I have just hung up the phone after a lengthy discussion with a very dear friend that lives in Winnipeg. The focus of our discussion dealt in large part about the donation of art to fund raising events that are going on just about every week. I have been a huge supporter of many different organizations over the years. I’d like to tell you a little about how it all began and where it is today.
When I started to show my art in public it was not long before I started to receive calls concerning whether I would donate a piece of art to an upcoming event for a local, national or international charity. The obvious selling point to me was that there would be plenty of people in attendance that had the wealth to purchase art and that this would be a great venue for my work to be seen. I gave something and waited with quiet trepidation for the art buyers to start calling. That didn’t happen…this time, was my thought. I tried on a number of other occasions and each time I was disappointed in the lack of interest that was being shown for my work outside of the auction. “Maybe my work just doesn’t measure up”, I thought. I continued to give work for a while and then as I became familiar with some other artists in my community that had done much donating I started to hear their voices. Many were very disgruntled with the whole idea of making anymore donations to fund raisers because of this same result. The calls come very frequently I can tell you that. Just think of how much art you have encountered at fund raising events. I was asked many times to donate to a very well known national organization and that same story was always used to try and get me to give up my work. I went out on a limb and said that if they were willing to pay me half of what was raised then I would certainly be willing to cooperate. This was met with a reasonable level of shock by the person that had called. I told them that they should really think about what they were doing and that alienating artists from donating was the result of their way of doing things up to that point. They just hung up and moved down the list knowing that there would be plenty of artists that had not heard the song and dance before and that they could fill their quota before the event. Since that time, other than a few select charities, I always go into my donation agreement with a 50/50 split or some other mutually agreeable level of cooperation. This was first proposed to me by the Atlantic Salmon Federation. This was how they did their business when it came to donations from artists and it had worked very well for them. They receive quality product from good artists and a relationship grows out of that mutual respect. They were one of the only organizations that seemed to realize that an independent artist is about as rare and endangered as the mighty fish that they work tirelessly to save from extinction. I have been donating work to them for ten years now and a healthy sum of money has gone towards salmon conservation and to the feeding of my family.
As many other organizations large and small contacted me I became an advocate for artists ( I hope ) by always bringing this point up as a topic of discussion. If they were willing to work with me then I was willing to work with them. They would tell me that was not their policy and I would tell them to call back when they changed their policy. I was asked to be present in a number of committee meetings to discuss this point of view as they had been finding it much more difficult to find artists to donate. I only hope that my appeals were not falling on deaf ears and that artists have benefited from those meetings. I have noticed that the national organization that I mentioned earlier is now sharing with artists the proceeds of their fund raisers. Things can change.
Often times when a fund raising event is being held many corporations or businesses want to contribute in some way and they find that a cash contribution is not always the way they would like to go. I have had situations whereby an individual, business owner or corporation have purchased a piece of art from me and then donated it to the fund raiser. Win win in my view. Many people do not know that by purchasing art from a living Canadian artist the tax benefit is the greatest. They are getting to make an excellent contribution to the cause of their choice, the charity benefits from their generosity and the artist is not left to wonder whether someone will notice their work and call them sometime after the event. The income that the artist raises from this type of cooperation is a way for private industry to support the arts. There are many advantages for small and large businesses to purchase original Canadian art. Many business owners are not aware that the Canadian tax law allows business owners to purchase and write-off original Canadian art in its entirety. They are amazed to find out that the acquisition of original Canadian art is included in the capital cost allowance for all Canadian businesses, so long as the artist was a Canadian citizen when creating the work and the work of art is an original worth a minimum of $200. The Canadian Government allows original Canadian art to be depreciated through the capital cost allowance for business, not as a loophole, but as enticement for Canadian business people to support Canadian art and Canadian artists.
When I first moved to NB in 2005 I went to a meeting at the Sussex Artists’ Co-op http://sussexartistsco-op.blogspot.com/. The meeting was intended to spearhead an organization for and by artists to assist in giving us a voice on a provincial level. The organization that was eventually formed is called ArtsLinkNB http://www.artslinknb.com/ I was very surprised to learn at that meeting that the average annual income of a professional artist in New Brunswick was less than $10,000. http://www.rabble.ca/babble/labour-and-consumption/canadian-artists-living-poverty-43-earn-less-10000 This is well below the poverty line and one of the reasons for the organization was to address this concern. I believe that if people knew this fact then they would not be so quick to ask artists continually to make straight donations to their fund raising events and they would also find ways to support those that do give after the event is over.
