occasions and having spent months of my life in both towns, not only do I understand their “todays”, I also have a first-hand knowledge, going back half-a-century of how they got there. For all sorts of obvious, geo-political, geo-religious and geo-cultural reasons (far too complex and difficult to enter into here) Jerusalem is not so much a city, as an agglomeration of fractious urban communities, crammed uncomfortably into a relatively small area. For all its stunning beauty, this has been Jerusalem’s problem for the best part of the past 2000 years, and doesn’t look like resolving anytime soon. Everything about Tel Aviv however, exists in the starkest of all contrasts. While Jerusalem could be as much as four-thousand years old, Tel Aviv is barely one hundred! Whereas Jerusalem is defined by religion and cultural conservatism, Tel Aviv is aggressively secular and culturally progressive (in the good, true sense of the term!). While Jerusalem is aesthetically exquisite, Tel Aviv is an urban dichotomy of 20th century ramshackle and dusty, and 21st century jagged and shiny. The two cities could not be more different, and reveal the two faces of Israel. Which face the visitor prefers will depend much upon their own peculiar political and religious sensibilities. As for me, these days, in beautiful Jerusalem I feel disconcerted, saddened and alienated, while in ugly Tel Aviv, I feel energised and optimistic, and very much at home.

*Apologies to residents and fans of cities like Chicago and Vancouver, who could justifiably argue that in North American terms at least, I have overlooked these towns equally valid competing statures to those named – perhaps in the interest of preserving my hypothesis. However, while there can be no doubting either city’s cultural and commercial importance and influence, in a broad metropolitan sense, not to mention for sheer industrial and commercial might, they are dwarfed by the cities mentioned.

OUT AND ABOUT WITH FAMILY AND FRIENDS

Shortly after my mother Hannah passed away I discovered a large box full of old photographs, going back to before the turn of the previous century. Although they are primarily a record of my maternal family, they are actually so much more than that, as anyone can see from the small selection I have included here. In fact, they comprise a vivid documentary glimpse into the recent social history of London and south east England, before, during and following the Second World War.

For this post I have selected nine photos of assorted people enjoying various outings, from attending functions, and days out and about in London, to summer vacations, away from “The Smoke”. The expression, “a different world” hardly comes close!

The East End of London – circa 1927 – A group of dapper young men , attending a wedding. The diversity of the group is unusual for the time and not a little heartening. The extremely serious looking chap, second from the left is my grandfather, Harry Pizan. His contribution to this particular ethnic melting pot was his recent Galitsiye (Galician) ancestry; he himself having arrived in London from what was then known as Polish Austria (today’s southern Poland) as a two or three-year-old toddler about the turn of the century.
As the scrawls inform us, Margate – August, 1936 – and a large group of bathers, including my grandmother Becky, and her sister Ray; the two shower-capped ladies, arm in arm, toward the top left of the crowd. For those Americans (and others) unfamiliar with Margate of the 1930’s, perhaps think Coney Island?
The Thames at Tower Bridge – circa 1938 – At low tide, the muddy “beaches” along the river were popular places to lark around for London’s inner-city children. The sweet toddler here, slightly unsteady on her feet, is my late mother Hannah with her aunt Dora watching over her. A remarkable person in many ways, Dora only died last year at the age of 103.
West Sussex – circa 1938 – For several summers an extended part of our family visited a farm near Cuckfield in West Sussex. The three jockeys here include my uncle Sidney and his cousin Hazel, up front.
Tower of London – circa 1940 – Hannah again with her brother Sidney (rear) and foster-brother, Avraham, behind her. Avraham was a refugee from Vienna and on one of the first Kinder Transports. My grandparents, Becky and Harry fostered him, and then his two older sisters who escaped on a later transport. Heartbreakingly, their parents and a third, baby sister perished in the camps.
Somewhere in London – circa 1939 – This picture evokes a kind of “Brief Encounter” atmosphere, only with kids (Hannah and Sidney) and mothers and aunts (Becky – rear – and Eva – left), and no illicit lovers, or locomotive smoke, or Rachmaninov…but you sort of get what I mean…For goodness sake, just look at the two ladies either side! Pure Noel Coward characters if ever I saw them!
Possibly Southend (please correct me, anyone who recognises this particular pier…all suggestions on a sepia postcard) – circa 1940 – and a quintessential British summer holiday scene of the times, with a serious bucket and spade (no plastic here!) and a rubber, rubber ring. Cousins of my mum I believe, but not certain who…
Vicinity of Oxford Street – circa 1939 – I simply love this photograph, which has an almost tangible air of “day out” excitement about it. And as for Becky’s hat and coat – I never realised she’d been such a stylish young mum!
Possibly Hampshire – circa 1955 – Hannah, enjoying a miniature break!

