Decisions In Paradise Part Ii Essay

Decisions In Paradise Part Ii Essay-83
With each layer new forms and gestures are made and others are buried.As the artist explained: ‘The process of painting was very distinctive – layer upon layer destroying what was underneath – and always working spontaneously and automatically – so of all the works done, very little was kept – only those images which happened in the rare magical moments when I was completely surprised and “enraptured beyond knowing”.’6 As always, the title During the early 1950s, a time when British artists had limited exposure to the latest painting from America, Davie earned the reputation of being the nearest thing in England to an American abstract expressionist.Davie, born in Grangemouth (on the River Forth) in 1920, is celebrated for being one of the first British artists after the Second World War to develop an expressive form of abstraction.

With each layer new forms and gestures are made and others are buried.As the artist explained: ‘The process of painting was very distinctive – layer upon layer destroying what was underneath – and always working spontaneously and automatically – so of all the works done, very little was kept – only those images which happened in the rare magical moments when I was completely surprised and “enraptured beyond knowing”.’6 As always, the title During the early 1950s, a time when British artists had limited exposure to the latest painting from America, Davie earned the reputation of being the nearest thing in England to an American abstract expressionist.Davie, born in Grangemouth (on the River Forth) in 1920, is celebrated for being one of the first British artists after the Second World War to develop an expressive form of abstraction.

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His visceral paintings including 1955 (fig.3) bursting with wild, turbulent colour became associated with the so-called drip paintings of the American artist Jackson Pollock whose work came to dominate the post-war scene.

Yet for Davie, Pollock’s method of dribbling and splashing paint onto canvases laid on the floor was a dead-end for painting: ‘Pollock shared with myself a passionate interest in the art of primitive peoples and this does show in the early work,’ he said.

a manifestation of spirit felt by a creative genius and passed to us through its conducting medium of form, as a wire can conduct electrical energy from one matter to another.

The true essence of spiritual beauty is indestructible and everlasting.

During this formative period Davie discovered the poetry of Walt Whitman and Eliot, whose prose is echoed in letters home as well as his own verses, bound by his father into book form and peppered with photographs and colourful illustrations.

Compelled like Whitman to capture his emotions first-hand, Davie’s immersion with words would ultimately feed into the process and creative energy of his images: How senseless it is The way they dance So monotonously around In front of me I watch them with my eyes As I blow breathy music From my saxophone I play to the moon Like a Chinese flautist In the forest The dancing figures change To silver grasses tall And waving gently I no longer hear the sound Of an out of tune piano A smile is a beautiful thing I answer with my eyes And play the more beautifully1Deciding that there was no career to be made from writing, Davie worked as a jazz musician and jewellery maker after being demobilised from the army in 1946.

His experience of Switzerland, Italy and Spain was transformative, as revealed in the journals the artist compiled between April 1948 and March 1949 charting his encounters with art and nature and the development of his creative sensibility: Surely that spiritual joy which flows in us from the vision of a fine work [of art] comes not from a mere arrangement of material forms…

surely the illusive quality of beauty is something which exists outside space and matter, in a world of timeless spirit, and the picture is only a materialisation of such spirit…

Expressive in their own right, 1948 (fig.1) were the foundation of Davie’s fascination with automatism, chance and the unexpected, their spindly, biomorphic forms suggesting the growth of microscopic life.

Davie’s works on paper are less well known but have played a vital role in the development of his art, enabling him to liberate subconscious actions and ideas and generate new kinds of images.

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