Mysterious association between an aubergine looking like...a haughty seal that guards an enigmatic box reflecting a turquoise-blue piece of ocean. Magical painting.
julian don't worry about the studio mess, somebody (Picasso ?) said artists need chaos to bring order. this however does not offer me an excuse for a messy studio. The sculptor Alexander Calder had an incredibly chaotic studio and no one was ever allowed to touch anything in that space or he wouldn't know where he was. cheers, geo
P>S I have just published a book of my black and white photographs titled "Uncle John, Portraits of a True Yankee Farmer." It's on Amazon
Oh my! This is a different!! Very simple, great composition and I find this so interesting in spite of it almost being "stark" in nature. Love the colors and the aged appearance of the tin.
I did a painting once of an old tin pail and liked it (a first for me!) but was then concerned the canvas might appear "too empty" and so painted in a few more pails, but sometimes think back and wish I had left it the way it was.
After seeing this compelling painting (and I can't explain why it is compelling! .... maybe Alain could help me!) perhaps, I will paint a solitary rusted pail again! :)
Thank you, Julian.
Elaine
Hi Julian,
I love your surprises. Seeing the eggplant like a soldier is so much fun for the mind. Of course it is a painting and I respect your art. It does give you pause for humor at the same time. I along with everyone find your colors amazingly beautiful no matter the subject. I must stop cleaning house and paint also. The dust can settle. Before I close want to say to all who comment I enjoy your thoughts too.
I have perhaps an explanation...The masterly arrangement of the burnt umber shadows suggest mystery and among them,particularly,the aubergine shadow on the wall adds both a spectral effect to the picture and brings a little extra soul.At last(?),the wall in the background by its dual look: sky at the top and sea at the bottom,with no skyline,as some marvelous seascape paintings of Whistler,adds a dreamlike component thanks to its other-worldly vagueness.Of course here I do not speak of the subtle harmony of hues and tones...
Dear Julian,
the blue tin, it is back !
This time the arresting turquoise paint and burnt sienna rust patches on the tin is contrasted against the sleek, polished, deepest purplish black of the aubergine.
Did have a look at some earlier paintings where this lovely old beat up tin featured.
An early still life, very Bonnardesque, has the tin paired with two oyster shells. Beautiful, but then there is the tin again, this time with an orange peel, where the painting seem to have developed a new characteristic Merrow-Smith edge.
Last but not least that lovely "tin with wooden spoon and egg".
If I have missed any, please let me know!
And here we are again, the mysterious tin is back.
Really, it does indeed appear as if guarded. The sentry being the devil may care oriental aubergine!
I wonder if the contents of the tin is the usual assortment of rusty old keys, foreign loose change and lost buttons. It is probably empty , being first and foremost a prop.
I think this tin is iconic! It is totally original and powerful as an idea, and forces you to stop and really look! This goes far beyond the exquisite handling of the paint and the technique which is honed and driven to perfection! A daring use of colour that makes you have a moment of deep reflection.
Anna.
Stunning colors, Julian! Beautiful composition! Love the blue-green tin with the complex purplish blue background.. The aubergine is the perfect foil for the squat box. Thank you Julian! Please make this an available print!!!
I'd love to be bidding on this work, but alas! that's not possible. However, if you should ever produce note cards again (I love the ones I purchased from you last Dec.), please consider this as one of your subjects. Or as the previous comment asks - an available print!
Thanks for keeping us aware of your splendid talent!
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