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Moody afternoon shots from Compton Bay on the Isle of Wight. Soon after we got soaked by the approaching squal line in the distance.
This diptych features John 'the Steadfast' and his six-year-old son John Frederick I, later known as 'the Magnanimous'. It was painted in 1509, and whilst it was not unusual to paint a diptych of a married couple, in this case John's wife had died giving birth to his son. Cranach served the court in Saxony for nearly 50 years and had a prodigious output, but was also helped by four journeyman painters. I have a suspicion one of them painted the green background on the left...
Part of the Grinling Gibbons exhibition and inspired by his woodcarving were a number of pieces by contemporary artists. 'Heathen' was made in 2019 by Rebecca Stevenson in polyester, resin and wax. Echoing Gibbons's frequent depiction of abundant flowers and fruit, this piece contrasts the sickly sweetness of confections with the dead hare.
An exhibit from the Compton Verney Chinese collection. A collection put together by Sir Peter Moores (the Littlewoods football pools millionaire).
This lovely chapel was designed in the 1760s by Lancelot 'Capability' Brown as part of the new landscaping at Compton Verney, which also involved the demolition of the medieval church that had been nearby. Some (maybe all) the tombs and monuments from the church were relocated in the new chapel. This little angel holding a skull sits on top of the lavish memorial to Sir Grevill Verney, who died in 1668 aged just 20. He had only married the year before, and his son was born only weeks before his own death.
Following his experiences in World War I, John Nash suffered recurring bouts of depression and what was termed 'emotional shock'. He returned to painting nature and landscapes, and at the start of World War II he was appointed by the War Artists' Advisory Committee to a full-time salaried war artist post attached to the Royal Air Force and the Air Ministry. This was not a great success initially, partly because of the modernist nature of his work and partly because the RAF wanted war artists to concentrate on producing portraits of their pilots and aircrew. He had a greater love for the sea, and working in dockyards seemed to suit him rather better. This is 'Destroyer in Dry Dock'.
Built in 1924, Compton Acres, situated Nr. Sandbanks in Dorset. The garden is a fine example of a historic Victorian Mixed Style design garden and consists of seven distinct gardens. Including both Italian and Japanese, a lovely garden to visit.
Following his experiences in World War I, John Nash suffered recurring bouts of depression and what was termed 'emotional shock'. He returned to painting nature and landscapes, and at the start of World War II he was appointed by the War Artists' Advisory Committee to a full-time salaried war artist post attached to the Royal Air Force and the Air Ministry. This was not a great success initially, partly because of the modernist nature of his work and partly because the RAF wanted war artists to concentrate on producing portraits of their pilots and aircrew. He had a greater love for the sea, and working in dockyards seemed to suit him rather better. This is a watercolour of the French Submarine ‘Le Creole’ in Swansea Dock, painted in 1940,
Compton Verney. Warwickshire arts venue.
A sepia tone PhotoShop filter picture is a little bit like 'nostalgia'; producing a picture of a time and colour that in reality didn't really exist in the way shown.
A rather better shot of the Green Dwelling installation by Krijn de Koning. Each time we visit it seems to have been rearranged - perhaps visitors are welcome to move the blocks, though I haven't been brave enough to do so.
Alongside the Grinling Gibbons exhibition was one on John Nash: The Landscape of Love and Solace, featuring over 170 of his works. Also included were a number of works by John’s older brother Paul (1889-1946). I’m afraid I find it very easy to confuse the two, partly because both served in the Artists’ Rifles in World War I, both became official war artists and both also served as war artists in WWII. Not surprisingly, their work created in the trenches covered the same subject, and both suffered what would now be considered PTSD, but I also think their styles were also similar. Both were invited to illustrate the very popular Shell Guides to the English counties, Paul doing Dorset while John tackled Buckinghamshire. Although John had no formal artistic training, his love of plants and nature led him to produce landscapes and he held a joint exhibition with Paul at the Dorien Leigh Gallery, in London in 1913 which was very successful.
Initially, John Nash's health prevented him from enlisting at the outbreak of the First World War but from November 1916 to January 1918 he served in the Artists’ Rifles, the same unit that his brother had joined in 1914. He served as a sergeant at the Battle of Passchendaele and at the battle of Cambrai. Of the 80 men in his company who were at Cambrai that day, 68 were killed or wounded in the first few minutes. Nash was one of just 12 who survived. On the recommendation of his brother, Paul worked as an official war artist from 1918.
This watercolour, Farm on a Hillside, painted in 1914, shows a peaceful countryside scene just as it was about to be radically changed.
50 031 Hood passes the upper and lower semaphores at Fenny Compton while working 1M20, the 09:40 Paddington - Birmingham New Street
With a definite predilection for fox scat, the Compton's Tortoiseshell was a frequent visitor at our cottage.
A revised version of the previously posted image, this time the result of scanning and processing almost entirely within Silverfast AI Studio 8, using the Negafix feature. Once in photoshop I spent several hours spotting, and only enhanced the colour a bit in the extreme highlights and the red channel and added a bit of a vignette in the extreme foreground.
8th June 2018, 8.43pm
Linhof Technikardan S45
Schneider Apo-Symmar MC 150mm f/5.6
Kodak Ektar 100 5x4
1" f/22⅔
2º front tilt, 20mm front rise
no filtration
Scanned with Epson V850 using Silverfast AI Studio 8 with Negafix. In negafix I locally enhanced colours in some areas (for instance, I quite like a bit of Velvia-style blue shadow detail with colour film, which Ektar doesn't naturally go in for). Result may still have a bit of a red cast, but not at all bad for the amount of time it saved over endless faffing in Photoshop.
More of that lovely low winter sunlight illuminating the cliffs at Compton Bay.
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©2013 Jason Swain, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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