I hope that I may have shed a little light on an area that I have been dealing with for many years. My attempt to clarify the artists predicament is not to gain sympathy yet understanding. When we work together toward a common cause then everyone involved comes out on top.
As usual I would like to hear your comments. You can go to the comment section of this site or email me. Thank you.
I tell you, the more I think, the more I feel that there is nothing more truly artistic than to love people
Vincent van Gogh
Ladder Pool 24″ x 72″ Acrylic on canvas
So I’ve got this painting that I have been wanting to share with everyone and have been sitting on it for a while. It all started when I was asked to come up with an image that would be suitable as a commission for someone special for doing something really special for a really special cause. My good friend Marcel Caissie who is an avid fisherman and photographer had been to the Dartmouth River in Quebec ( Gaspe) and taken a number of photos that I was then given full access to work up a composition from. Check out his photos at http://www.flickr.com/photos/spey/ A number of different angles were presented and all were very unique and interesting. After the very special charity decided that a painting was a little too special to give as a gift to this very special person for his hard work at raising large sums of money, the idea was laid aside. It made sense that they would get him a nice gift but the painting was a little extravagant a gift for this purpose. I tend to agree with that logic. I decided since I had put a fair amount of time into the preparation of the images that I would ask Marcel if I might continue the process and bring the painting to fruition. His answer to that question was “fill your boots” which to a fisherman may not be the best thing to hear. I decided to get to work on the painting.
Backing up a about a year earlier I had been having some major trouble with my large format printer and had lost almost an entire roll of canvas, 40′, as a result of a memory problem with my server. The canvas is artist grade and coated on one side for inkjet printing. I was trying to reproduce copies of my Fly Fishing II Giclee reproductions and when it got to about 7/8 finished the system would shut down. It would print smaller images but would not do the file size we are talking about here. At any rate I had all of this partially printed canvas hanging about and was not about to throw it in the trash. Since the format I had chosen for this painting was a long horizontal piece, 24″ x 72″ the ruined reproduction was the perfect choice for material. I decided I would flip the canvas, gesso and paint on the reverse side. Pretty thrifty wouldn’t you think? I mean Emily Carr used to paint on shopping bags right? It’s funny because when people see the backside of the painting they can’t help but think that I have another painting on the other side. HMMMM? Reversible paintings may just be the new thing.
The painting had been done for quite a while and I thought that it was sold but something went wrong with that deal and so I decided to put it back on the easel and examine it some more. I started to paint on it again and am glad that I did. It’s finish is something that really has a three dimensional feel.
The clarity and colour of the water and the rocks on the bottom of the river all mesh into creating the sensation that you are actually standing right there in the water. The forest on the opposite river bank harbours a mysterious quality with the deep shadows and the cooling effect of the blues on the distant rock faces. The fisherman’s anticipation can be felt through his pose and how intently he watches the drift of his fly. The water rushing and churning out of the pool creating a white froth as it races away downstream creates a nice flow away from the stillness where we are standing. The angles of the rock formations on the opposite bank with their various shades and warms and cools create a strong contrast to the slick water surface. The contrasts of dark and light, warm and cool have helped to create a very dramatic yet serene and peaceful painting. I think I like it
There is a limited edition 50 Giclee reproductions available of which 4 are already sold. If you are interested in obtaining one please contact me through my email. andrew@giffinartworks.ca They are available in two sizes: 13″ x 39″ or full size 24″ x 72″. Contact me for pricing.
One of the the most dramatic effects that this piece has had on me is that I have been inspired to make a journey this spring to the Gaspe where I will spend a week to ten days exploring the river systems and fishing and photographing for future projects. I am very excited and will have some news when I come home from there regarding an interesting project that I learned about just recently.
I am currently working on another painting of this same scene from another angle. It is 12″ x 36″ and is a vertical format. It is nearly finished and will be uploaded very soon.
