This is our 13th issue of TUBES, unlucky for some? Not really, we don’t don’t believe in luck here at painters TUBES magazine or at painters TUBES Artists Showcase Gallery. We make our own luck. What we do believe in is Artists and painting as an Art Form. And in this issue there are some great artists and some super original paintings for you view - And of course some really engaging articles and special essays, with a few strong opinions, all wrapped up in a beautifully designed magazine and a with a touch of art history included for good measure, expanding peoples knowledge and enjoyment. And as is usual with painters Tubes magazine issue 13 is a great issue and not to be missed
Latest TUBES printed magazine in the ManchesterCentral Library, will be available but in very limitedcopies per issue. To be certain of your copy pleaseorder a printed magazine for delivery to your doorstep, go to www.painterstubes.comPrint Orderssingle issues £10 plus post and packing.Annual Subscriptions (6 mags) £54.00 inclusiveOn Line subscriptionssingle licence £3.00annual licence (6 magazines) £12Back issues (ON LINE ONLY)one issue - £2.00 per issuesix issues (one year of back issues) £10.00DM order on facebook - @painterstubes
“This issue will be the last ‘TUBES’ that will be free on line. As much as TUBES wanted to keep the digital version free to read on line it’s a sad fact that after 3 years Tubes can no longer prolong subsidising the free version of the mag. Single and Annual subscribers for the printed magazine and the on line mag are most welcomed....many thanks for your past readership.” Denis Editors Page Hello and welcome to painters TUBES magazine. This is our 13th issue of TUBES, unlucky for some? - Not really, we don’t don’t believe in luck here at painters TUBES magazine or at painters TUBES Artists Showcase Gallery. We make our own luck. What we do believe in is Artists and painting as an Art Form. And in this issue there are some great artists and some super original paintings for you view - And of course some really engaging articles and special essays, with a few strong opinions, all wrapped up in a beautifully designed magazine and a with a touch of art history included for good measure, expanding peoples knowledge and enjoyment- as is usual with painters Tubes magazine. We have a few more new writers in this issue, a very warmwelcome to Gregory Evans, an American artist based in France, who joins us as a regulararticle writer. And our very own Marianne Arnberg who has narrated her take take onthe Russell Howarth interview, one that I was honoured to have carried out last year onbehalf of the magazine. TUBES have also included some of great photographsMarianne took during the extensive time we spent with a legend of a painter.These photographs are exclusive and most of them have not been published before.And Paul Constantine, an American born Greek author who splits his time betweenEurope and the USA. He is a specialists art writer who has contributed with a rather goodand concise history of the Barbizon School and it’s influences on ‘Plein Air’ painting.To support that article I have written my own observations (as a painter) on the term‘plein-air’ what it means and if it is still relevant to use that phrase today to describepaintings. I’m sure many of you will disagree with my conclusions... talking about beingdisagreeable.....Spike the latest grumpy-old art critic is swanning about Europe mainlandat the moment, so he will not be appearing in this issue, but he will be back soon. I do hope you enjoy issue #13 - and as always thank you for your continued supportfrom me on behalf of all the team at painters TUBES [Sweden & UK]. Denis Taylor, Editor in Chief painters Tubes magazine. CEO of Studio 5 Sweden. issue #13 - 2019©paintersTUBES magazine LEGAL NOTICESpainters TUBES magazine ©2016-2019 all material is copyright of Studio 5 Sweden & painters tubes.com All images and all art shown is © of their creator carrying the global creator copyrights [2016-2019].All articles/covers/pages are ©painters TUBES magazine - Reproduction of any material in TUBESmagazine is strictly forbidden. Pirates & Thieves will be prosecuted in a court of law and reported to Googlefor legal web removal under the Digital Millenium Copyright Act (Global Law). info: support/google.com
all photography ©Marianne Arnberg Taylor ©2018 M. Arnberg-Taylor & painters TUBES magazine©2019 Russell Howarth ‘from another perspective’ with exclusive photographs and narrative by Marianne Arnberg. Edited by Denis Taylor
painters TUBES magazine featured the artist Russell Howard in 2017. At that time the Editor interviewed and wrote thefeature on the artist. The editor was accompanied by TUBES sub-editor and photographer Marianne Arnberg on thevisit to Howard Russel’s home. Marianne narrated her own observations about the artists from her perspective and hasprovided the opportunity for TUBES to show our reader the many unpublished photographs that she took that during thecourse of the interview in 2018. Russell Howarth from another perspective..by Marianne Arnberg (edited by Denis Taylor)We travelled to Oldham a town to the North East of Manchester by the new tram system on a grey and rainy day. Asa well travelled Swedish woman it was interesting to actually see the environment of a town that was, at one time, awealthy part of the North West of England, and yet despite that historic wealth, the area seemed to have been overlookedfor generations by successive UK’s government - the consequences of which were visibly evident. Although it has to besaid that the relatively new tram system seems to have be having a positive effect on the Town where the prospective re-development programs could be witnessed by the hoardings that surrounded the old buildings. My observations of thisenvironment were to become important when looking and understanding the subject matter and the paintings of the artistRussell Howarth.The terraced home of Russell is located in quite a nice area with a public park nearby, it was clear to me (and confirmedby the editor) that this particular part of Oldham was, at one time, an area where middle management or skilled workersprovided the backbone of the Victorian era’s industrial power house and lasted up to the late 1960’s before the MargaretThatcher ‘English Renaissance & Re-positioning’ of the society and destruction of the heavy industry, to keep in tune withthe modern western worlds switch-over to ‘services’ based corporations and banking.The artist took a little time to answer the door of the neat terraced house, apparently he was expecting the Editor and theTUBES photographer (me) - He welcomed us and invited us in through a corridor that led to his sitting room. He wore ashirt and casual shirt with trousers that were held up by braces. What was a surprise was that he was barefooted - It is notunusual (in Sweden) for people not to wear their shoes inside a home in winter, and guests are provided with ‘slippers’ -but Russells’ bare feet style- seemed to be by choice,This gave me an immediate impression that Russel was truly an artist of quite independent thought. all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine
all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine As the editor was engrossed in talking to Russell, I was able to continue my observations of his living environment - it was neat and tidy - His wider connection to the outside world being an old standard [British Telecom] dial-up type of phone. There were very few actual paintings on the walls of his sitting room, the decoration of which seemed to hark back the 1950’s - especially the wonderful chamfered shaped mirror on the back wall - As the editor’s chat lengthened it was clear to me that the artist really didn’t care much about talking about himself - what he had done and what he had achieved. In Sweden this ‘humility’ is seen as the correct and polite way to conduct oneself in company, as apposed to self-promotion or bragging about this or that, or overly egocentric about personal prowess, which is viewed as very bad manners. The pauses in conversations and indeed sometimes the absolute silences, were only broken by Russell’s memories of the past, particularly those of his parents and of the various (English) renown painters who visited the Saddleworth art group to give talks on art, a group that Russell had been a life long member. (from 1951 onwards).
