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painters Tubes magazine issue #12

painters TUBES magazine new issue 52 pages of great art, excellent articles and essays. £7.00 per issue including post and packing (UK mainland) Order one or more

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Single or multiple printed copies must be pre-ordered issue by issue. Please complete the form below to Reserve your personal copy of TUBES issue #12

..featured articles include : COLIN TAYLOR – the brilliant full essay on his experiences and thoughts of landscape in Chile (South America) – DEAN ENTWISTLE – his excellent article on the paintings of ELAINE PREECE STANLEY. A Superb piece on abstractions in painting by DAVID TYCHO. Our Editor (DENIS TAYLOR) will be contributing an extensive exhibition preview and exclusive photographs of RICHARD FITTON’s working on his new exhibition of paintings at the Whittaker Art Museum – “after 7 years and later” – opening on the 11th May… plus the full inside story of an important but rejected VAN GOGH painting written by ANDRÉ CHAHIL + another hard-hitting critic about art by SPIKE and much more – ARTISTS like our Facebook page and join the painters TUBES artists group and be the first to read new issues on-line.

Mike Knowles landscape paintings

painters Tubes magazine were delighted to receive an email from Dave Gunning of Todmorden Fine Art (UK)  about a highly regarded painter – Mike Knowles.  Dave Gunning  is a legendary gallery owner in the North of England and he is regarded as a  good friend of painters Tubes magazine.

In the email were five super paintings by Mike Knowles which we decided to post on our website.  For those of you who know Mike Knowles work you will understand why he is a very highly regarded painter in the UK. Dave Gunning also posted TUBES a brief summary of Knowles life and work which is published below the following slide show of the paintings. And which are available to acquire for collectors of some of his work.

Please Contact Dave Gunning on +46 1706 814723 for more information or to acquire this artists work

 

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“…Mike Knowles was born in 1941 and trained first of all in Liverpool in the fifties, under such distinguished painters as Arthur Ballard, Charles Burton and Nicholas Horsfield (whose work I used to sell prior to his death at the age of 87). In 1984, he was appointed Head of the Department of Fine Art at Liverpool. In the sixties, Mike trained at the Slade School in London, under the leadership of Sir William Coldstream, and he trained there under such major British Contemporary painters as Frank Auerbach, Leon Kossoff, Michael Andrews and Euan Uglow.

Together these artists set the highest standards, and exemplified the continuity of the great art of the past and contemporary practice. The influence of Frank Auerbach is particularly evident in Mike’s work, and like Auerbach, Mike generally, though not always, works in heavy impasto oil, and his work is sensitive and carefully planned.

There is no subject that has not at some time or in some place, attracted his interest. His is not a casual eye, as he penetrates beneath the surface of things, in search of their essential character. In these visually and emotionally powerful works of art, it is clear that Mike revels in the raw energy, the transience and unpredictability of Nature in all its moods. He sums up his work in the following way…

” It seems to me that Nature should be our teacher, yet artists rarely use the word these days — cutting edge scientists use it all the time to describe their engagement with the incredible complexity of the world around us. To some, my landscapes might be seen as less than representational, but I am trying to paint and engage with my observations and experience of my everyday surroundings. Primarily, I am fascinated by the rhythms, space and structures of the landscapes I walk through each day, the interrelationship of land and sky, the shifting weather, light, tone and colour. I want each painting to be complete in itself, its own little universe, as near to a microcosm as I can make it of the forces and structures of the world out there — as far as I can figure them out, each day bringing its surprises, little discoveries and realisations. I want the paint to have a life of its own. Drawing is the first step and the underpinning discipline, what Ingres called ” the probity of art”. “

In 1991, Mike was appointed Professor Emeritus of Fine Art, Visiting Lecturer and Examiner to various Art Schools, including the Royal Academy and the Slade School, University College, London. He has recently completed an important commission for The Hong Kong Advanced Institute for Cross-Disciplinary Studies.

written by Dave Gunning, Todmorden Fine Art Gallery. 27 Water Street, Todmorden. OL 14 5AB. telephone: +44 1706 814723

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Dave Gunning was featured in issue #3 You can read all about him and Todmorden Fine Art. Link below:

painters TUBES magazine issue #3

all paintings ©Mike Knowles.

painters Tubes magazine ©2016 all rights reserved.

surpassing reality…with contemporary classical realism

painters Tubes magazine
Gabriel Grun – a classical contemporary painter
“everything in painting has been done already, so why bother to paint at all.”

