Showing posts with label Italy. Show all posts
Showing posts with label Italy. Show all posts

Tuesday, February 21, 2023

In Italy

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In Italy


Perhaps this book was one of several found in Catherine Dawes' house in Suffolk after they had just bought it. There were a few left behind in a box by the previous owner. 

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The book is lovely, belonging to the days just before mass travel, before tourist crowds appeared, to exhaust places, sucking the mystery from them. There’s sweetness in the hand tinted images: mellow olive groves and still sunlit hillsides, silent squares, then fading stucco churches.

The Italy I know isn’t like this at all. It's more complex and, I'd say, much unhappier. Elegance cannot compensate for political mistrust. 

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The last time I was in Italy I went to Rome: recently divorced: alone. 

September: I strolled along the river and through the parks. The smell of the leaves sweetened a damp breeze. Rome is sad in September, but it is sad in a kind way.

I met an American woman like a stick insect who was staying in the same hotel. She knew everything about everything. The proprietor, a very short, pudgy young Coloradan was eager to chat. Funnily, she knew someone from the same tiny, extremely Jewish, Colorado town as he’d grown up, miserably, in. Drinks were surely in order, he declared. 

He took us to a nearby pizzeria. Though married and at least a foot shorter than the American woman he began flirting rather forcefully with her. He tried to exclude me by only responding conversationally to the thin woman and dismissing my contributions. He knew everything about everything and told her that the Sistene was not worth visiting.  We became a little drunk.

Oh the appalling sexual desperation of the male! 


The diminutive hotel proprietor wanted to make further advances with the woman. 

To do this he invited us to his den in the basement of the hotel, where he’d sometimes sleep. Photos of his beaming wife and children in their ideal Orvieto home lined the wall in the corridor outside. The den had a big sofa. We sat on it. Then the proprietor offered us both foot massages. Obviously, this was an attempt to seduce the Californian. Probably, I was expected to refuse. But we both accepted: he knelt before us and massaged first my feet then hers. 

Then we left. 

That was weird, said the Californian woman in the street above. I’ve never had a foot massage since, nor met anyone from Colorado.


The woman wanted to eat a fine Italian meal and the proprietor had recommended somewhere enthusiastically. 

We went the next night. It was a small place: a little group, in the weighty elegance of Romans, was waiting outside waiting for it to open. We felt under-dressed though my companion had managed to find a simple frock and looked quite nice in an understated way. 

When the restaurant opened, the group was welcomed warmly by an Important Manager who wore a shiny jacket and silk tie and costly loafers. 

We, however, were given a tiny table in the back where we were to crouch as an unsmiling waiter quickly served us an enormous single ravioli each: these resembled soft sea shells. The ravioli had egg yolk inside: we could not figure out why. Our conversation waned uneasily. We were given wine.  It didn’t help.  

Soon after, they brought us the bill. It was not low. The Important Manager asked us how the meal was in an efficient way. We paid, painfully. Then we were encouraged to leave. 

We stood for some moments, puzzled, in the wet night. We didn't really know each other.

We walked back up through the city and the wind blew more forcefully across Rome's monstrous baroque buildings. I asked the American woman if she liked Ezra Pound but she hadn't heard of him. She said that this was the difference between having a British or American education.

 The next day we met the hotel proprietor. He asked us how the meal was and we both said it was fine.

The American woman then went to Venice to join some Italian man she had never met before but who maintained he was in love with her. She didn’t find this unlikely.


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Thursday, December 13, 2012

Egypt: some decisions

The Rough Guide doesn't include Alexandria among it`s top twenty-eight things not to miss, and its entry for the city is less than positive. I`ve used Rough Guides extensively, in Italy, Chile, Brazil and Tunisia and  although I`d quibble with specific entries on hotels or restaurants, say, I`ve found their recommendations to be prescient. Any romanticism I feel about the idea of visiting the city of Cavafy and Durrell has been tempered, and given the time restrictions on my Egypt trip, the proposed itinerary will be:

Cairo-Luxor-Aswan - possibly Abu Simbel- Cairo

Thus I am following a very standard touristic itinerary, albeit one in which i spend more time than usual in Cairo.
The risk of traveling to a "new" place is that I get sucked into tourist painting- a feeling of obligation to paint what is known or espected, rather than responding to my actual experiences. I think that I became somewhat trapped in the Italian trip by romantic expectations. I hope to avoid this in part by the longer stay in Cairo, and by spending long enough in the other places to overcome the obvious. 