Below are some links. Check out this amazing part of Canada.
http://www.zecgaspe.com/english/index.html Three great rivers.
http://vimeo.com/8224890 Let this video load and then watch it full screen. AWESOME!
http://www.quebecsporting.com/york.htm This one may just be a sensory overload.
http://www.campbonaventure.com/salmon.nsf/e/B21D67790F711D5585257301006257C1?OpenDocument One heck of a fishing camp.
Tiger Woods 5 & 7
Well it’s that time of year once again when the world’s greatest golfers are about to meet at Augusta, Georgia for the much anticipated Masters Golf Tournament. Each year this tournament brings along with it the hopes of an early start to our own golf season here in Sussex, NB. www.sussexgolfandcurlingclub.ca In fact our driving range opened this weekend. I hope to get some much needed practice in before the Masters Tournament. I have been busy getting ready for the new season ahead by polishing up and even repainting some of my equipment. These old Lynx Super Predators are great clubs and were in need of a new coat of paint. I thought what better way to get some extra power out of them but to paint them with Tiger stripes. Now when I tell everyone that I am playing golf with Tiger Woods this season they will see I’m not delusional. I fear the new paint job to some degree though. I’m not sure whether my shots will go straight or tend to wander all over the place. I’ll have to wait and see whether Tiger Woods can improve my scoring.
If you are a golfer then I hope you have a great year. I’ll let you know how the Tiger Woods worked out in a later posting.
Recently I was commissioned to create four panels for The Johnson GEO Centre, an interpretive Centre in St. John’s, NL. http://www.geocentre.ca/
The panels are all 30″ x 40″ and approximately 2.5″ in depth. Each one deals with a different angle of the formation of the features of the St. John’s harbour as we know it today. The creation of the panels was a challenge because they were to all be relief carved and the textures and colours all needed to be dealt with in a way that gave them scale and a level of reality. Each one posed it’s own unique challenges. One is a topographical shot of the entire island of Newfoundland and the surrounding ocean bottom and other recognizable features such as Cape Breton, Nova Scotia, Prince Edward Island to name a few.
The next and probably my favourite is the close up topographical view of St. John’s Harbour pre-settlement time. Creating the opening to the harbour complete with Signal Hill and Fort Amherst was a very interesting task. It has a great composition and looks interesting no matter how it is oriented.
Next is the panel that depicts the mountain range that once stood majestically where Signal Rock is now poised. The destruction of this range wouldn’t bode well with any of us that are avid skiers. What a force the glaciers unleashed on the Eastern Mountain ranges. I enjoyed creating this piece because of my time spent in the West and my appreciation for the mountains. I could see myself at times finding notches and chutes to race down while I was creating the snow fields and bowls.
The final panel is an interesting juxtaposition of textures. The crushing weight of the ice can be felt as it rides across the rock surface of what was ultimately left behind once the glaciers had receded. Not much of a ski hill left here. Carving the glacier structure was enjoyable. The strong verticals really lend an authentic feel to the idea of ice melting. The painting was equally interesting as the subtleties were important and the shading equally so.
An exciting outcome to this project is how the combination of sculpture and painting have let me explore these disciplines in an overlapping manner. I have done paintings in the past that combine three dimensional elements as well as painting sculptures. I am anxious to continue exploring this combination on my canvases to give the paintings a 3D effect. I am adding a couple of examples of paintings that have combined sculpture and painting.
This painting, “Bright Fish early return” is one example. The canvas is split into two separate heights. The waterfall is three dimensional as are the rocks that are flanking it. The lower pool is 1.25″ below the upper river and the water cascades over. Embedded in the waterfall near the rock on the right is a salmon partially exposed as it climbs the waterfall. The painting sold at auction in Toronto some years ago at an Atlantic Salmon Federation fund raising dinner. http://www.asf.ca/
This is one of the first examples of the sculptural element creeping into my work. It was done as an experiment and the result was interesting. I had a cut out of the kayak that I had been moving around on the surface of the painting, trying to decide where it would be best to add it. I happened to ask my son Jesse who couldn’t have been more that six at the time. He asked me if he could move the taped cut out and I encouraged him to do so. He placed it part way off of the canvas and said “I don’t know if that will cause you trouble Dad but I think it looks cool there.” “Brilliant” I thought. I decided to do the kayak two dimensionally but I would extend the canvas with a piece of high density carving foam topped with a piece of canvas. The frame itself is set back from the painting edge and the effect of water spilling from the painting and into the frame box was done with a polyester compound and painted. The painting now hangs in the home of a collector in Winnipeg, MB.