MEET MY WATERLOO…

plus several other famous historical battles through the eyes of a battle movie crazy youth…

The Stand of the Phocians (Thermopylae) – pencil drawing – 1974 Drawn when I was thirteen, it is intended to show the Phocian’s vainly attempting to defend Leonidas’ rear from the Persian Immortals.

In addition to the remarkable Mary Poppins (1964) the other two films that first set my spirits soaring – though in a markedly different way to Mr Banks’ joyous kite – were The 300 Spartans (1962) and Zulu (1964)*. Like most little boys growing up in the 60’s (and some little girls too in my experience of the time), I was thrilled by epic cinematic depictions of battle. But, whereas movies like Ben Hur (1959), Cleopatra (1963) and even the extraordinary Spartacus (1960) did that Wagnerian thing of interspersing the brilliant battle and action scenes with boring half-hours of tedious “drama” (or so I thought as a child), The 300 Spartans and Zulu were vehicles for the (beautifully staged) battles themselves – Thermopylae and Rorke’s Drift respectively – with the drama, merely the filler. In other words, perfect films for little Adams everywhere.

The Charge of the Companions (Battle of Guagamela) – pencil sketch – 1975 – based on The Charge of Light Brigade by Richard Caton Woodville Jr (see below). I was fourteen when I did this, and even copied Woodville’s incorrect depiction of the horses legs (English-American photographer Eadweard Muybridge had yet to show how horses actually ran).

The most ambitious film ever made about a single battle was Sergei Bondarchuk’s enormous Waterloo (1970), which I first saw as a ten-year-old on its UK release. But even then, as much I was awestruck by the superlative battle scenes, I was irritated by the stodgy script (actually, just an endless seam of historical quotes) and the awkward caricaturesque acting, which lurched wildly between the histrionic French and the aloof British.

Waterloo – felt tip on paper – 1974 – This was all my own concept, and executed during an hour-long maths lesson when I was thirteen. Mrs Evans, my teacher liked the picture so much she merely shrugged her shoulders on seeing what I was doing and let me get on with it, muttering, “at least the boy is good at something…” as she walked back to front of the class.

With more modest budgets and far smaller casts, by canny use of camera angles, stunning photography, beautifully paced editing, and (certainly in Zulu’s case) thrilling musical scores, directors Rudolf Maté with his Spartans, and Cy Enfield with his handful of red coats, made films that felt far larger and much grander than they actually were.

A pencil sketch of Macedonian phalanx troops in a defensive position – not sure which battle, although the drawing dates from 1975. The poses are based on those of the British soldiers in Waterloo depiction by Félix Henri Emmanuel Philippoteaux (see below).

But perhaps the greatest testimony to the enduring appeal of all of the above is how well they stand up against their modern CGI equivalents. For example, Frank Miller’s 1998 Thermopylae film, 300 – allegedly inspired by Maté’s 1962 version – despite its having a virtual cast of millions and “authentic Spartans and genuine battle violence” is – apart from one or two scenes – utterly forgettable. Most interestingly of all is how “small” and claustrophobic the later, studio created film feels by comparison with its location-shot forerunner. And similarly, for all the earlier film’s wooden acting and heavily tableau’d dramatic interludes there is a dignity and humanity totally lacking in Miller’s animated comic book treatment.

Red Coats at Waterloo – pencil sketch – 1973. Based on Black Watch poses as depicted in The Thin Red Line by Robert Gibb (see below).

The pictures presented above date from about 1970 – 75, and reflect the obsession I had as a 10-14 year-old boy for attempting to recreate the battles that had thrilled me so much on the cinema screen. Sometimes, I would base my pictures on famous historical battle paintings, using the figures in the original artwork as templates for my own infantry and cavalry, often for battles of different eras. Those wonderful “templates” – all of which influenced my childhood self almost as much as the movies above, are included below.