He was quite dismissive of these painters such as the well know ‘names’ such as Theodore Major, as he thought they were ‘full of themselves’ and in their talks to the group tried to tell the artists [who attended these lectures or talks] to the Saqddleworth Art Group, how to paint and how not to paint. I too was unimpressed by these names, (because I don’t know them or if I did, I wasn’t that impressed with their Art). I was however, fascinated by the beautiful woven rugs and the fabulous design on the wallpaper in the artists home. Russel seems to have kept the house exactly as it was from the days when his parents were alive and he was child. The actual ‘memento’s’ were limited, it was almost as if the whole house was a homage to the past, his parents and his early life as gifted child, of which his mother and father seemed to have been quite proud of. Denis (our editor and interviewer of featured TUBES artists) told me later that Russell was born in 1927 [in Oldham] - At 91 years old (when we visited him) he is in remarkable good shape of both mind and body. He earned his living by working for an engineering organisation where he used his talent for drawing as a draughtsman technician. He retired in 1992 having spent some time as a part-time art teacher also engaging with his love of pottery.all artwork ©Russell Howarth - reproduction strictly prohibited ©painters TUBES magazine 2018/2019
all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine “painting seemed to be everywhere”After a little while Russell invited us to see some of his art. And to do this we had to climb the steep stairs to his bedroom. Onentering his bedroom it was clear to me that the artist had prepared for our visit. Paintings were positioned on the bed, carefully laid out, more paintings were stacked at the side of the bed also in fact painting seemed to be everywhere one looked. Both Denis and I looked them over and theArtist remained quite silent, allowing us thetime and space to absorb and appreciate the work and study them in detail. He invited us to take a look at some of his sketch- work. These ‘sketches’ - (in my opinion these were stand alone works of art inthemselves) were kept in a large ‘Victorian’ chest of deep drawers, and each draw (four in all) were full of sketches - Russel laughed as he told Denis that one gallery come art dealer had visited him at home and thumbed through the sketches saying“don’t sell this one Russel, or, “reserve that one for me Russel”, or “I’ll take that one when you want to sell it to me.” But the artist seemed totally unimpressedby the back-handed compliment of the over keen and commercially driven art dealer. We looked through the sketches carefully, I was very taken by the sheer technical ability the artist demonstrated in these wonderful graphite and pen and ink work. The quantity reflected the life long art practise of this extraordinary artist.
“I have some more paintings...”
“Some more,”....wasn’t an adequate statement”Some more,”....wasn’t an adequate statement to cover what was to come.As we entered the bedroom, which was the same size as the the main bedroom, there were three cupboards built intoalcoves from floor to ceiling and a small bed. Russel went to one of the cupboards and invited Denis to take a lookinside - The cupboard was totally full of painting on thin board organised and stacked neatly.Denis began taking a few out from various stacks and examining each one - after a while - and with delight on hisface Denis said... “...these are totally abstract” - Russell reacted quickly “of course, they are all abstract.”
The artist said this with an assurance that he was all too aware of their unique quality of the integration of abstraction andreality - using landscape as just a catalyst for their creation - This specific painterly visual art form, especially in the late1950’s, and perhaps even today, was and is ground breaking stuff - No wonder he felt somewhat ‘insulted’ by the ‘semi-famous local artists’ some long time ago telling him how and how not to paint.I asked him how he felt living on his own, he told me that how his neighbours and friends all keep ‘eye out’ even thewindow cleaner pops round for a cup of tea brings him anything he wishes from the shops. And of course there was hisbrother who is one of his closest admirers.A little overwhelmed by the beautiful art that we had viewed in both the bedrooms, we returned to the living room wherewe talked to Russel for another hour or so.
all work shown is ©Russell Howarth - Article and images ©painters TUBES magazineHe shown us original catalogues from1954 of the Royal Society of artistsexhibition and shared some personalstories about his life, mainly about hisfather. We had stayed far longer thanwe could as our time table for seeingother artists was a long list, but the 3hours with Russel was an unforgettableexperience.Denis told me that this unassuming andmodest artist is, he thinks, the mostmisread modern artist of his own timeand even now placed into a genre thathe is not part of.His work should be exhibited in publicspaces next to the ‘all time ‘ names ofNorthern English Art ( that is: LaurenceStephen Lowry, Theodore Major, andWilliam Ralph Turner. Perhaps one daythat will be the case, but for now heremains content that his life’s work isstill continuing.A new sketch was taped to a board thatwas resting on the table in the livingroom, Russell pointed to it and said... “...that’s a sketch for a new one.”Russel’s love for creating art willobviously stay with him until the end...That is a marvelous yet to be writtenend story to a great painter who hasundoubtly, to my mind, ensured of a‘special’ place in the annuals of ArtHistory. I think I will try to persuadeDenis to write a book on Riussel, I’msure no one could write it better .