The final piece that I want to show you is one that I did a number of years ago as well. It came from an idea that I had pertaining to our depletion of the natural resources. The scene is a northern lake in MB. Not any one specifically but I had been to Norway House, a reserve in Northern Manitoba, with a good friend and he and his brother are shown crossing the lake. The painting is 8′ in length and about 18″ in height. The key and rolled sardine can lid are comprised of mahogany painted with aluminium paint and the can lid is sheet aluminium. They are attached through the canvas from behind. The metal frame adds a level of authenticity to the idea. The key is, in essence, chasing the two men in the boat across the lake as they set out to find their quarry or winter store as it were. The woman that purchased this painting saw it at the Manitoba Art Expo http://manitobaartexpo.ca/ in which I was involved for the first four years, 96-99. I was speaking with someone when I heard a hearty laugh arise from the gallery area. When I turned to see where it had come from a she looked at me and said “I’m buying this painting”. She GOT it! She bought it and it now hangs in a beautiful lake home at Lake of the Woods in Ontario. http://www.lakeofthewoods.com/
ENJOY!
Scuba Salmo Salar 2009
Now here was a project that caught my attention. An announcement was made earlier this year by Gallery Connexion in Fredericton, NB that a competition was being held for Fredericton and area artists to submit designs for Salmon Run. There were to be 25 salmon distributed to the artists chosen so that each could be worked into their respective visions. The exhibit opening was held at the Hugh John Flemming Forestry Centre on June 4, 2009. It was a well attended event and a great venue to exhibit three dimensional work. The fish then were moved to their homes for the rest of the summer in the downtown area of Fredericton. In September Gallery Connexion will be holding an auction for all of the salmon and the funds raised will be used to assist with the galleries new digs. It should be a great auction. Scuba Salmo Salar can be viewed at Bejewel, a great jewellery store on Queen Street.
I received no less than three notices about this project from various people that knew I would be interested in this opportunity. I was very quick to put together three separate designs and submit them. As there was a limit to one fish per artist I decided, after speaking to the organizer, that Scuba Salmo Salar would be the one I would do.
Each of the fish were created in fibreglass by a fabricator in Fredericton and given out to the artists. They were white primed with glass eyes. This was the constant for all of the artists. After viewing all of the finished pieces it is hard to believe that they all started out the same.
My concept was to relay a message to all that we are moving in the wrong direction with the impact on the environment and that we need to be careful so that we do not reach the stage where fish will need SCUBA gear to be able to survive in our freshwater rivers. The perseverance of the Atlantic Salmon and it’s incredible ability to adapt has made it a successful species. It has undergone some very dramatic declines in population over the last 30-40 yrs and has recovered somewhat in some areas. There is still an uphill battle to keep the numbers growing and clean rivers and healthy watersheds are the most crucial point to their survival. My sculpture has the decal on it ” Warning - contents under pressure” nuff said.
My salmon has undergone a huge transformation as you can well imagine. It arrived all white on a steel pole. This pole needed to become part of the piece so it presented itself as a challenge in the beginning. I settled upon the idea of making it a Aquifer Link Sub-station where the salmon could swim up and engage the bottom of it’s gear to fill up it’s smaller tanks with fresh underground well water. The mask and straps for the salmon were created using an epoxy putty that was later painted black. The small scuba tanks are hairspray cans emptied and sanded then fitted with some dollar store corkscrews adapted to fit the hosing. The large aluminium canister is an old funnel upside down and a sonotube wrapped in aluminium sheet. The base is carved styrofoam and acrylic stucco painted. The sole of an old shoe which I had found a few weeks earlier while fishing was dried and glued to the base. The human footprint if you will.
