Showing posts with label USA. Show all posts
Showing posts with label USA. Show all posts

Monday, September 3, 2018

Paintings from New York and Chicago- conclusions

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Some thoughts on my trip



I enjoyed visiting the USA but, as East Africans say, I enjoyed it but not  very much.

A number of things come together for me to say that. Apropos Chicago, the flatness isn`t agreeable, The city turns itself from the lake. It has an endless grid plan which is inimical to walking. Walking matters, it`s a way of connecting with a  place, and if walking isn't agreeable or is dangerous , the city usually isn`t worth visiting.

While the food in supermarkets is excellent, cheaper food in restaurants otherwise is relentlessly awful. It isn`t even served on plates or using proper cups. The service system in restaurants - in which waiters are paid a tiny wage and essentially work for tips  - makes them both obsequious and annoying. And, of course, if someone is only working for tips, then they are unlikely to do anything that isn`t going to be paid- such as giving directions. The tipping system is dreadful because it makes people petty and mercenary. 

People look bad. Almost everyone over the age of forty in Chicago is obese. There is no sartorial distinction between adults, children men or women. They all dress horribly, like giant babies in logo festooned stretchy romper suitsThe use of shining white trainers and tube socks is dreadful, especially on older people. 

Specifically,  black people I met in Chicago were friendly and pleasant. Others were so so. But few people seemed very happy. They weren't that happy in N.Y. either. Perhaps that`s why they often weren`t very personable.

There is an officious way of speaking to people in the USA, and I encountered it in many small situations at immigration and in public transport especially. And they also have a robotic way of giving have a nice day pleasantries- they have a whole series of these vacuous catchphrases- (is there a list somewhere that you are expected to learn?). I spoke to very few people as I was painting in the street in Chicago- this is unusual. New York is much friendlier despite fairly frequent experiences of it`s world-renowned rudeness. 

There is a lack, in Chicago, of the sort of idiosyncrasies that make travel amusing- people dressed in individuated ways, shops or cafes serving things which are at all surprising, or people selling curious stuff on the road (the exception being some yard sales I passed). When I was there the huge pop festival, Lolapallooza was taking place and I was struck by the huge number of identikit teenagers streaming down to the park.


Of course, much of what I have just written is obvious but almost everything about the USA is very obvious. .

The transport system in Chicago was clean, efficient and pleasant to use. The grid plan, so monotonous- is fabulously easy to navigate. The subway in NY is grim- unclean, badly signed, with few staff. 

There are fine parks in Chicago. There are nice old suburbs too. 

There is also a huge problem with violence- when I was there in the fist weekend 35 people were shot.



Frank Lloyd Wright 

I visited two Frank Lloyd Wright buildings- Robie House and Oak Park- both are far smaller than I imagined and somewhat fussily styled. Photographs of these buildings are deceptive. To see these buildings you have to go on guided tours. These are tedious and overpriced.




Pictures



Four Manhattan pochades


Working on  bigger pochades- which is something I`ve been pursuing over the last four months or so- works well with the bullying hugeness of North American urban architecture. So for that reason I might well go back. I worked very steadily, getting up early and coming home to cook dinner and watch the USA`s dismal television which consists mainly of adverts for medical products occasionally interrupted by low-intelligence programmes and news about shootings.


I took out very few different paint tubes- five or six. This makes the kit lighter to carry and easier to use. The style I am chasing is about simplicity and speed, not detail.




In West loop, building on Madison (detail)





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Sunday, November 1, 2015

Three weeks in New York: 5. Manhattan, Central Park and Cold Springs

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Arch, Washington Square (detail)







Playing fields, Central Park, Manhattan, oil on card, 16 x 17 cm SOLD







Arch,Washington Square, New York, oil on card, 17 x 14 cm    SOLD






Central Park, Manhattan, oil on card, 15.5 x 17 cm - unavailable







Clinton Street, oil on card, 18.5 x 18 cm   SOLD





I found Leonard Cohen's old street, and worked there. There isn't that much that remains, just one block is in an old style. The rest has been given over to recent housing estates.





A toy boat on  Conservatory Water, Central Park, oil on card, 16 x 18 cm   SOLD


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 Cold Springs









A tiny peep from New York into a vast world beyond, taking the Hudson train up. Amazing natural abundance, pretty towns. An invitation, and a reminder of how  how claustrophobic life in New York might become.

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Toy Yacht, Central park: detail



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Friday, October 30, 2015

Three weeks in New York: 3. Brooklyn / Down by the river/ and Brooklyn Bridge / Green Wood Cemetery / Williamsburg


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There was first the ferry boat moving softly from the Jersey shore at dawn- the moment crystallized into my first symbol of New York.