In truth, in planning painting trips, I always get it wrong, as. Surprise, the basis of inspiration, cannot be planned. And expectations distort, as does research, and it is very hard to predict if a place will really lend itself to inspiration or not. tourist sites are often cleaned and ordered to the point of sterility, so that their local character is lost to the demands of a massive international industry.


Saturday, October 20, 2012

Painting in Tuscany; thanks and thoughts

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Viareggio, Tuscany, oil on card, 12 x 14.5 cm




Well, that brings to a close my trip.

It was a wonderful trip and I want to thanks everyone who helped me: my parents,the people in Tuscany, Steve in the Beehive Hotel in Rome for restaurant recommendations,  Julie for company over dinner, and to Patrizia in Bari for taking me to Monopoli and buying me beer.

And many thanks to Sarah and Stefano in Tuscany for their hospitality and meals.

Other pleasant encounters were the sweet guy in the Lecce who runs the tourist information for giving me a ride on his scooter with my luggage, pleasant if surely eccentric hotel owners in Orvieto and the Italians in general for being kind and tolerant with ignorant British painter travellers.


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From an artistic perspective, one always hopes there is some definitive lesson from a trip, but there rarely is.  There is a fine interview with Chuck Close and he states that all  the ideas he ever got came form the act of painting itself. Which is a way of stating, perhaps, that talking about it isn't that valuable.

 I feel more and more that this travel painting thing is analogous to fishing: you pick your equipment, your reels and hooks and lines, you think about what you want to catch and you go towards the place. And you might be luck you might not. A good number of days are  wasted and a good number of pictures are poor. I never know until some days after which are the good and the bad, and it almost embarrasses me how little I can trust my own immediate judgment.

The best paintings occur when one is in the zone, meaning that in that mindset where one is not really thinking about what one should or should not do but simply fulling engaged with whatever one is engaged with.

You know instinctively when a picture is fake or forced, but I don't know the words to  detail that instinct, and I doubt anyone else does either. Like many artists I spend my time often wanting to be another painter, one whose work I've seen and admire. Fortunately, incompetence or the mere ridiculousness of such an ambition forces me to work in way that is my own.


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Next trip: London, Egypt and Scotland in January, if the Egyptians haven´t gone completely kookoo that is, in which case it'll be Jordan.


BETTER DROWNED THAN DUFFERS IF NOT DUFFERS WON'T DROWN



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Friday, October 19, 2012

Painting in Orvieto

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Orvieto, looking north, oil on card, 16 / 14 cm unavailable






Orvieto- looking West, oil on card, 18 / 16 cm unavailable




Orvieto is an amazingly situated city with a stunning Gothic cathedral, all very well preserved or maintained,

I tried to do the sort of tourist painting in the cathedral square that almost seems the raison d'etre for travel, but never really enjoyed it. Better were the fantastic views. The second, Orvieto- looking south,  is a sort of impressionism which isn't, in truth, really my bag. I'm a much meatier, heavier and more expressionist painter, much more interested in lumpiness than light. I've always felt a little self conscious about this, the heaviness in my pictures. I want to make this more of a virtue as it is in, say, Morandi or Courbet.

I may shift the average scale up a bit in future trips.




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Thursday, October 18, 2012

Painting in Puglia: Lecce and Bari

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Lecce, early evening, oil on card, 11 / 16 cm  unavailable



Lecce was too perfumed for the sort of painting I like to do. It felt as every square inch had been combed over, tweaked, by a team of interior designers. The town's plan is labyrinthine, and it is flat and riverless, and has no seafront, which means it lacks vistas and, moreover, becomes claustrophobic and uncomfortable on hot days.