Painting the fish to look like a real salmon was a lot of fun as well as a challenge. It’s body glistens as though it is wet and makes a nice finish.
Being involved in this project was exciting and reminded me of the Bears on Broadway project that I was a part of in 2005 while still in Winnipeg. Check it out if you like. I did three bears for that project.
Dreamcatcher 2009
This sculpture was completed on June 28th 2009. It is in the new garden at Marymound School in Winnipeg at 422 Scotia St. east of Main St.
This piece was commissioned by Marymound after an initial meeting in Sept. 2008. The original draft for the concept was done by one of the staff members of the school. I researched the importance and significance of the dreamcatcher to the aboriginal people. It was my intention to make a significant visual impact with this piece for the front of the school in the area of their new garden. The size of the piece is 10′ diameter and is fabricated from steel tubing of various dimensions. The central logo was plasma cut from 3/8″ plate steel and all was welded together by an amazing welder friend of mine who chooses not to be named.
Once the piece was completely welded it was then powder coated in a hammered bronze look (outside ring) and metallic silver (web and logo) by Quick Coatings on De Vos Rd. Winnipeg.
The beads in the webbing are limestone and granite rocks that were core drilled by Larsen Memorials and I split them with a cold chisel and hammer. They were then epoxied back together upon the dreamcatcher. I like the contrast between the rock and the steel. The natural stones also add a nice finish to the piece.
The base is bolted directly to the concrete slab and then I used mesh and steel bar to create an armature to apply concrete and then paint to look like a rock emerging from the sidewalk. This addition also stablizes the piece as well.
My client is very happy with the finished product and I am proud to add this piece to my portfolio.
If you are in the area drop by to see the Dreamcatcher.
We are excited about this year’s Studio Tour coming up June 13 & 14. Some interesting facts on your local artists that may surprise you!
• One of the artists had a portrait he’d painted given to Barbra Streisand and James Brolin for their wedding.
• One of our artisans had his handicraft given as a presents to two monarchs - the King of Bhutan and Queen Elizabeth II. Even the Americans love him … Michelle Obama’s used his work.
• The Prime Minister of Canada purchased a work from another local artist on the Tour.
Check out our website to find out more www.studiotour-nb.com
Join with your friends and make a day of it!
Look for our pamphlets at Holly’s Restaurant and the Pharmasave in Hampton, the Saint John Arts Centre in Saint John, and Jitters Café and Winterwood Natural Food Store in Sussex and many other stops from Saint John to Sussex..
The hours of the event are from 10 a.m. to 6 p.m. on Saturday the 13th, and from 11 a.m. to 5 p.m. on Sunday the 14th.
The tour encompasses 14 studios in the Hampton and Sussex areas. Brent Rourke will be showing his wooden wares at the Barn in Bloomfield, There are a number of painters including Andrew Giffin, Pat Mercer and Alice Whitney, Helga Lobb, Judi Baxter, and Eleanor Jenkins, who also does leatherwork, and Elizabeth Cameron who works in coloured pencil. We have two fibre artists who work with handspun and died yarns, Angela Belyea and Liz Miller. There is one clay artist - Carol Taylor, one photographer - Jamie Wilson, and one stained glass worker - Sharyn Gulliver. Hooper Studios will have Kathy and Sue’s paintings but other artists will be showing there as well so there will be sculpture and some other art forms. Lastly Saponetta Divino features homemade soaps and lotions. It is certainly a diverse and eclectic group of artists and craftspeople..
Any further inquiries may be addressed to Trudy at the Barn in Bloomfield 506 832-3716 or by emailing me at andrew@giffinartworks.ca
Late last autumn my father, Randy Giffin, suggested that he would like to commission me to do a painting that he, along with my mother, Thelma, would donate to the Hammond River Angling Association in Nauwigewauk, NB. Being one of the founding members of the HRAA back in the mid 70’s it was his idea that he would like to leave something to the association in the memory of himself and my mom. There were no restrictions or suggestions put forth to me what the image might be. All that he said was he would like to see it done before he was gone. Maybe he knew about my scheduling ahead of time? I gave some thought to it and an idea started to brew in my mind’s eye. For any of you that are familiar with the Hammond River in southwest NB you may know of the incredible geological feature that is the Tabor Bridge Pool. A fantastic rock face that has marvelled anyone that has seen it I’m sure for time immemorial. The rocks were folded into amazing shapes and the colours ranged from pinks, blues, greys, whites and blacks. It was an excellent place to fish, picnic, swim or to relax and enjoy the view.