Russell Howarths’ paintings are held in a number of commercial galleries and in private collections, over for more information on all the artists work contact: [email protected] all work shown is ©Russell Howarth - Article and images ©painters TUBES magazine
paintings above: Old Victoria 24 inches x 20 inches Below Saddleworth Viaduct 15 inches x 18 inches images provided coutesy of Cheshire Art Gallery Bramhall Cheshire “Russell Howarthfrom a different perspective.” written by Marianne Arnberg - andedited by Denis Taylor - especially for TUBES magazine- ©2019 original interview July 2018
Risk, Reinvention and Revolt by Gregory Evansimage: the Happy Banker by George Condo - oil on canvas painted 2010 ©GeorgeCondo
Risk, Reinvention and RevoltTo go backward is to do nothing; it is pure loss; it means that one has neither understood nor profited by the lessons of the past.” Gustave CourbetThe first thing that an artist has to understand goes against everything that many artistsbelieve they stand for. Business is entrenched in the art world, and to wish to go back toa time before is futile. It is no longer separate from our artistic endeavours. If we want ourwork to be seen, and it must be seen, then it is via business that it is shown- if the artists work isn’t seen, it has no reason to be .Consider the Zen Koan...“...if a tree falls in the woods and there is no one there to hear it, does it make a sound?”This is about action and response, or consequence, the two foundational building blocks ofour living universe. If there is no no response, no consequence, then it doesn’t concern us,does it? Here’s our problem - artists, by nature of either personality, circumstance, or both,are highly individualised, autonomous and singular. They drag themselves each day intotheir attics, lofts, garages, studios, caves and spare bedrooms to be alone with themselvesand their muses, disdaining any form of interruption or distraction. They snub their noses atjust the thought of someone even daring to enter the god like, parodistic realms of creationand trade secrets.They fall prey to uninspired moments, blaming anything and everything outside ofthemselves for the lack of performance while continuing to claim solitary existences inself–defence (or self–preservation) saying that they care not for what others think.
Meanwhile, they thrive on compliments on their work and their coveted sales.We’re artists – they don’t need anyone. (yeah, right, sure, artists don’t need anyone...we say, I know because I’m an artist too)If artists are able to achieve some level of success, they will feign being a team player,acknowledging those around them with great thanks. Thanks to art agents, gallery owners,curators, collectors, fans – having arrived at that place so rightly deserved. Artists canthank all those around them for their loving support, but inside, artists still convincethemselves that really it was just them, and them alone that did it all. Wasn’t it?That’s the twist, of course. Artists, really believe that this peripheral but cooperativebusiness activity is irrelevant to their actual creative process, the vision, the product.It is the Art product that is what is great. It is an artist, in singular nature,behind closed doors, who have created the cherished and beautiful work of art– no one else had a hand in it.The creations are like artists children – they bear a stamp, blood, sweat and tears.But, when someone like a gallery owner steps up to represent an artist and the work, thisperson is now contributing their own blood, sweat and tears to that work. This allows thework to grow. If a collector steps up, then it grows even more. When two or more gatheraround this energy started by an artist, the love of the work from others can make it huge.Many need to contribute to make things great. No worries though, you can still put yourname on your work, but remember this, your work is not just yours... “...its a lonely existence to exclude others.” image: Gustave Corot “the desperate man”
When I was first asked by the editor of Painter’s Tubes magazine to write an article on Artists and Risk for issue #13,I immediately thought I knew what I’d be doing. I had decided to take an academic approach to this topic. With a bitof art history experience under my belt from those long ago college days, I started listing those artists from our pastand summarising their great accomplishments that were achieved by taking great risk. I gathered all the facts and wastapping out words on my keyboard. On and on they flowed (fuelled by those pages and pages of notes). Over 1,000words in, my hands flew up in the air, what felt like an ice-pick struck me in my forehead, and I suddenly realised thatmy brain had solidified due to the coldness of the direction I had chosen; because of the unfeeling nature of what I hadwritten thus far. If I painted the same way I began this piece, I’d probably end up being suicidal. So, I decided to change my direction...“Passion is more powerful than reason” Alex Verdenne So let’s get on topic here. ‘RISK’I’d like to start by saying that first andforemost, it’s not to those great artists whoalready take risksI address here, but to those who haveforgotten that it is by taking risks that webecome great artists.Risk is an essential, for without that risk,none of us would have ever become artists tobegin with.So what is risk, and how does it applyto what you do? Anytime you approachthe unknown and you leave that which iscomfortable for something that isn’t, thereis risk involved. Any time you face potentialrejection or ridicule or even loss of client–base (income), you have employed risk.Anytime you challenge yourself, and, forexample, decide to do something that you’venever done before, like paint a cubist–styleportrait when your usual is a realist take onyour subject, you’ve taken a risk.Manyrisks can be taken with little risk at all,except for the self-inflicted humiliationwe subject ourselves to when were not assuccessful as we wished to be. images: above: ´Dryad’ 1850mm x 1080mm Pablo Picasso. opposite page: ‘portrait’ George Condo
Give it a shot anyway, go ahead and be bold, jump into that great abyss. There’s no need to blow it out of proportion– its great to explore. Not all risks can be, or will be, life changing, and it is never the end of the world to deviatemomentarily, forgetting all you think you know. The necessary thing is that you risk, at least a bit, from time to time,because some of those risks can, before you realise it, be life changing!If the risk you take, if your departure is farfrom home, and it doesn’t please you, you can always return to what is familiar to take another risk another day. Afterall, its just a one–off, and nobody says that you’ve got to share it with the world (that’s another, altogether differentkind of risk). Remember, anytime you return home from a daring journey, from some wild adventure, you might justfind that upon your return, you have actually brought something of value back with you alongside those few bumpsand bruises, and so this risk has brought growth with it, both to you and your work. “I could roll myself in it, drink it, eat it and kill myself, suffocating in it.” George CondoIf you like the adventure, then do it again, maybe in a different direction. At some point you’ll find something worthexploring in a deeper way. Taking risk becomes easy with practice and pattern, and really, what you’re changingis only patterns of behaviour.Painting is pattern. It’s patterns of lines and shapes and colours. Its also patterns ofsystems and certain behaviours and beliefs. It’s all those patterns you’ve established that provide you with a sense ofaccomplishment, but those same patterns, those same beliefs, can also enslave you. “The patterns available to you are infinite, and they deserve exploration.”There’s no need to sit on the same rock every time you go for a walk in the woods. There’s so many other rocks toenjoy. Beware if you feel that you’ve found some permanent solution, some eternal pattern, because if what you’vefound is all that comfortable, really all you’ve found is a nice place to rest and you’ve forgotten the truth of thejourney itself!Taking risks are at the foundation of creative activities. How many of us didn’t risk something whenwe first decided to paint on a canvas, bought some tubes of paint, picked up a brush, and started slinging paint aroundthe dining table, with only a bit going where it was supposed to.Painting is organic – it wants to change, to grow, toevolve. Painting wants you to be its partner, it wants to dance with you to a song that’s forever changing. You can playit safely, or you can go out on a limb for those finest fruits, those unreachable fruits, those sweetest fruits.Don’t letyour comfort stop you from being the adventurer you are. Be bold and be daring. Punk it up and scare yourself.Loose or tight, Realist or Abstract – remind yourself that you’re not looking for what you already know...but what you’re looking for... is what you don’t know.