Bari, the town, oil on card, 10.5 / 13 cm  AVAILABLE






Bari- the Adriatic, midday, oil on card, 15 / 18 cm   AVAILABLE



Bari, was considerably better, more "normal", less airbrushed for tourism. I stayed near the station in the sort of crummy hotel with a strange lift and the view of the backs of buildings, and everything painted brown, the sort of Tom Waitsian place that I like though I am not sure why as they are self-evidently quite grim.

It's nice to walk along the seafront and paint. The people seem friendly and relaxed in Bari. it would be a good place to go if you were sick and just wanted some time to get well and have simple conversations about their dogs or the temperature. There are lots of nice little shops too. Italy doesn't seem to have suffered the corporate colonisation that blighted the UK, homogenizing every high street.






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Wednesday, October 17, 2012

Painting in Rome: from the parks and around the railway station

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From v. di Villa Medici, Rome, oil on card, 14 / 11.2 cm  - available




Rome, West from the Garibaldi monument, oil on card, 12 / 15 cm




Parkland in Rome, oil on card, 11.5 / 10 cm - - available




 Temple, Villa Borghese Park, Rome, oil on card, 12.5 x 13 cm temple





Rome is a pretty great painting city, with architecture whose insistence is sometimes oppressive: seeking respite from this I went along the river and painted the bridges. And I also went to the wonderful parks.

I started to explore the area near the station too. Immediately outside the station is, of course largely devoted to tourism, but move slightly further south and it quickly, magnificently, changes.

There, pitiful shop window displays showing drab and ugly clothes such as a selection of beige underpants of various sizes, each pair strangely stretched in a peculiarly unflattering holder, or some nasty shoes, the dirty take away restaurants and their aging shop signs, and then the men, often immigrants, in short leather jackets simply standing around smoking or sometimes using mobile phones, and the trams and vast nineteenth century blocks in scuffed pastel colours combined to make me feel an incredible nostalgia for some generalised, seedy. ex-communist city in the nineties, St Petersburg, or Warsaw. 

Also, there are non-Italian restaurants there too: something to be grateful for if the unimaginativeness of Italian cuisine starts to pall.


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Tuesday, October 16, 2012

Painting in Rome : buildings

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St Peters, Rome, oil on card, 13.5 / 16 cm    SOLD






Behind the Parthenon, Rome, oil on card, 10.5 / 13.7 cm unavailable




I'd had the idea of tackling more of the famous buildings but when I got to them felt disagreeable, the declamatory style of architecture and insistent presence of mass tourism combining to persuade me to so see refuge in Rome's wonderful parks and gardens- of which more tomorrow.

This touches on the way that tourism has the effect of so often destroying what it purports to celebrate, ones the sense of private discovery is lost among the hordes, to which I, of course, contribute, while hypocritically deriding.

The value of art is in the revealing of secrets, a butterfly chase: the skill is to capture and preserve an elusive emotion in your aesthetic net. The next major trip is Egypt- almost equally scrutinised, alas.





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Monday, October 15, 2012

Painting in Rome: bridges

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Ponte Sisto, Rome, oil on card, 12 / 14 cm   





Ponte Sant' Angelo, oil on card, 14.1 / 18.8 cm - unavailable










 Ponte Principe Amedeo di Savoia, Rome, oil on card, 13.8 / 8 cm  unavailable






 Ponte Cavour, Rome, oil on card, 14 / 16 cm  available





Ponte Margherita, Rome- the lonely cyclist, oil on card, 18 / 16 cm  SOLD





Ponte Pietro Nenni, Rome, oil on card, 12 / 7 cm  - available







 When I was last in Rome, two years ago, I painted the Pietro Nenni Bridge, and I wanted this time again to paint the bridges. I pursued this, semi systematically. The bridges offer a respite from the intense tourism of other places.

I was in Rome in two short bursts, at the start and end of a wider Italian trip. The weather was more or less perfect, though I'd have been happier with something more sharply contrasting to Brazil's perpetual summer, something more surely autumnal. 




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Sunday, October 14, 2012

29 from Italy

29 from Italy

Absent are four pictures which were sent to Scotland to, perhaps, be sold there.

