I have just completed the third book of illustrations based on Schubert song cycles. Winterreise was the first Schubert book I created, followed recently by Schwanengesang. This third book reflect Schuberts first song cycle Die Schone Mullerin based on the poems by Wilhelm Muller.
Below are a few of my paintings, accompanied by excerpts of the text, translated by Celia Sgroi. You can also read more about my process in creating the paintings for all three books here.
Wandering is the miller’s joy, Wandering! A man isn’t much of a miller, If he doesn’t think of wandering, Wandering!
Did she send you to me? Or have you enchanted me? I’d like to know, Did she send you to me?
4. Gratitude to the Brook
Now shake off the veil of dreams And lift yourselves fresh and free In God’s bright morning! The lark circles in the sky And sings from the depths of its heart The sorrows and cares of love.
8. Morning Greeting
What is the hunter doing at the mill stream? Bold hunter, stay in your forest preserve! There’s no game here for you to hunt, There’s only a doe here, a tame one, for me, And if you want to see the dainty doe, Leave your rifle behind in the woods, And leave your barking dogs at home,
14. The Hunter
Oh green, you hateful color, you, Why do you keep staring, So mocking, so proud, so pleased by my pain, At me, a poor pale man?
17. The Hateful Colour
And when love frees Itself from pain, A little star, a new one, Twinkles in the sky; And three roses spring, Half red and half white, That never wither, From the thorny stem. And the angels cut off Their wings And every morning Go down to earth.
19. The Miller and The Brook
Die Schone Mullerin will be available soon and will join Winterreise and Schwanengesang on my online shop, where you can also purchase original paintings and prints.
If you are interested in a particular work, please contact me.
Below is a short excerpt of Schubert’s Die Schone Mullerin, performed by Thomas Quasthoff at the Verbier Festival in 2009
You may or may not have heard the rumours – but YES we are working on a new Lighthouse Keeper book!!!
Thought I’d been a bit quiet recently? Here’s why:
You may or may not have heard the rumours – but YES we are working on a new Lighthouse Keeper book!!!
Scholastic came to us a several months ago and took us for a lovely dinner, a new book was suggested and we agreed upon a concept, which as you will see has a very important and topical theme.
Ronda’s done her bit, so now it’s up to me to do justice to her words with some illustrations, with the Lighthouse Keeper brand of colour, detail and humour.
It’s wonderful to be creating a new book, having recently celebrated 40 years since the first Lighthouse Keeper book was published, and to know that new generations of readers are discovering a love of reading through our books.
We’re currently looking at a release date sometime in spring 2020, which will hopefully coincide with a large exhibition of mine featuring original illustrations from the new book. So watch this space for more details in due course.
Working across different disciplines adds an element of confusion to the casual studio visitor, or, in one case it was somebody who wanted to see some work for a local show. Being familiar with the range of my children’s illustrations, the first thing she saw in the studio were several very large non-figurative paintings and lots of smaller ones. Puzzlement and doubt abounded. There was nothing cozy about these things. Had she come to the right place? How to extricate herself?
This was symptomatic of the reaction of many visitors and has led to me providing a brief tutorial in order to clarify this. Let’s start with the ‘abstract’ stuff.
My explanation was, and is, by invitation only otherwise the listeners boredom levels would be severely tested. Their interest was genuine and any hint of a patronising attitude from me would be spotted at once.
The gist of my riveting talk turned on learning the history and the language (or lack of it) of painting. As it is with literacy or numeracy or musical notation or culinary techniques, the study of these things is crucial. Otherwise, without the background knowledge of ‘reading’ paintings then the the lure of conventional pedestrian ‘proper pictures’ in all their tedium prevails.
Does one tackle this with a barrage of words? Heaven forbid. Consider this. After having enjoyed a play, or a novel, or a collection of poems, would you like to see a series of pictures to further increase one’s understanding? Or, conversely, does the visual experience have to be translated into mountains of words? Of course not. I once had a show where the only words were ‘fire exit’, and that was because it was compulsory. As somebody said ‘painting is about painting, everything else is about everything else.’ Quite so. Study it, learn about it, look at it, and even try it. Then forget the words.
As previously mentioned, illustrating childrens books has been quite a successful venture. And along with Ronda’s superior literary skill our Lighthouse Keeper books have kept us both busy for over 40 years. Being published by Scholastic they have been a hit in schools, with hundreds of lighthouses being crafted by kids all over the world!
Some years ago, Ronda and I were doing a school visit in London. For some reason, we worked with the kids in a lecture theatre, at the end of which was a grand piano. It was lunchtime and I was on my own finishing off some session pictures for my young audience. At some point a young man appeared, asked if I minded if he did a rehearsal on the piano. ‘Of course not’, I replied, ‘can I come and see?’ He was doing that wonderful warhorse, the piano part in Beethoven 5, a piece I had known since I was about 4 years old. His concert date was pretty close. He was nervous. He had umpteen goes at the start of the rondo. I approached the piano. ‘Look at this,’ he said, gesturing to the left hand page. He played a bit. ‘Now look at the right,’ he said. ‘You can see the problem! Bloody difficult, fancy a go?’ Of course, I could not see it at all. All I saw was a series of black marks on a piece of white paper. He looked at these marks and his head filled with music. This language was incomprehensible to me. My head filled with nothing. Not a hope. The music of top class painting is the same. It is wordless and deeply affecting.