Imagine how disheartening it was to arrive there one day late last summer to go for a fish only to realize that the NB government Dept. of Highways had decided to put a new bridge in and, in all their infinite wisdom, blasted the most important part of the feature to smithereens to make way for a concrete bridge abutment. I was emotional when I first came to grips with what I was seeing. Progress? This was apparently done without any discussion with the HRAA or obviously any environmental group. The HRAA has always prided itself on being a protector of the Hammond River watershed and it’s environs. The shock and disbelief by members and the executive was overwhelming. There was nothing to do but inquire and wonder why something of this magnitude could take place in this day, when we pride ourselves on environmental stewardship.
This became the seed for what I would paint for my commission. Somehow putting a facsimile of this now piece of history at the HRAA Centre seemed fitting. I asked the HRAA to put out the call for anyone that had photos of the rock face to please send them in to the Centre. Alison Murphy (an artist) from the area happened to have taken some impressive shots one day while on a picnic with her family. They were invaluable to me for setting up my image. Thanks Alison! Once the composition was decided upon I thought that it would be great to have some life in the painting. I chose to try rendering my Dad and his great fishing buddy, Bert Delcloo, from a photo that Martin Flewelling had shot many years earlier near our cottage on the same river. Thanks Martin! It seemed fitting to me that these two men that have been fishing together since the year I was born, 1960, would be portrayed along with the Tabor Bridge Pool. They are not fishing, rather they are discussing fly choice and are actively involved in the most important aspect of fly fishing, comradeship. Their lasting friendship and love for the river and the lifestyle has been monumentally influential on many individuals over the years. I have a great respect for them and wanted to paint that into this piece. I feel that I have succeeded in that endeavour.
May 9th was the annual fund raising dinner for the HRAA and the sister organization Hammond River Conservation Fund. I was given the opportunity by the executive to present the painting and give a short speech at the dinner. Thank you. There was a reproduction on canvas that I had framed in the same bird’s eye maple that I had handcrafted the frame for the original. It did very well in the live auction and raised money for the HRCF.
The painting will be hung over the fireplace sometime soon and I will post a picture of that event. Until then it graces the wall in my studio.
The artist proofs have all (5) been spoken for, There are 50 reproductions available of which some have been spoken for. They are $350 and are 12″ x 36″ stretched and ready to hang. Framing is available and prices are available upon request. A portion of profit from each reproduction sold will be donated to the HRCF.
“Memories” Acrylic on canvas 2009 18″ x 54″
Jesse and TY Giffin in front of Tabor Rocks 2002
Tabor Bridge Pool Photo: Alison Murphy
Randy Giffin and Bert Delcloo Photo: Martin Flewelling
http://www.hraa.ca/
http://www.photographyflewwelling.com/
We’ve all heard the story before. “Van Gogh cut off his ear!” Nothing much else is known about this great painter, who I might add, was about 100 years ahead of his time. Imagine how many people missed their chance way back then when they did not buy his art. He did sell one painting to be sure, problem is it was his brother that purchased it because he felt sorry for his brother. That act infuriated Vincent. Those that had the opportunity to buy his work while he was alive would have made their descendents very wealthy indeed. Below is a different opinion regarding the story of Van Gogh’s ear
Also check out the link to an amazing video that ties together some of Van Gogh’s paintings and the song Starry Starry Night by Don McLean. How many of you knew that this song was about Vinnie?
http://www.youtube.com/watch?v=dipFMJckZOM
ENJOY!
Art historians claim Van Gogh’s ear ‘cut off by Gauguin’
‘Self-portrait with cut ear’ by Vincent Van Gogh. Photograph: Roger-Viollet/Rex Features
Vincent van Gogh’s fame may owe as much to a legendary act of self-harm, as it does to his self-portraits. But, 119 years after his death, the tortured post-Impressionist’s bloody ear is at the centre of a new controversy, after two historians suggested that the painter did not hack off his own lobe but was attacked by his friend, the French artist Paul Gauguin.