It's not a bad haul: somehow not quite what I expected to produce, for good or ill.

 I will work more and more in the larger sizes in future.

Over the next few days I'll write more about the specific pictures and places.

Tuesday, September 18, 2012

A suburban street, Santa Monica; Italy



 A suburban street, oil on card, 12 / 14 cm  NOT FOR SALE

I have bought myself a little tablet and am playing around with it. I think the camera is just about good enough to mean I can leave the conventional digital at home, and can post images as I go along. Typing on the tablet is fiddly, but it's fine for short entries.

I fly to Italy in a few days time- thank God, as I need fresh ideas: Rome, Puglia, Orvieto, perhaps Lucca, a rough diagonal crossing from Southeast to Northwest.

 Perhaps too much is resting in my mind on the trip- a disadvantage of planning much in advance being that one tends to overload a journey with expectations.


Friday, August 24, 2012

Pochade carriers for Italy

A stack of carriers

 Open carrier

Closed

I am slowly preparing for September's trip to Italy, with a new run of carriers. These are deeper and larger than previous carriers. 

They are unpainted. I like the utilitarian brown, which I think contrasts happily with the contents. But, of course that means they are not so well protected against moisture. Perhaps I can varnish them.

This sort of craft work is therapeutic and makes for a pleasant escape from the sort of intellectual work I normally do.

Monday, April 2, 2012

Rome

I had a delightful idea, to lift me from the torpor which is Brasil- go to Rome!

I often think of places to go, but none has lent me that instantaneous sense of delight that I need to get organised.

Perhaps I can fly there, visit some other cities too, Naples again, and the Amalfi coast, even cross to the Adriatic side and see Lecce.

I was in Rome less than a year ago, but not for long enough, and felt my work there was not as good as it should have been. But I also I felt that delerium that one feels on encountering a beautiful person too briefly.

But when I say in the car today, a devil visited me, and whispered to my torpor, telling me how the second meetings are too laden with expectations and invariably issue disappointment.

Oh go back to hell where you belong!

Thursday, November 18, 2010

Rome

Rome- Piazza Venezia, oil on card, 14 x 9.6 cm

This is the last picture from my recent travels.  It doesn't quite sit stylistically with the rest.

Wednesday, November 17, 2010

Two from Rome

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Ponte Pietro Nenni, Rome, oil on card, 12 x 7 cm




Rome in Autumn is very beautiful.



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Tuesday, November 16, 2010

Two From Pompeii

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Pompeii- near the amphitheatre, oil on card, 12.1 x 9.5 cm  unavailable




Pompeii- ruins, oil on card, 9.4 x 12.5 cm  -  available





Two from Pompeii, with brush for scale



Pompeii in November is really beautiful: there are few tourists and it's a joy to wonder about the ruins imagining life in Roman times.

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Paintings from this site are available for purchase: please click on the label "sale" below for details.

Monday, November 15, 2010

Two from Naples

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Naples- Piazza Dante, oil on card, 12.2 x 9.6cm  - available








Naples- Capodimopnte Museum, oil on card, 9.3 x 12.2 cm






Two from Naples, with bruah for scale.




Like Catania, Naples is a great city for painting, with a splendid bay, super Baroque architecture, atmospheric alleys and hills offering all kinds of views. And like Catania, it hasn't been annexed by the tourist industry.



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Sunday, November 14, 2010

Four from Catania, Sicily; tourist painting

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Four from Catania, oil on canvas with coins for scale


Catania is a strinking city- dilapidated, dirty and gorgeous. As I walked from the train station past the seedy harbour area to the fish market where my hostel was, lines from Tom Waits' Tom Traubert's Blues  played in my mind:


"No one speaks English, and everything's broken", or "And it's a battered old suitcase to a hotel someplace, And a wound that will never heal."

It's a great place for painting, there's that variety of textures and sensations you get in places with haven't been sterilised for tourists- the mess, the squalor: the wounds unbound - lending you intimacy. The baroque architecture of Catania is fantastic and the city has hills that variety of levels which allows for varied perspectives. And at night the city has a sinister allure.