“REINVENTION” “What’s essential is that I paint, and accept that there’s something stronger than myself.”– Alexander “Alexone” DizacIt is risk, and risk alone, that allows for reinvention of one’s self and one’s work. Risk doesn’t requirethat you reinvent yourself or your work, but it is the foundational practice that encourages, or atleast allows a reinvention to take place, if you choose. The two can work hand in hand, for as theartist changes, so does the work, and as the work changes, so does the artist.Thankfully, many havestepped up by taking those risks. Some more slowly than others, and that’s okay, but a wave has beenset in motion that can have us see great change in art and its presentation, – this is a wave that manyconsultants, collectors, curators, and gallerists are now plugged into. Sadly, for others, it’s a wave thatmany would choose to ignore.As an example: since the internet has become such a powerful channel for the sales of art, galleries havebeen trying to adapt to this new arena which is sometimes viewed as a challenger or competitor, thoughtits not. The internet is only a tool, and like any tool, it must be seen for what it is, and it must be usedcorrectly. Galleries are not being reinvented because of this, and they won’t disappear, but their businessmodels are changing with the addition of this tool to the business repertoire. New models are being putinto place, new patterns are being established – that’s how we grow.We don’t have a lot of experienceto draw upon here, for the modern art industry was a fledgling entity just one hundred years ago. In the late ninetieth and early twentieth centuries, with the invention and increased popularity of the“new” camera, a few artists quickly stumbled upon a “What now?” paradigm. image:©Alexone Dizac. “Do Aussie Mi Fili”
If anyone with a camera could now reproduce reality onto a flat medium, there was no longer any need for a painter topaint traditional portraits, landscapes and pretty birds. There arose a need to ask what painting is for if its suddenly just atime consuming method for creating what the camera could create, what the camera could do better. These artists didn’tstep up to change art itself, but to change what they were doing with art. They needed a reason to be. They took risks,and they reinvented themselves. “Show it through your eyes, don’t do it because ‘that art sells.’”– Todd WhiteIt seems that an artist must question his motives for painting – motives must be examined. Is it some deep need orcompulsion that you do what you do, or is it for the money (real or imagined)? Are you just entertaining yourselfand never challenging your own vision? Are you resting on those laurels you’ve laid, your past successes andaccomplishments? Have you become content in your static existence, relishing in your apathy?Reinvent yourself.Reinvent your portraits. Reinvent your landscapes. Reinvent your still life, your abstracts, your narrative, your story.Be daring, seek new challenges. If you seek the perfect colour, the perfect brush stroke, the perfect technique, you cancontinue on your search for that perfection, but remember, all those colours, all those brush strokes and techniques onlycontribute to something greater than you yourself. They contribute to the final image, and that is what is of import here –that is what we are creating.Really, if one really wants to tap the extremes of their imagination, one has to tap their ownpersonality, because it is through your personality that imagination passes.One must be willing to confront head on the way one sees the world, because its this vision that ends up on thecanvas.Study those who have reinvented themselves and you’ll see art reinvented. Study those who have walked thatpath before you. Study everything you can – absorb it all until you are filled with the work of others. Be a sponge.Once you have filled yourself with all that you can, forget it, forget all of it – squeeze yourself dry and go do somethingdifferent, something you haven’t yet seen.Open your eyes to see something different and you eyes will show you something that’s different.The next time you consider painting the proverbial Honore de Balzac, do it with the same attitude that Rodin used whenhe sculpted his Monument de Balzac. Take criticism where its offered, even if its a slap in the face, and then forget that,too. People will eventually come around, but for now, seize your own greatness, and know that its yours.There’s nothinglike being awarded a badge of honour when you know that you really haven’t yet done something to deserve it. Growthimplies movement and change. If you’re moving and changing, you’re growing. “This can only be done by risk and reinvention.”
REVOLT I fear that I’ll have to follow my desires.” William deKooningCultural change only occurs by revolt and revolt can only follow from risk and its’ resulting reinvention. Art isno different. Change is born of a deep need to shake things up, from a deep dissatisfaction of the status quo. Thischange may be a mild to fair departure from what is accepted, or it may be so extreme it disturbs and destroys thewhole of the cultural paradigm.Whether we know it or not, it’s revolt that we are aiming for when we take risk enough to reinvent what we doand who we are. What starts as a personal thing always must become collective if its to have the greatest impact.This is why we cannot be alone, or stand alone.Everything moves in cycles – it’s all circular.With revolution, each time we complete a cycle we find ourselves back where we started, only we’ve elevatedthings, we’ve lifted things and been lifted with them into a higher octave. That’s why its called revolt, because itrevolves, but raising it up, lifting it into new realms, can only be done by choice. If we don’t lift things up, we’rejust running in circles, we’re screaming and shouting, and nothing changes and all things repeat. It might berevolving, but its not revolting. It’s historical in either case. “I mock Verbatim” Robert WilliamsThere are those ripples of revolt on the surface of our industry, but we must rise to that surface to see those ripplesfor what they are. If we rest in comfort far below, we see nothing and we stagnate. If we rise just a bit, we cansense there is something going on, but unless we join those at the surface, those that are part of this shaking, thisvibration, we can’t know it for what it is.We can’t know what it represents, or where it could go. If we complain that things aren’t working for us, if wemoan about what we lack or what we deserve but don’t have, its because we are still denying ourselves and thetruth of what we could be. Looking up is not enough, we must rise to the occasion that awaits.From Mannerism in the late Renaissance period, to the first effects of the manufacture of the camera shakingup our soon to be impressionists and Fauvists, and the then later explosive popularity of that same camerademanding a response from Braque and Picasso and others during the Cubist movement, artists have risen to theoccasion.Long before art was an industry, artists have always stepped up to the challenge of changing public perceptions ofwhat the image can do. Now, we artists don’t stand so alone, we are not so autonomous, the world is not so smalla place. Those who have joined the milieu of the industry must show those same qualities that artists show – theymust push themselves and take risks, greater risks, and great rewards may follow.Andy Warhol with his pop–realism was a lifting from the CIA financed movement called abstract expressionism.Street artists transcending the mundane graffiti gang–tags and claiming our cities walls as their own canvassesand later entering the studio to do more portable and longer lasting works were uplifting – its all revolving.Its all revolt!Whether you’re an artist, consultant to the stars, curator, collector, gallery owner, or an agent, youcan always go one step further than you have. Artists cannot be the only one’s taking risks. We all can risk, we allcan play. We can dance with no other agenda than to be a part of something that could be great.Rebel along with those artists who rebel.Come into the dance like a child and do something that matters more than the bottom line. “Redefine what you consider is success and failure, then you’ll find there is no failure.”