According to official versions, the disturbed Dutch painter cut off his ear with a razor after a row with Gauguin in 1888. Bleeding heavily, Van Gogh then walked to a brothel and presented the severed ear to an astonished prostitute called Rachel before going home to sleep in a blood-drenched bed.
But two German art historians, who have spent 10 years reviewing the police investigations, witness accounts and the artists’ letters, argue that Gauguin, a fencing ace, most likely sliced off the ear with his sword during a fight, and the two artists agreed to hush up the truth.
In Van Gogh’s Ear: Paul Gauguin and the Pact of Silence, published in Germany, Hamburg-based academics Hans Kaufmann and Rita Wildegans argue that the official version of events, based largely on Gauguin’s accounts, contain inconsistencies and that both artists hinted that the truth was more complex.
Van Gogh and Gauguin’s troubled friendship was legendary. In 1888, Van Gogh persuaded him to come to Arles in the south of France to live with him in the Yellow House he had set up as a “studio of the south”. They spent the autumn painting together before things soured. Just before Christmas, they fell out. Van Gogh, seized by an attack of a metabolic disease became aggressive and was apparently crushed when Gauguin said he was leaving for good.
Kaufmann told the Guardian: “Near the brothel, about 300 metres from the Yellow House, there was a final encounter between them: Vincent might have attacked him, Gauguin wanted to defend himself and to get rid of this ‘madman’. He drew his weapon, made some movement in the direction of Vincent and by that cut off his left ear.” Kaufmann said it was not clear if it was an accident or an aimed hit.
While curators at the Van Gogh museum in Amsterdam stand by the theory of self-mutilation, Kaufmann argues that Van Gogh dropped hints in letters to his brother, Theo, once commenting : “Luckily Gauguin … is not yet armed with machine guns and other dangerous war weapons.”
I have always been inspired by music. It is the rare time that I do not have music playing while I am creating in my studio. Whether it is classical, classic rock, folk, jazz, rhythm & blues or progressive I find that it soothes the soul. When I was teaching painting classes my students would often ask for music that I had introduced them to over time. I was pleased that they felt that this rhythm was helpful for them as well. I remember working once with someone that rarely listened to music and he commented on how it made him feel more relaxed and able to work. I will often times play my harmonicas along with the music while I paint. This is the only instrument that I play because I can do it while I paint. I also take great joy in singing along and harmonizing. I have come to memorize many lyrics over the years. About a year before leaving Manitoba a group of guys began jamming in my studio. One of them heard me playing my harmonica’s in the other room while they were jamming away in the other end of the building. He asked me to join in. I was a little timid at first, not having played in front of many people before and not with accomplished musicians such as they. I had a ball on Thursday nights after that. Sadly I was in the process of packing up to leave and said goodbye to those evenings. My last evening in Winnipeg found me in the studio jamming until very late. The sense of kinship that filled the room and the electricity was overwhelming every time we played together. I really miss that.
Tonight a good friend from Winnipeg introduced me to one of the greatest web sites I have seen. He sent a link that I will post at the end of my story. The link that he sent is also here. The song “Stand by me” as played by musicians from all over the world is a tremendously uplifting experience. The quote in the email is
“No celebs, not missed neither. Musicians from all over the world, people living in and of the reality. Each playing his own version of given theme ‘Stand By Me’ (B.B.King). It all has been filmed without previous arrangements , set-ups, they are just improvising. Music comes to life ad hoc and in public. It’s an awesome thing to hear, and such a good thing to feel. No joke you will FEEL IT.”
I have been informed by some of my music loving friends that it was not B.B. King but Ben E. King that should be credited for the song.
I was moved by watching this video as was my 16 year old son Jesse. He could not wipe the smile from his face. I hope that you feel the same way if you take the chance to view it.
ENJOY!
http://vimeo.com/moogaloop.swf?clip_id=2539741 “Stand by me”
http://www.playingforchange.com/episodes
Playing for change
Playing for Change is a multimedia movement created to inspire, connect, and bring peace to the world through music.
Next Page »