View near the Garibaldi Gate, oil on card, 10 x 11.5 cm   - available




Catania- view of the city from the south, oil on card, 11.5 x 9.6cm  - available




Catania- opposite the Agora Hostel, oil on card, 9.5 x 11.5 cm - available



 
Catania, Sicily- view near Piazza Curro, oil on card, 12.4 x 9.5 cm  - available




I had been thinking of doing some paintings in London which specifically tackled known tourist sights- Houses of Parliament, Nelsons Column etc- but I think that the idea is poor, because these places so control resposes, denying intimacy and nuanced responses from visitors. They are propogandist, like official portraits lacking personality, and it would be better for me to do a series set in London's non- touristy neighbourhoods, such as Brixton or Battersea, where it is easier to locate one's subjectivity.

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Paintings from this site are generally available for purchase. Pplease see label "buying art" , below, for details.

Friday, November 12, 2010

Three from Sicily; tourism, photography and plein air painting

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I took the ferry from Malta to Sicily, staying for a couple of days in spledidly sited former Greek Empire city of Syracuse, where Archimedes lived and which features ruins of some importance.

Much of the city has recently been restored, though the place still has some rough edges.



Three from Sicily (Syracuse and Taormina)
 
 
 

 
Corso Umberto I, oil on card, 13 x 9.6 cm - discarded



Greek Amphitheatre, Syracuse, oil on card, 9.5 x 12.6

I met a charming French-Spanish couple while painting here, at this greek Apmhitheatre, which is quite enormous. Thanks to them for buying me lunch. I hope they find this site.

 
View of Taormino, oil on card 12.6 x 9.5 cm    available
 
 
 
 
Taormino is one of those places that is so touristified that it is quite unpleasant, the entire length of the main street taken up with shops selling souvenirs. The tourist industry has this amazing capacity to destroy the places and cultures that it supposedly celebrates: everything becomes commodified, including aspects of interpersonal relations.

The views  from the town, however, are quite breathtaking.

My picture owes something to Kokoschka, the itinerant Austrian, whose painting journeys might become a model for me, along with Edward Lear and the Scotsman David Roberts.

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Digital cameras have made photography easy, cheap and fast and I see tourists, including myself, wandering about snapping away, scarely seeing the world save through a lens. Given that images of most places tourists visit, quite probably of superior quality, can be found on the web, their reason for snapping must really more to do with the desire to say "I was here", than to record or understand a place.

In the face of this barrage of fast photo images there is obviously place for slower, more considered meditation on places. Plein air painting provides this.

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These paintings are for sale- for 100 Brazillian Reals or equivalent in another stable currency (at the time of writing this is roughly 58 US$ or 42 Euros or 36 GB pounds). Post, packing and handling are not included.

More details can be found under the label "buying art", below: please contact me with any enquiries.

 

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Thursday, November 11, 2010

Nineteen paintings from Malta and Italy

From top: row 1- Malta; row 2- Sicily (Syracuse and Taormina); row 3- Sicily (Catania); row 4- Naples and Pompeii; row 5- Rome.

Plein air paintings from recent travels, all oil on card. I've included sunglasses and my paint box for scale.

For more detailed descriptions, please see individual pictures, which I shall put online over the next few days.

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All these paintings are for sale, at 100 Brazillian Reals- or current US$, Euros or Sterling equivalent (as I write, 100 Reals converts to 59 US Dollars,  43 Euros or 37 GB pounds).

Payment is by cheque or SWIFT or direct transfer from a UK or Brazillian Bank. These prices do not include postage and packing/handling.

All paintings described as "pochades" or "postcards" are priced as above (100 Brazillian Reals or equivalent)

These prices are deliberately low because I am keen to make my work available to those on ordinary salaries and to people who are normally excluded from the pleasure of owning original artworks for reasons of price.

Saturday, October 2, 2010

Transporting pochades

The primed supports I shall take to Malta and Italy will be mostly be a standard 14 x 9.5 cm:

These little holders are designed to hold the pictures in place while I travel about so they dont get smudged. I have made ten: the pictures will dry within 5 days and can them be packed more closely.

I think I will paint them with enamels to protect them against rain.