William De Kooning - woman series
History has shown us the one thing all movements share is money, a lot of money. The last hundred years havemade this even more evident. Movements have always been funded. Like water is to plants, money is to art.Without funding, a fledgling idea can die before it is born...The abstract movement would have never happened ifonly the artist had stepped up. It took a group, a large group of artists, gallery owners, curators and collectors, allpossessing an undying devotion to a new form of art to make what happened in France in the early 20th century sucha substantial offering – an offering that has lasted a century and given permission to other, future artists to movefrom the cubist ways in new directions. Cubism was a huge shift, and it was collectivity that set its momentum – themoney followed.Artists can no longer ignore each other – they can no longer be isolated in their own little worldsof successes and failures. Artists must support each other , encourage each other, and all those in the whole of theart industry must step up and NOT just support the individuals who create image, but must take on a collectiveattitude towards something much bigger. When something good is happening, those movers and shakers have gotto look for the new talent and encourage cooperative attitudes. Artists can struggle with this communal ethos, but itcan be understood because it is the artist who is normally sequestered in their studios, buried up to their gills in wetpaints while neglecting even the need to eat – what artist has the time to manage a business when they have brushesto clean? Things must be changed. Artists must change. We must become more inclusive, more wild and free withourselves, and no longer be confined by our personal and world-views of what being an artist means. “The day is coming when a single carrot, freshly observed, will set off a revolution”. Paul Cezanne
We must all, from artists to collectors and all those between, step our our game and take bigger risks. We must allimagine the unimaginable. We all can imagine – we each envision success, reward and recognition to some degreefor ourselves – but the power of imagination and its applications on our mundane lives is severely disregarded. Wehave rules to follow – there are specific ways to follow if one is to achieve success. I ask, where would art be todayif it weren’t for taking risks?Our realities must really be stretched along with ourselves ourselves if we wish to stepbeyond the ordinary. If we don’t reach out, we have no reason for pursuit in our lives, everything becomes static,unchanging, and sadly comfortable. When you come up for some fresh air and see those ripples becoming large waves,you can begin to live. When those ripples do start swelling with the power of collectivity, those willing to ride with thisnew force in our fresh Post–Urban world, will stand to make a mark by their contributions to something bigger thanwe can see right now.I don’t believe any one artist can ever change this world on their own, but if you feel that thisindustry does need change, it will come only by risk, reinvention and revolt. Its not only the artist that needs to addressthis, but if artists don’t change what they’re doing, then no one else can change things – we are at the centre of this big,creative world, and we can’t expect others to do what we refuse to do ourselves. Collectors and buyers won’t change,galleries won’t change, museums won’t change, unless we change So, all that being said, perhaps, as artists we needto find support, love, admiration, collectors, representation and so on, or perhaps, just perhaps, we simply have toimagine what has never been imagined before, and the rest will follow. “In the end, everything depends on one’s self, on a fire in the belly with a thousand rays. Nothing else counts. Pablo Picasso
painting ‘plein air’from before 1800’s to today
Plein Air from before 1800’s to today part one written by Denis Taylor Editor for painters TUBES magazineThis is how Google explain what plein air painting is... “...en plein air is a French expression that means “in the open air.”It is used by artists to describe the art of outdoor painting, capturing landscapes and views in natural light. This kind of art has been a popular practice for centuries and requires special skills and techniques.” Mont Sainte-Victoire Seen from Les Lauves. CezanneDo you agree with that definition? Technically it is correct, well the first part is, I mean it is French for in theopen air, but what about the rest of the statement. Is it really used by artists to describe their work?Or is it used more by Art professionals, galleries and social media platforms to place this sort of art intoa convenient ‘art’ box? - Personally I think the later rather than the former is correct, but does it need a specialskill ? Not really, painting is painting isn’t it? No matter where or what you paint with or even on, inside oroutside, it’s much more complex and involved than just the skill to do it - it’s more complicated than just havingsome sort of natural talent or a gift for transcription of an object or scene that is in front of the painter.So, why should any artist even mention the word Plein Air about how a work of art was created?Wasn’t all painting in the plein-air at some point in time or another - or not?Was the prehistoric cave dwellers painting plein air? I guess almost in the open, but not quite.How about the early civilisations, Sumerians, Egyptians or the ancient Greeks?Did they paint plein air? Quite possibly they did, who knows. Having painted in Greece myself I do knowpainting in the shade is essential in hot climates, especially in the Summer months.
Ancient ‘Artists’ creating painting that have been discovered in the Chauvet Cave, Ardéche, France. These are datedfrom 30,000 to 28,000 BC and makes todays artists consider the creation of art as an essential human condition.(©DRAC Rhone-Alpes, Ministere de la Culture/AP images) So, maybe it was when the ‘Artists’ became to be seen as more than the decorators of the ancient monuments, or the recorders of battles and great victories or painting a portrait for a Ruler that the segment of the society known as ‘kalitechnis’ [in Greece translated as someone with good technique] - were seen as an integral part of the ‘civilised’ world. This is when Artists became ‘valued’ for what they could do for the Rulers and Religion. And not so much for what they could contribute to the development of sensibilities for humanity as positive human beings. To be ‘kalitechnis’ was sort of special. And as the centuries rolled over, the word Artist also took on an air of ‘special-ness’ - As it was seen as they were in touch with (the) Gods or the one God in the case of the Italian Renaissance. Even then though, the artists were commissioned to do a paying job - that was to visualise and put the plebiscites in awe (and fear) of a God. Religion had become a tool for education and control of the masses before and well past until the ‘enlightenment’.