Well, this isnt the ferryboat coming from New Jersey, More likely it's coming from Governor's Island, and it isn't dawn, but about noon. But surely any excuse justifies quoting Fitzgerald: does any writer better capture the feeling of arrival in New York? Let's have a bit more: here he is again, in The Great Gatsby:

I began to like New York, the racy, adventurous feel of it at night and the satisfaction that the constant flicker of men and women and machines gives to the restless eye. I like to walk up Fifth Avenue and pick out romantic women from the crowd and imagine that in a few minutes I was going to enter their lives, and no one would ever know or disapprove. Sometimes, in my mind, I followed them to their apartments on the corners of hidden streets, and they turned and smiled back at me before they faded through a door into warm darkness. At the enchanted metropolitan twilight I felt a haunting loneliness sometimes, and felt it in others—poor young clerks who loitered in front of windows waiting until it was time for a solitary restaurant dinner—young clerks in the dusk, wasting the most poignant moments of night and life.









Green Wood Cemetery, Brooklyn, a view, oil on card, 16 x 18 cm





This, above, is one of those that I feel has the necesary je ne sai quois, to make it stand out from the rest- a certain liveliness that suggests the pleasure of its making. It was indeed pleasant sitting there on the hill in the cemetery, which is extremely well maintained. One is greeted by a very friendly guide.  But the views were less dramatic than Id hoped.  And then the rain..

The picture (below) seems to me, to suffer from a certain lazy Japoinaiserie:







View of the East River from Williamsburg, Kent Street, oil on card, 18 x 15 cm  unavailable




Quite what is this factory on the other side of the East River from Williamsburg?:



View of the East River from Williamsburg, Kent Street -detail





There are fine places to eat there, and it isn't too costly. You feel at home. I did an interior and a couple of pictures of the river but only one came out well. The wind blew like hell.


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Thursday, October 29, 2015

Three weeks in New York: 2. Bedford Stuveysant and down to Williamsburg: from the street

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Ellery and Broadway (detail)





The grid plans, or almost grid plans are a delight, seguing unpredictably into each other. their occasional monotony affording the possibility of surprise. Magnificent! My happiness was such that even the names of streets, seemed portents of mysterious delight: Myrtle, Dekalb, Quincy, Bushwick...

Marvellous  too are fire escapes,..





Funeral parlour, near Metropolitan Avenue subway, Brooklyn, oil on card, 19 x 18 cm








But after a couple of days the sun came, and indeed it stayed for three weeks, with not a single day of rain.

I adore New York's elevated railways:



Ellery and Broadway, Brooklyn, oil on card, 16 x 18 cm





Broadway, Bedford Stuveysant, oil on card, 15 x 18 cm




I love exploring the Orthodox areas, their strangeness. I am transported to Pi, Aranofsky's marvellous film.


Returning from the Synagogue. Walworth Street, Brooklyn, oil on card, 18 x 15 cm  -sold 

There is some pitting of the surface of this picture (above)

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Sugarhill Social Club and Disco, Brooklyn, oil on card, 18 x 16 cm  available





Deli, Marcy Avenue, oil on card, 18 x 16 cm



This last is one of the more successful of the bunch, with just the right amount of work. Sickertian, I suppose:


Parade of shops seen from Flushing and Thompkins, Bedford-Stuyvesant, Brooklyn, New York
 oil on card, 16 x 18 cm   SOLD



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Saturday, November 2, 2013

New York V: above Queens; evaluation

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Above 43rd St., Queens, the back yards, oil on card, 13 x 12 cm

 There is something of Eardley here.




Above 43rd St., Queens, looking North-West, oil on card, 14 x 13 cm AVAILABLE





Above 43rd St., Queens, N.Y., looking down, oil on card, 12 x 12 cm





These three paintings were executed from the roof of my lodgings.

 If I regret anything about the US trip, it is that I did not paint anything close up, intimately.

 All painters have their distances: Lucien Freud or Chardin work much closer to his subject than, say, Turner does. And different cities condition different distances, so that panoramic views are a more likely response to Rio than perhaps to Camden. But I think if i were to revisit, I would try to get closer to my motifs, at least sometimes.

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The trip was, I think the most successful of my longer painting trips so far. The weather was magnificent, the light perfect and  the city is easy to understand and it is dramatic. The decision to focus on Queens, a rough 4 mile radius from my lodgings was wise, allowing me to explore without getting bored. 

I came to love Queens: it is ordinary but then quite beguiling at the same time, with an incredible mixture of unpretentious people from all over. I didn`t find any architectural marvels there- it is strange to me how few Churches there are- but there is a huge amount of good solid ordinary building, both blocks and townhouses -the sort that is so woefully lacking in Brazil- all laid out on an elegant grid, sloping easily down to the river, punctuated by small parks here and there.

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Many thanks to James for putting me up on my first days in the USA and for helping me, and to Tatiane for bravely and brilliantly assuming the role of  photographers assistant.