The British Squares Receiving the Charge of the French Cuirassiers (at Waterloo) by Félix Henri Emmanuel Philippoteaux – 1874 – oil on canvas
The Charge of the Light Brigade by Richard Caton Woodville Jr – 1874 – oil on canvas
The Thin Red Line by Robert Gibb -1881 – oil on canvas

*Other films which are worth looking out for as noble – if imperfect – examples of pre-CGI historical battle movies are: Clive Donner’s 1969 Alfred The Great – a turgid film, but with decent battles; Tony Richardson’s 1968 Charge of Light Brigade – marred by Richardson’s anachronistic, relativist, anti-war message, laid on with a trowel, but largely successfully staged, and a genuinely epic charge; Cy Enfield’s return to Natal for his 1979 (“prequel” to Zulu), “grittier and more historically accurate” Zulu Dawn – compares poorly to the near-perfect Zulu, only proving yet again, that grit and accuracy (and vast numbers of extras) alone do not guarantee a great picture. Worth seeing though, just for the British scouts first sighting of the massed Zulu impis (11,000 warrior extras) – an astonishing cinematic moment.

Guilt – The Lone Survivor of Thermopylae – watercolour on paper – 1972 This is me taking huge dramatic license with the story of Othryades, the soldier sent home to Sparta, and who then committed suicide at a later battle.

Plus, two more CGI fiascos to avoid at all costs: Oliver Stone’s 2004 Alexander the Great – should be retitled, Alexander the Petulant, and as for the cartoon-filled battles!; Also, the woeful 2004 – Wolfgang Peterson’s Troy – which has to be the leading candidate for worst adaptation of a great and immortal work of literature ever executed. Brad Pitt’s appallingly miscast, pouting, kung-Fu-fighting super hero, isn’t even the worst characterisation in the film!!

This was another piece done illicitly during a school class – around 1971 – this time a French lesson. Mrs Sable, lacking Mrs Evan’s broadmindedness made me stop the moment she saw what I was doing. Hence the incomplete chart…

Finally, one exception to prove the rule, although CGI is mercifully absent from the superb opening battle scene, is Ridley Scott’s exceptional 2000 film, Gladiator (actually, a close reworking of Anthony Mann’s terribly dull, 1964 Fall of the Roman Empire) – which introduced the historical battle movie genre to a whole new generation of little Adams…

Napoleon’s Last Victory (the Guard advancing at Quatre Bras) – watercolour on paper – Circa 1974 Quatra Bras was battle that immediately preceded Waterloo, as the allies attempted to halt the advance of the French northward to Brussels – I based these “Old Grumblers” on the actors from the 1970 movie.

“HOPE SPRINGS ETERNAL…”*

as early signs of spring offer a little hope…

Despite some recent inclement weather, including frost and even a dusting of snow, the Axarquia is showing early signs of Spring. The pictures here, all taken over the past week, on and around our finca (small holding) in the foothills of the Sierra Tajeda remind us of nature’s imperviousness to the current dystopia we find ourselves condemned to inhabit for the foreseeable future.

Sometimes, pictures (even enhanced iPhone snaps) are far more eloquent than mere words…

Our hilltop finca, looking south west…
(Looking west) An almond tree, already in leaf
Marcona (almond) blossom…
(Looking north-east) Our local pueblo, Canillas de Aceituno, sitting beneath Mount Maroma and the Sierra Tajeda, from our house…
(Looking north-west) The pueblo of Periana and the Alfarnate countryside…
(Looking south-east) across our “main road” toward Arenas…
(Looking south-west) From our south vineyard, a neighbouring cottage and the Rio Velez valley beyond…
Fresh orange juice every morning, assured…
(Looking east-by-south east) But it’s the almonds stealing the show…
“Shepherd’s delight”? Here’s hoping…!

* From Alexander Pope (An Essay on Man – 1734)

SURFACE DEEP

expressive impressions

The “problem” of figures in landscape fascinated and challenged me in equal measure. After all, without the notion of a literal narrative theme to the picture, the human figure always seemed to be merely an additional element – actually part of the landscape that she/he inhabited. This was not to depersonalise the figure so much as to find a way to harmonise all the elements of the image, whether vegetation, rock, sky or/and living figures.