Why that connection was made (Art & God) is still debated today - what’s that got to do with Plein Air painting, I can hear thereader saying to themselves in critic of the writer ‘meandering’ off the subject. Well, it is related, tenuously perhaps.However, I do not know or at least I cannot think of one, artist past or present who at some point in time has not worked outside‘under God’s sky’ so to speak. Nor can I think of one artists that has not wanted to be in direct contact with ‘Nature’ quite literally- even to the extent of suffering all sorts of discomfort, be that hot or cold, rain or snow or being bitten beyond endurance andpatience by various flying insects, ground ants and a whole range of nasty things that feed of warm blooded creatures like ushumans. Some artists even see this ‘self inflicted torture’ as a sort of badge of honour - “Here’s one I did in minus 23 degreescentigrade conditions this morning.” ...is an exaggerated statement to quote maybe, but one quite close to the truth and notthat uncommon in the interminable volume of art blogs on the world wide web. It’s almost a stoic religion to paint in adverseconditions. When Monet travelled to Norway to visit his son (Jacques) he was well into his 40’s - he is reported to have sighed “Oh but I would have come here as a younger man, what wonders I could have done”. two diffrent versions of Mont Kolsaas Marmottan - Norway painted circa 1885
below “Snow, Storm, Steam, boat of Harbour’s Bay - J.M.W. Turner - Commons Wikipedia.The experience is all for painters to choose for themselves - For example we all know the story of J.M.W. Turnerand how he strapped himself to a ships mast to experience the raging storm in the English channel (if you been inone of those English channel storms, you’ll know how terrifying they can be, I know I have.) Putting down that sortof experience in paint on a flat surface is more than just about the skill of imaging it - it’s capturing that feeling ofimpotence against the power of nature - in paint - That goes for all emotions and conditions of the human, be that fear,joy, happiness or even the feeling of being close to one’s God.I guess one more practical good reason for painting plein air is... it’s cheap. If an artist can’t afford a good sized studio towork in - plein air is a ‘natural studio’ that is almost for free -(apart from the cost of getting to the chosen spot of course,but even that can be integrated into family holidays). It’s a challenge to maintain that direct experience of nature, afeeling that can be effectively transcribed and placed down on a flat surface in paint in a studio and it does require beliefin the self as as artist. This belief may even be a little egocentric or indeed conceited, but artists need to have a healthyego to take on what may seem, to the many, as just too difficult to take on.And if reality is what is popular (or a version of reality) and what people want - then the more important it is todemonstrate artistic ability and therefore makes the work valuable and worth paying money for - Or so many artistswould have one believe. The absolute truth is - painting anything at all - is just about having the confidence to do it.After that it’s a decision process.... “do I simply do what I can do? (make an image) Or do I try to do something thatis really difficult?” or: “Do I do something that I know will sell in a gallery or on the web?” These decisions are realand difficult because painters, like every other person in the current fabric of society, are obliged to pay their way, andput food on the table. Nothing comes for free in this western world we live in, unfortunately much of the public thinkanything to do with Art is free and always should be free... ..And so say all of us...but please do tell me - who pays the piper and feeds the artists kids? Part One of ‘plein air’ written by Denis Taylor Artist & Editor
Part Two Short History of Plein Air 1800’s to today written by ©2019 Paul Constantine and edited by painters TUBES magazineOne of the heroes of plein air painting that is rarely spoke of is John (Goffe) Rand - an Americanborn painter, who whilst living in Middlesex, England, developed a metal tube with a screw topthat could hold and keep fresh any ‘paint pigment’ mixed with a binding medium - oil paint beingthe prime paint used by artists at the time. The patent was registered in the USA under Patentnumber 2,252 on September 11th 1841. This was ‘taken-over’ by Winsor & Newton the renownartists material suppliers and made available to the global marketplace in the same year - Itcoincided with the young group of artists in France, who stimulated by the Barbizon group ofartists, took there easels, canvas and paint boxes loaded with TUBES out into the wider country,cities and towns of France - and kicked off a revolution in painting. Later in life Renoir, one of theleading impressionists, was to say... “...without paint in Tubes there would have been nothing...”He was of course referring to the paintings of the impressionists including himself, Monet,Bazille, Pissarro and Sisley. And the two main established painters, who were responsible forsupporting and encouraging this revolution, only through their connection with them, that wasManet and Degas (note: who strictly speaking were Not ‘impressionists painters’).
However it was the ‘Barbizon’ painters that were the catalyst impression and for these younger painters.In the early 1800’s the idea of painting ‘Landscapes’ from life as a finished work of art was consideredcrass and not worthy of being labelled ‘a work of Art’ by the art institutions in Europe, and Parisin particular. The rigid ‘rules’ set down by a few has persisted through the years, even if Art waseventually to have been freed from their clutches, it is now evident that art soon comes under control asthe academic leaders always tend promote the art sanctioned by the preferred culture of the State.It was perhaps John Constable, the English landscapist who, despite being frowned upon in his owncountry, was highly regarded in France by artists.His work and the ease of access to the forests of Fontainbleu, south west of Paris, encouraged artists tospend time in the area (around 1817) painting outside and capturing nature in its glorious complexity offorms and colour. The first 20 new arrivals being attracted to the area to paint ‘trees’ for a competitionwhere a monetary prize was up for grabs. It was also fortunate that these painters could lodge at anInn, run by the Gann family, which was cheap and very friendly. Mrs Gann, providing sandwiches forthe artists ‘lunch’ to eat and ensure they could paint a full day before returning to a hot meal washeddown with good wine. Not surprisingly the Inn of the Gann’s became the central (unofficial) HQ of theBarbizon artists, where they could discuss their new ideas as comrades.The full list of these painters is extensive, today only a few names are known to a general public, but themain artists are as follows: Théodore Rousseau, Jean-François Millet, and Charles-François Daubigny,Jules Dupré, Constant Troyon, Charles Jacque, Narcisse Virgilio Díaz, Pierre Emmanuel Damoye,Charles Olivier de Penne, Henri Harpignies, Paul-Emmanuel Péraire, Gabriel-Hippolyte Lebas, AlbertCharpin, Félix Ziem, François-Louis Français, Émile van Marcke, and Alexandre Defaux. (note: Corotalso painted ‘plein air’ in Chailly Forests in 1822).
