Art - Another Four

One of the most difficult of my pictures to photograph (apart from the problems of photographing pictures behind glass) is this one by Peter Luti: one of his relatively few 'black phase' paintings. It was a present for my 60yh birhday and is one of the most treasured of my pictures.

These two original batiques were favourites of our late son Andrew and hung in his flat. They are so beautifully vibrant and positive that they really lift the room they are in.

I was having a coffee in a coffee bar/gallery in Napier some years ago when I saw this painting which was very representative of both the Art Deco heritage of Napier and the New Zealand Flax which is endemic in the country and also the wind which so often blew and made the heat so pleasant. It now graces my living room.

I was introduced to the art of  Wes Martin by Kate a couple of years ago and when I went to his site this canvas entitled Autumn Winds and Winter Ghosts was on his easel. I fell for it instantly and it now sits next to the door netween my living room and the hall so I can see it and be happy every time I walk through the door. The frame was my choice.

Art

Cro has posted a few references to art recently that have made me think (quite an achievement at the best of times).  One related to Joyce Pensato and Rose Wylie: two artists of whom I had never heard. During the comments (Cro's posts usually provoke good discussions) Cro said "I think we 'trained' painters see things quite differently to others. We spend so much time studying composition, colour, positives and negatives, size, shape, form, you name it we studied it. Looking at paintings then becomes a whole new world where the final thing we usually notice is the subject matter. Of the 2 above I much prefer Rose Wylie's work; it takes me away on crazy journeys."

Now to be honest whilst I would stand and contemplate their work in a gallery their art is not something for my walls.  That made me recall that on several occasions over the years I have said, in answer to comments on my blogs, that I would post some pictures of the art I do have. On the whole it's reasonably conventional. I thought I would start with a few paintings (some of my art is pottery).

The first is entitled "An Unmade Bed' and is by David Woodford. There is a story behind it.

About 10 years ago I was being shown round an acquaintance's house in New Zealand. In the master bedroom was a painting. As I was standing in front of it tears came to my eyes and I just stood there weeping. I have no idea why. I cannot ever recall a painting having such a deep effect on me before or since. I have problems keeping images in my head but the subject of that picture remained with me. The acquaintances became friends. The subject of the painting was never mentioned again. A few years ago in New Zealand I was at a family occasion and so were they. Completely out of the blue I was handed the painting with the words. "This painting was obviously meant to be with you. It is yours now." 

I have never really felt that I actually own any work of art. They will outlast me. I am only a custodian but, in this case, a custodian of an object with great emotional meaning.

The second is a relatively recent acquisition and is by Philip Raskin from a friend's gallery

This water-colour was bought in Tuscany one summer in the '90s when there was some flooding in the valley where we bought this which was really quite strange given the fabulous weather we'd had.

This "The Leaving of Lewis" is by Deborah Cameron and is one of the most atmospheric of works.