The Tiyul (Tour) Party – 1983 – oil on canvas – 102 x 153cm This was my first palette knife figures-in-landscape painting. It was on my-then-typical rose madder ground, and at the sketch stage when I decided to “attack” the canvas with the knife. It was applied in one session, lasting about 3 hours – I realised immediately, that speed, in combination with paint application was key. This remains my all-time favourite painting that I ever executed in oils.

From the time of the Impressionists onward, artists have found increasingly ingenious – even gimmicky – ways of resolving the problem. Artists like Renoir and Monet would blend their pictorial elements through a uniformity of paint daubs, and later, Seurat by “distilling” those daubs into dots. Then, Picasso and Braque contorted and warped their figures into the very space they inhabited, leading finally to Matisse, whose contrary method was to turn everything into a jigsaw of flat shapes.

The Swimmer – 1983 – oil on canvas – 122 x 122cm I found water to be a natural “animated” environment for my new “animated” figures. By now I had moved to a deep black ground, setting off increased colour contrasts.

My earliest representational combinations of figures with landscape in oil paint were none of the above, but both romantic, and traditional, whereby the figures inhabit their environment rather like actors on an enormous stage. And, while this was great for creating a form of visual counterpoint and deeply spatial scenic drama, it ignored the potential of the paint itself for creating a vivid, “living” surface.

Waiting to Jump – 1983oil on canvas – 92 x 61cm My new way of painting coincided with one of my longer trips to Israel. The previous picture, this painting, and the one below are all in and around the pool at Kibbutz Ayelet Hashachar, in the Galilee.

I must have painted dozens of such “theatrical” images when one day, I was confronted by a sketched ground for yet another scene of young people in Israel, and made a change of plan. It was a simple thing really, but with exciting consequences for the evolution of my art. I simply put down my brushes and picked up my favourite, medium-sized, trowel-shaped palette knife, and made the whole finished painting with that instead. The resulting picture was a revelation to me, with the paint, and the surface of the canvas elevated from a means to a pictorial end, to the end itself. In the process, the figures were transformed from “actors on a stage” into animated, vibrant entities, at one with their landscape. Suddenly, my pictures, and the figures within, looked alive.

The Jump – 1983 – oil on canvas – 122 x 105cm

Looking at these pictures now, with objectivity borne of time and distance, the significant influence of Impressionism is hard to dispute, yet my own, innate Expressionist instincts are equally evident, and even now, that still gives me a tingle of excitement and pride. Ultimately, they’re not half-bad, and that is all that really matters.

Family at Kineret – 1983 – oil on canvas – 122 x 98cm Kineret (The Sea of Galilee) was a recurring theme / backdrop to my Israel-sourced images. It’s atmospherics (light, colour and water) are an artist’s dream.

MOODY BLUES AND STORMY HUES…

…AND HOW I DERIVED SOMETHING POSITIVE FROM OUR MOST NEGATIVE EPISODE

The past twelve Covid-19-infested months included, by far the bleakest time my wife Dido and I have shared together was our enforced eight-month sojourn in Boulogne-Sur-Mer, back in the early 1990’s, described in earlier posts ( here and here).

The Distant Breakwater – oil on canvas – 1995

Yet, few circumstances, however dire, are so unremitting that they totally lack the odd moment of emotional uplift. And for us, in Boulogne, these moments were generally provided during our regular weekend strolls across the local beach.

The Harbour Entrance – oil on canvas – 1995

The proverbial bracing sea air (even when tainted by the odours emitting from the local fish cannery on the southerly breezes); the angry waters of the English Channel, inky blue-black beneath a vast sky of tumbling clouds; distant rain squalls appearing like grey curtains drawn across the serrated horizon; and shafts of silver sunlight occasionally breaking through the blanket of cumulous like spotlights illuminating a white flecked, cobalt stage in perpetual motion – all conspired to blast us temporarily from our glum mental state.