Paintings above: Corot. Forests of Fontainbleau 1830. below: Rouseau. Barbizon (circa 1840’s)
Of course many more artists visited the area including the young impressionists artists. At this time ‘oil paint’ was loaded in ‘pig bladders’ The introduction of paint in TUBES in 1841 was a full 23 years after the first Barbizon paintings were created (1817) it must have been an astonishingly liberating experience for the artists. It is important to realise that the Barbizon played a huge part in the globalisation of painting under the roof of nature. William Morris Hunt, an American artist who spentmuch time with the painters of the Forests of Fontinbleu and owned many paintings by them was to become oneof the leading painters in the nineteenth century when he returned to Boston, (USA) after his father had passed away in 1832. It was he that brought ‘plein air’ painting to the Americas where it blossomed into the American School. By 1860, the tools for painting plein air had been improved and increased as the demand increased. For example in 1860 collapsible easels with boxes built in for painters Tubes were marketed and in 1863 an improved canvas to pasteboard to prevent warping was patented by Albert Collins (Collins Canvas Board) and sold widely. By 1867 a stippled textured panel was also introduced (to the American market place) which imitated canvas paintings. Business was not slow to latch onto the new ‘fad’ ofpainting plein air. Artists now freed from the constraints of studios and subject matter, exploded onto the Art scene. The extent to which plein air became popularstarted to ‘taint’ it with an amateur art ‘weekend painter’ status as the twentieth century progressed. By the mid twentieth century ‘plein air’ painting was all but abandoned by ‘serious artists.’ The term ‘plein-air’ seems to have been replaced by ‘observational sketching’ and then taking these studies into the studio for production for their gallery representative to exhibit. Painting was slowly becoming a product.
It may seem odd that whilst Van Gogh, Paul Gauguin and Cezannewere held in the highest of esteem by painters (all three paintedplein air, in the main) even Matisse and Picasso admitted these pastartists were their masters. It was another form of art that led theart world and the living artists of the mid to late twentieth centurylooked towards intellectualism rather than emotional or spiritualconnections to create a visual two dimensional figurative based Art-form.However, plein air had not ‘died’ as an art practise, it had simplygone underground. Painters maintained a passion for workingdirect from nature. The challenge of capturing the light and howit interacts with the earth, the trees, the rivers, the ocean etc -everything on the planet in fact, was a challenge that could not beresisted by gifted painters who wanted to feel the exhilaration andthe sheer enjoyment of painting in the open air.Today many artists who paint nothing but plein air work arestill frowned upon by the ‘art-establishment’ - but the www hascreated a new marketplace and a global audience for these artists.Landscape is still the number one subject as far as the public areconcerned. And landscapes painted plein air add to genré which‘out-sell’ all other painted works of art.However, many painters are approaching ‘plein-air’ in a different way today - Mixed media, charcoal drawings, mixed drawing and paint canvas which are presented as finished art works are showing themselves in greater numbers. Artist are experimenting with form, medium and effects. Abstraction of nature freely juxtaposed with absolute reality. Traditional landscape composition is also being challenged and re-invented by artists to alter perceptions of the natural works using the infinite microscopic patterns and structures of nature. All of the works created in front of nature, with instinctive and educated placement of pigment on canvas or board and the benefit of the ‘feelings’ an artist receives from working with nature. Images top: ‘The Old Oak by Jules Dupré’ c.1870 bottom: Winslow Homer Artist Sketching in the White Mountains, USA Short history of ‘Plein Air’ Written by Paul Constantine edited by painters TUBES magazine 2019 ©PaulConstantine//painterstubes.com
Artists today choosing ‘plein air’ methods and nature to create wonderful works of Artpainters TUBES is delighted to bring you five artists who are creating works of art by employing the advantages of direct connec- tion with nature. The art shows how contemporary painters are constantly searching for new expression and exploring differentmediums to gain that spontaneous mark making that creates something which is truly authentic and original painting. The exam- ples shown need no critic from me or extensive explanation to the reader.The quality is self evident. If the reader wishes to know more, all these excellent artists are known and visible on the array of so-cial media, or you can contact Tubes with any questions you may wish to ask - visit www.painterstubes.com and go to the ‘contact’ page on our web site, or email TUBES direct on [email protected] Amanda Oliphant graduated from Liverpool John Moore’s University with a BA Hons (1st class) in Fine Art in 2005 followed by a one year Fellowship at Wirral Metropolitan College in 2006, where an exhibition at the Williamson Art Gallery showed an extensive collection of her work. Amanda then undertook further study with an MA in Art as Environment at Miriad, Manchester Metropolitan University allowing continued research into Art and Ecology.What Amanda says about her work: ‘Journey’ Series of work“Painting both outdoors and then 100 mm x170 mm Created May 2019back in the studio helps to build apainterly story, expressing manylayers that sometimes I have to walkaway from, find time to reflect, andthen return. They are a re-connectionto place, an interpretation of thenatural world.” ‘Journey’ Series of work100 mm x160 mm Created May 2019
‘Journey’ Series of work100mm x180mm Created May 2019 Below: ‘Journey’ Series of work 100 mm x160 mm Created May 2019 Below: ‘Journey’ Series of work 100 mm x160 mm Created May 2019 for more information contact: [email protected]
Brian CoteHere is what Brian has to say about hiswork: “As a painter, it is my desire to bringto life what may appear as ordinary and totransform it into something extraordinary.To awaken in the viewer a passion for lifeas expressed by my passion for painting.” Today, I am quite drawn to works byRussian Impressionists both past andpresent. I find their freedom of paintapplication and abstraction combinedwith the earthy, root of reality to be mostbeautiful.”“I’m in love with the sense of colour, light,movement and the feeling of structure andweight in their compositions. In my ownwork I strive to use these elements to thefullest of my capability. I create my art withthese ideals and I paint from life because above: Buenavista 50 inches x 60 inchesI feel that the artist and his work are anextension of that spirit and can onlybe expressed by immersing oneselfinto that energy.” below: Sonoranwash 44 inches x 72 inches
South MountainMorning34 inches x 56 inches Cloudy morning light. 20 inches x 30 inchesthe beginning ofsummer18 inches x 28 inches for more information contact: [email protected]