And of course, the dross of the ordinary in this venture is just as evident and as easy to spot. There is acres of it. This can be very confusing. Online websites are full of the stuff, so much of it is of spellbinding mediocrity. More explanation required….
[A coda: Back to the lecture theatre type experience with the children….
Making images for children is wonderfully unequivocal and almost totally wordless. The scene is a draughty assembly hall. 200 kids, years 1 and 2 are settled down and expecting a good show. So, get to work and then grab them and hold them, but be quick about it. Do that and the rapport is a kind of silent and magical electricity. The children almost take all the oxygen out of the air. At the end, nobody wants to leave, including me and the teachers. If you are not up to it, death is not lingering, it is immediate and horribly final . Children don’t mess around with platitudes. This activity is not for the faint-hearted. In which case, go and do something else…..]
I first started my studio shows about 1980. Why? Dealers and I have never had a meaningful relationship, indeed, apart for a couple of minor skirmishes, one could say no relationship whatsoever, a state of affairs not likely to change. This isn’t a personality based phenomenon as far as I can tell.
For many years I worked as a jobbing illustrator. At times this could be stressful, to say the least. A phone call on Sunday evening. Who could that be I wonder? The caller, an agent, comes straight to the point.
‘Right, David, we need an A3 4 colour spread of….(take your pic)… a snow scene / children playing / an exotic forest / Greeks / Romans / Victorian slums / a moody sea scene / dogs / ducks or general livestock / portraits of war poets / airships and balloons / a Romanesque basilica / a street scene / a gooey sunset….etc. etc.’
We need it NOW, please, and… if you could courier it over by lunchtime tomorrow that would be terrific. The client will be lobbing in about 2pm. No time for visuals or scamps. Bye’.
Socialising grinds to a halt, back to the studio. Job is done to the accompaniment of an out of tune tawny owl. My motorcycle mate arrives at 10 a.m. to collect. (Wi- Fi has changed all that.) I have breakfast and get on with a bloody great ‘Pirates of the Caribbean’ pic which was way overdue. What was good about all this? It paid well. The downside? One develops a pathological dread of forever doing this kind of stuff. If I see a load of this , or similar ilk, at any dealers, (quite right and proper from their point of view). I thank God, with all my heart, that I will never have to knock out these sort of pictures again. EVER .
Besides, there are loads of highly trained seals who are also really good at this, and they enjoy it! Good for them.
Amongst all of this, illustrating children’s books, a totally different discipline and for a much tougher audience, proceeded rather well to say the least, and still does. More of this anon. Finally, the discipline of painting was also prosecuted to a greater or lesser degree. I still want the painter to create a new magical world of their own, not merely illustrate, more or less, the one we just happen to inhabit. Pictures in other words. That’s easy.
Anyway back to the studio shows. These are, and still are my shop front, so to speak. These were/are a happy melange of painting, children’s illustrations, life drawings and cartoons. A lot of fun can be had juxtaposing a 5 metre abstract painting with some little A4/fragments and a load of children’s illustrations.
Audience reaction or lack of it is wonderful. I have invented a ‘shortest viewing time competition’. The current record is 2.4 seconds (viewed from the doorstep) but that will be bettered. The other great obstacle is the husband/wife dynamic. An example:
They appear. Wife sees a 1.5 metre -ish painting to die for. Hubby a slab of indifference. A tape measure was produced, the problem of furniture moving discussed at some length, generating conviction and increasing volume. Then, the matter was decided. The price agreed, a mere snip at 8 grand, a cheque written. Delivery sorted… I immediately thumbed through the en primeur wine lists and told the bailiffs to call off their dogs.
Next morning the cheque was cancelled. Never mind. I have been there, on a lesser scale, many times, and doubtless will do so again.
I am sure that the temptation to overload an ad goes back to biblical times…
Hullo Design helper,
Picture the scene…Hot and biblical….Eve has just popped in to see the editor of The Garden of Eden Gazette. ‘Right! Ephraim’, she snapped,’ On my tiny ad. I want you to make the picture of the Apple tree bigger, AND, I want to put in a load more words and the serpent of course’…. the space allowed stays the same, so sort it for me’
‘Look, Sweetie, said Ephraim, stroking his great white beard, ‘I get this all the time’. The best I can do is meet you halfway. I so LOVE all your suggestions and when you see the next revise, you will see that I HAVE included a load of them. Not all, but that’s called ‘C’est la vie’ in Gaul. In Terra Australis they say ‘We ain’t playing for a bloody sheep station.’ Also, I have Griselda from Gethsemane Graphics on my ploughshare wanting to print the damn thing. Pronto. ‘AND! Just had a call on the ram’s horn from Adam and he would like a fig leaf border and a couple of your buy to let holiday cottages on the Tigris dropped in somewhere… No can do.
My man Paul from Tarsus is a whizz on this kind of kiddie… his patience is as long as my beard and, even as I write, he as a revised brief. As Soon as I get it I will forward it to you.
As Liebniz was heard to say ‘It will be the best of all possible worlds’ Of that I am certain.
Hullo, I think Griselda has just turned up with a cleft stick… O dear!!