The Fish Cannery – oil on canvas – 1995

In a way similar to how blues music comforts and eases the spirit, by both reflecting back, and articulating the nature and source of the angst, so those tumultuous blue-tinged scenes reminded us of our innate love for life and the adventures it offers. The three palette-knifed oils here, painted a year or two later in my southern Spanish studio, celebrate those precious moments that gave us the reason and the energy to persevere. A particularly apposite recollection I think for these troubled times…

30 YEARS ON…

…but celebrations on hold

The picture which heads this little post shows a painting I did of my wife Dido’s mews house in Paddington, in the heart of London – the first home we shared at the outset of our thirty-two years together – and our current home, here on Finca Carmel. The contrast in the two dwellings forms a neat allegory for the rich diversity of our adventures over the past three decades-plus, and thus I thought it would make a fitting image for the milestone we reach this New Year’s Eve.

Like countless millions across the globe however, all the fabulous plans we had made by way of celebration, have been confounded by the new ‘C’ word, and thus delayed until some semblance of normality returns.

In the meantime, things as seemingly mundane as our olive harvest provide comfort and reassurance that much of the essential rhythm of life continues regardless of the actions of viruses and governments.

Wishing everyone reading this piece, a relatively happy New Year, and a much improved, celebration -packed 2021 and beyond!

THE FESTIVAL OF LIGHTS…

…DRAWN DARKLY

Another year passes, another Hanukkah arrives. For those unfamiliar with the story of the festival, I explain quite a lot about it here, in last year’s post. The reason it held a particular attraction to me as a child was – apart from the delicious foods, fun rituals and of course, the presents – was that it emanated from a period of history that fascinated me from an early age. So much did the story interest me in fact, that at some point, when I was about fourteen I decided to turn it into a comic strip.

Obsessed as I was with the actual history behind the story, rather than with the traditions and alleged miracles, I was keen for the strip to be as close to the ancient reality as possible. Hence, the “evil Greek soldiers” were less evil Greek, and more, ruthless, professional Macedonian mercenaries; while my “heroic freedom-fighter” Maccabees were more, (equally) ruthless, uncompromising zealots. Moreover, although the comic never made it that deep into the narrative, I intended to portray the Hellenised Jews, as less “treacherous collaborators” and more, worldly, pragmatic rationalists (one of which I would like to think I would have been myself!).

However, as was often the case with my juvenile projects, the initial flame of enthusiasm died out before I’d really got going – in this case, after barely the first two pages.

Nevertheless, it remains fun to look at now, and had I finished it, with its austere red-to-black tonality, it might have emerged as an early example of the graphic novel.

In the meantime, I wish all my Jewish readers a very happy, healthy and peaceful Hannukah, and a very merry Christmas to everyone else!

WALKING AWAY – AGAIN

another look at the art of painting from photographs…

The two pictures presented below have both featured in previous posts (here and here), but neither with their template photographs. The “Walking Away” is particularly interesting to me as it has the penned grid over the girl drawn onto the photo itself. Generally, as far as I recall, I would use a sheet of tracing or acetate paper over the photo so as not to ruin it. But, for some reason I didn’t bother in this case. The fact that I only “gridded” the girl is reflected in the relative freedom of the landscape painting. The skiing scene mountain-scape by contrast is much more faithful to the original photo, in form, if not in tonality.

Both pictures present further evidence of what is possible using the humble snap, in terms of expressive potential and dramatic interpretation.

This was a large photograph, and thus atypical for me, as I generally preferred small snaps. I guess that in this case, I felt the figure to be central to the composition and so required the extra detail a larger photo offered. For those interested, the scene is just above the village of Ein Kerem, in the hills just to the west of Jerusalem. The Hadassah University Hospital is at the top left, famous for its synagogue adorned with Marc Chagall’s fabulous twelve stained glass windows, depicting the Twelve Tribes of Israel.
“Walking Away” – 1982 – oil on canvas
This was the more typical small postcard-size snap I preferred to use for making large “blown-up” paintings. The tight containment of the image helped my decision-making processes and prevented me getting distracted by extraneous detail. In this case, I only retained five of the skiers as I felt it accentuated the drama of the moment, and the moodiness is also increased by a tonal shift from a highly photographic cyan (almost indigo) screen to a deep gradation of (mostly) dark cobalt.
“Bormio 3000” – 1983 – Oil on Canvas