Helen SkidmooreTubes do not know much about Helen,othan than her work speaks volumes abouther ability to capture nature in charcoal.Currently she is studying for a mastersdegree in print making and one can seeby these examples what her work in thatmedium may look like.It seems that if these can be translatedas copper etchings then they will be animportant contribution to that specialistart genre as much as any previous in pastcenturies.Her inspiration comes the coastline andnature reserves of Devon in SouthernEngland.website: to be released.for more information contact:[email protected] Charcoal Drawings Top: “Storm coming in private beach” - 580mm x 420mm (2019) Bottom: “Turning Point.Walk at high tide.” 580mm x 420mm (2019) Full page right hand side: “Treovis Trees.” 580mm x 420mm (2019)
“Wanson Tide”. 580mm x420mm (2019)“Windy Wanson”. 580mm x420mm (2019)
Stephen StringerThe artists studios are within an old Mill which is located at the foot of thePennine Hills of Northern England.Stephen has been painting for over twenty years and his work is dominatedby his environment, although he does venture into abstraction and still lifecanvases, occasionally.The base for his technical skill was formed through the tutorship of an artistwho is the leading painter in the Saddleworth Artist Group(John McCoombs).Although largely self-taught Stephen is naturally talented and a well likedpainter in the North West of England with both his fellow artists andart collectors alike.His current ‘style’ is adopting the loose brushed approach that is can seenin contemporary studios throughout the UK, although Stephens immediateapplication is assured with an obvious natural talent and a strong sense ofbalanced colour and tone that comes from an accomplished painter.
both these examples are form Stephen Stringers recent set of ‘plein air’ paintings for more information contact: [email protected]
Richard SucklingAfter studying at Cambridge School of Art (UK), Richard was as an illustrator inLondon. The past ten years have seen an instinctive progression from graphic art topainting, mainly pastels and more recently, acrylics.Richard moved from London to Somerset and then in 2013 to Newlyn in Cornwall,five miles from Land’s End, from where he draws most of his inspiration from.Richard believes in painting what you have a real passion for and know best and thePenwith peninsula in West Cornwall provides him with an endless daily inspiration forhis work.
Richard Sucking examples of workfor more information contact: [email protected]
in their own words... in this issue - Mark Lloyd, Barry De More and Niki Heenen talk about their Artartists if you wish to talk about your art on these pages contact: [email protected]
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Mark Lloyd an artist talks about on his own Art, in his own way.Thank you kindly painters tubes for taking and interest in my work and allowing me an opportunity to discussmy work and it conceptual structure and aims. A few basic overview points need to be established to providea good understanding of what my work is about and what I am trying to achieve. I have been a practicingartist for 27 years but have taken my practice much more seriously in the last 9/10 years. I studied a degreein fine art at Falmouth school of art and a master’s degree at Winchester school of art. I have had a studio inBournemouth for the last 9/10 years and I occasionally employ studio assistants to help me with my work.I mainly work in painting but have produced work in; screen printing, digital formats, installation,projection art, sculpture and ready-mades, public murals. But painting has remained a constant andfoundation or my art.My Methodology starts with Research and I read post-modern philosophy/contemporary philosophicalideas and critiques about modern times, explore and experiment with painting methods and approaches tocritique the ideas that fascinate me, I draw in sketchbooks and use Photoshop to quickly format ideas, thatlater through development become series of paintings. Stylistically my Processes in painting utilises abstractexpressionist methods, graffiti art painting and drawing methods, and 20th century figurative paintingmethods. In the Process of painting utilises abstract expressionist methods, graffiti art painting and drawingmethods, and 20th century figurative painting methods. I also employ layering in painting of imagery, marksand gestures, colours, textures, shapes and use painting as writing and writing as painting.I aim as an artist is to create a body of artwork that explores and critiques modern times and my experience ofpresent society and culture through the means of painting (and other art mediums and practices). I have mixedfeelings about the artwork I have created, in that my earlier work which is naïve in conceptual structure andmethods and techniques of painting actually embarrasses me, however it was a necessary stepping stoneor learning process to get me where I am today. However my new work from the last 9/10 years I feel issuccessful and accomplished in concept and the painting in itself. I am proud of my work but fully understandI have a long way to go on this journey.
The two series of work I wish to to discuss are entitled Wonders and imperfections of space time compression theoriesThis series of painting began in 2013 after reading David Harvey’s -The Condition of Postmodernity 1989. In his work based on earlier writings by Karl Marx in the theory of the “annihilation of time and space”. Harvey discusses the ideas of space time compressionand that due modern technology and internationalization are experience of time is accelerated and that this “acceleration destroys space and compresses the time in ways of perceiving reality” Virilio 2001. Doreen Massey also discusses David Harvey’s ideas about time-space compression in relation to globalisation and its effect on our society and she stated that; “our world is “speeding up” and “spreading out”, time-space compression is more prevalent than ever as internationalization takes place. Cultures andcommunities are merged during time-space compression due to rapid growth and change, as “layers upon layers” of histories fuse together to shift our ideas of what the identity of a “place” should be” Massey 1994. These ideas fascinated me and seem to be fully realised in the age of the internet. I began working on a way to visualise these ideas in paint. After a discussing with a friend of mine who is computer technician he told me about a computer program that if you input a digital movie into the software program, the program compresses the visual imagery of the film (2-3 hours) into one visual image still. This seemed a visual artefact of time being compressed and had a visual similar appearance to a barcode. The process on the software program to compress the movie into a still was quick, I wanted tosubvert and play the concept of time in image making by replicating the image in paint which would be a very slow process. The whole methodology and process exploited the idea of ‘time in image making’. I realised by using films/ movies that posited ideas about how technology is changing our perception of time and reality I could add further meaning. Also fascinating is that the films/movies are figurative and realism and by processing the data through software the image became abstracted through compression.