OK, so he eventually drowned in his own polish, but he was way ahead of whoever was in second place.
The original play ‘Salome’ was written, in French, by Oscar Wilde. Richard Strauss saw the play and immediately set to work on producing a German operatic version. It was duly performed in 1905.
What with a heady mix of the biblical, the erotic, and the murderous all wrapped up in splendid music it was controversial to say the least, and banned in London until 1907.
Towards the end of the opera, after quite a bit of to-ing and fro-Ing, Salome, who must have been quite a girl, performs the then startling ‘dance of the seven veils’ before the besotted King Herod, finishing up lying naked at his feet.
Herod then promises to grant her most desired wish….. which, of course turns out to be the head of John the Baptist. Said head is duly delivered and is fervently kissed by Salome. Goodness. The climatic music is extraordinary, a much debated chord seems to echo the degradation of Salome. This lowly state does not last long, the lovely girl being crushed under the shields of the soldiers. Not too many jokes, but wonderful stuff.
This painting is currently available to purchase / for exhibition. Please contact me for more details.
The clip below is taken from the official youtube channel of the Royal Opera House.
I often listen to music as I paint…
This painting was prompted by the closing pages of Wagner’s great Ring cycle.
Brunnhilde orders a huge funeral pyre to be built by the river Rhine.
Eventually she lights the fire, mounts her horse and rides into the fire to be consumed by the flames. The opera concludes with the glorious music of the Rhine
overflowing its banks and extinguishing the blaze.
The first Wagner I heard was at primary school age. It was the introduction to Das Rheingold. I had never heard of Wagner, just loved the stuff.
The horns and lower strings transport the listener to a magical world, rather like watching the time lapse growth and metamorphosis of some fabulous plant. Ravishing.
The clip below is shared from youtube.
18 August – 2 September 2018
The Quadrangle, Ailies Lane, East Hoathly, BN8 6QP
Across two large studios in an idyllic location in the heart of the East Sussex countryside, three contemporary artists share their unique take on abstraction. From expressionism to geometric, and utilising a range of techniques and mixed media, their work explores different styles and crosses over in unexpected ways.
Meet with and chat to the artists, view an exciting range of vibrant and thought provoking work, and soak up the calm and creative atmosphere of this unique corner of Sussex.
Original artwork for sale at varying prices, along with affordable prints and cards. Browsers also welcome!
Chris Mansell MA
Chris Mansell graduated with a masters from the Royal College of Art. His abstract paintings combine painterly techniques with printing, and play with both minimalism and expressionism. Having worked for many years as a technician in a number of arts institutions, his deep knowledge of techniques gives depth and integrity to his work.
“I suppose I have been, mainly, influenced by the painterly abstractionists, like De Kooning and Rothko, but my favourite work still decorates the cave walls at Altamira and Chauvet. I will never tire of looking at these images from 35,000 years ago which are still as sophisticated as anything which has happened since.”
Although working largely within the abstract aesthetic, there are many underlying themes and inspirations behind Myers’ work. Interests in literature, psychology and conceptual art combine with a passion for colour, shape and the exploration of composition to create works which are both visually stimulating as well as being an expression of concept.
Spray paints, acrylics, emulsions, marker pen, and other mixed media combine to create impactful contemporary abstract paintings.
Abi Myers graduated with a BA Fine Art from Portsmouth University in 2003. Alongside her own artistic practice she assists other artists and arts institutions.
Armitage has been working as a professional artist and illustrator for several decades, and the relationship he has built up over time with this most primary of artistic mediums has been a balance, with Armitage mastering the use of colour and mark, whilst accepting his part as slave to the medium, inviting accidents as part of the creative process.
Both abstract and more figurative works are inspired by various sources, including travels to other countries, shrines, landscapes, people and tragedy. Large scale colour-scapes are his metier, but he is also finding ways in which to distill the same energy, space and depth into smaller scale works.
Armitage has received much critical acclaim for both his painting and illustrative works, and has exhibited both nationally and internationally.
The exhibition runs as part of Lewes Artwave Festival 2018. There are many other open studios nearby, please see their website for details, trails and maps.
Open daily from 18 August – 2 September, 11am – 5pm. Free entry. All welcome. There are no stairs, but the ground is uneven in parts. Purchases by cash / cheque.
The vexed question of ‘titles for paintings?’ is a very old friend. The works I produce are, by their very nature, ambiguous and non-specific. They can sit happily with double identities or no identity at all. After all, they are paintings, not pictures. Self-contained worlds in other words. To complicate matters, no matter what they are called, the subliminal undercurrent that pervades them all, is music.
‘Music Box’ is a collection of works where these links are quite obvious and I have provided a brief note of a more direct connection with particular bits of music. The proud owner of one of these huge works said: ‘forget all that tosh, I love the marks and the colour, sod the rest’. Never mind.
This is tricky territory; the Art Bollocks Cultural Police are always on the lookout for this sort of thing, and quite right too.
This ballet/ burlesque was composed by Stravinsky in 1910/11. It tells the story of three puppets who are brought to life. They are Petrushka, the Ballerina and the Moor.
Petrushka loves the Ballerina but she rejects him in favour of the Moor.
Petrushka challenges the Moor but dies in the attempt to vanquish him.
As night falls Petrushka’s ghost rises above the theatre before collapsing in a second death.
The ballet is a rich tapestry of wonderful music, dance and design. It’s popularity remains undimmed, as does the attraction of this tragic figure.
Video clip from youtube channel of Berliner Philharmoniker
Just sent these off to the printers, narrowly avoiding a typo on the final proof! Phew!
Please don’t tell me there are any others… it’s too late!!