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Friday, November 1, 2013

New York IV: painting in Central Park and Hudson River Greenway


 Central Park Symphony, oil on card, 15 x 12 cm  SOLD



The parks in central New York are magnificent. I was there to catch the first changes of the Fall: fantastically coloured Sycamores. The weather was sunny but not scorching. Central Park is amazingly varied in terms of types of spaces. It isn`t quite as big as people say, if you know the London parks, but it is quite something nonetheless.



Central Park, New York, autumn, oil on card, 10 x 13 cm  NOT FOR SALE



I always love the freedom from precision in drawing that painting nature gives after I have been painting buildings.






Trees, Hudson River Greenway, N.Y., oil on card, 12.5 x 12.5 cm - unavailable



There is a huge Bonnard influence in these pictures,  a direct result of visits to the Metropolitan Museum nearby.

Central Park N.Y., woman in a red dress, oil on card, 12 x 16 cm  NOT FOR SALE



 Five from Manhattan`s parks

Wednesday, October 30, 2013

New York III: Coney Island

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 Yachts, Coney Island, N.Y., 15.5 x 11.5 cm   SOLD



I traveled down to see the charms of Coney Island: here described in Tom Waits', Coney Island Baby:

 Every night she comes
To take me out to dreamland
When I'm with her, I'm the richest
Man in the town

I also think of songs by Lou Reeds: Coney Island Baby , and the Velvet Underground's,  Coney Island Steeplechase, which, at a rockier pace takes a not dissimilar angle:


Would you like to go on the Coney Island Steeple
Go and have a good time
We'll take the subway right down to King's Highway
Gonna have a good time
If it's all right it would be so nice
If you come and go with me
The roller-coaster you and me

But the Coney Island I found more interesting was the sense of ruin and only a half kilometre from the newish boardwalk, where elderly Russians perambulate. Tom Waitsian territory indeed, of bust up car repair years, pawnshops and broken down tenements. I painted to a backdrop of police sirens.




Blocks, Coney Island, N.Y., oil on card, 14 x 11 cm  - available








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New York II: East Village, Brooklyn, Morningside Heights, and outside the Public Library

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These are pictures from less systematic perambulations. It is difficult in such an intensively commercial zone as Manhattan to find places to sit and work peacefully: this is partly why I spent so much time exploring Queens, though another reason is simply that it is, I find, better creatively to explore a smaller area with some concentration, than a wider area superficially.






A Chinese Restaurant, East Village, oil on card, 11.5 x 14 cm




I loved the rectangularity of everything, as if the work were a vast three-dimensional jigsaw puzzle composed from square and rectangular pieces: it suits my somewhat blocky style.





 Outside the library, Manhattan, oil on card, 10.5 x 14.5 cm  - available





Washington Square, Manhattan, N.Y., oil on card, 14.5 x 13.5 cm   SOLD






Tenement, Morningside Heights, Manhattan, N.Y., oil on card, 11.5 x 15 cm  unavailable





I remember seeing something on television once about Glasgow, in which the presenter maintained that the layout of New York and its systems of tenements was more reminiscent of Glasgow than any other city, but I cannot, alas, recall what programme it was. But in a sense Glasgow is more interesting, because of its slopes and hills: New York could do with a few hills to set it off.  And I could find no ecclesiastical architecture to match that of "Greek" Thomson.





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Tuesday, October 29, 2013

New York I: Queens, from the ground

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I`m back from a successful painting trip to New York. I stayed in Astoria, Queens,  a very pleasant area with  an astonishing variety of restaurants, and which has very much a community atmosphere.



 28 pochades from New York: a good and consistent catch this time


 I explored the area between Astoria Park in the North to the Generating Station on 20th Avenue in the North-East, Queens Boulevard in the South and Queensbridge Park in the North-West. All this can be done quite happily on foot.



 Eleven from Queens, from the ground. There are three painted from a roof which I`ll put in a separate posting.




It has a fair range of buildings and spaces, with industrial spaces and workshops along the river and to the North West, as well as handsome tenements and detached houses.





 43rd St and 31st Avenue, Queens, N.Y., oil on card, 14 x 13.5 cm   SOLD




 The fringes of cities, usually less mediated than the centres, contianing ruin and well as order, industry as well as commerce and houses as well as blocks, are almost always much more fun to paint.




Warehouses, Queens, N. Y., oil on card, 15 x 9.5 cm - available




This next, painted under the wonderful raised railway, is one of the best of the bunch, I feel:


 Under the tracks, Astoria Boulevard, Queens, N. Y., oil on card, 14.5 x 10.5 cm  SOLD






 41st St from the junction with Newtown Road, Queens, NY, oil on card, 15 x 11 cm - unavailable







Woodside Avenue, Queens, N. Y., oil on card, 13.5 x 12.5 cm   available





I bought beautiful American oil points by Williamsburg, which have helped enrich my earth colours.




Astoria Park, Queens, N. Y., oil on card, 12.5 x 14 cm     - available




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