It is probably the ‘realist’ paintings of today that is easy to critic.  After all they’d say, what is the point of copying something in front of you, when we now have the digital camera? – To a large extent I can and do agree with that statement. What I think they missed is the point of the process of painting, one that changes the reality and why that entails a complex relationship that a painter has to develop along with the work. And not only from spending a great deal of time working on it per sé- but creating something that didn’t exist before. To understand that process fully one has to actually paint, not talk about, not write about, and certainly not curate, to gain a total understanding of why painters still paint, by hand and not by computer or instruct other people to do it for them. These  new artists of the late 20th century were impatient and young, they had no time to hone a skill or tap into a natural talent, let alone develop one or need a natural talent whatsoever, what was the point when the new Art Marketing machine would triumph over Art, they said, and they were right.

 “talent is not enough..” …was another banner held high by the supporting tribe of over valued culture writers at the time. The new young artists all succeeded, they all became rich beyond their dreams. They had titles and honours poured over them. They have since then, been elected into positions that were once held by Artists who, perhaps unlike them, actually deserved the accolades bestowed upon them. This was the art world environment that appalled me as a 47-year-old painter of over 20 years [in 1998] when I was given the task of seeking out other real-artists to participate in a special exhibition called Heart 2 Art – It was a project commission from the International Support Group in Sweden and the Swedish Government Estonian Trust Fund. The show was in benefit for the survivors and the families of them that perished in the Estonia Ferry disaster of 1994. It was the most important and difficult exhibition that I had ever agreed to be the lead Artist, designer and curator of. I was given the lead by the Anglo-Swedish Art Group W.O.R.K (Waxholm Organisation [for the] Reformerandet av Konst). It was a massive task and fortunately I was joined, by way of my invitation, by the late professor of Art and the Author of several renown modern art books, Nigel Whiteley (1953-2010).  A person who I had long admired and read avidly in the UK Art Review magazine for several years. Together, through many meetings and discussions, we managed to formulate a philosophical criteria to help find the artists who had the right ‘artistic ethics and morals’ for the job in hand. The philosophy was realised in over 5000 words by Nigel and published exclusively for the exhibition catalogue with the title: “Affirmative Art in a Disaffirmative Climate”

It was at this time and in this frame of mind that I discovered a painter in far away [from Sweden] Argentina called Gabriel Grun. He became one of 27 Artists selected from nine countries that was finally exhibited in the Heart 2 Art exhibition in 2002 in Stockholm. The show was an eclectic mix of mediums of visual art that was to demonstrate the altered realities of humankind. And Gabriel’s work was a part of the show that visualised the link with the past and a new-vision how that link can be interpreted for the future.  As the years have passed since 2002,  Gabriel has been recognised in Argentina as one of their finest ‘fine artists.’ His dedication to filling the gaps that he feels have been left by the renaissance artists has, to my mind, been an impressive voyage. Yet, beyond that he has also ‘tuned’ himself from the stubborn art student who walked away from a modern art establishments curriculum in Buenos Aires, to a husband and father and a more mature artist who has perfected his craft.

“the idea behind my work is to pick the thread of the long line of visual narrative I love and cherish and give body to certain paintings I perceive somehow to be missing, to constitute gaps that are to be filled, that Rafael or Van Der Weyden just did not have time to do.”

He is not alone in his pursuit of a classical perfection in a contemporary idiom. Many artists have gone before him. Dali is perhaps a reasonable example, as is Odd Nedrum (Norway) and there are more. Grun is however unique in the way he not only portrays realism, but also in the manner in which he does it. He has described this way of working as an alphabet, one that he has had to learn and continues to learn, but he then transcribes his own visions by reforming and inventing [visual] words using that alphabet and creating new narratives. He attempts (and succeeds in my opinion) of making an image that ‘sticks’ to your eye and your mind.  There is always the danger of making subjective judgements, especially where realistic paintings are concerned. As Gabriel says himself, some sort of anachronistic story telling is not his target to dynamic art creation. His art has a more direct desire, one of landing a punch packed with power. Some of his earlier works have a definite erotic tone, which could be the exuberance of youth and which, as he said recently to me, that in his current life he is not in sympathy with, nor feels that he needs to call upon, to give his work the emotional power or punch that he sought, when he was still a very young artist painting in Buenos Aires. I still keep in touch with Gabriel, and recently he told me that after a year or two or working on illustrating a book he is about to embark on a new series of paintings…I have to say I am excited to see what they will be…

©article written by Denis Taylor. Editor for painters TUBES magazine

©2015 – 2019 painters Tubes magazine all rights reserved

 

painters TUBES magazine
one of Gabriel Grun’s early paintings that featured in the Heart 2 Art exhibition in Stockholm 2002 -collection of Denis Taylor/painters Tubes magazine

 

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issue number 11 is now on line to read free – this issue has two fantastic articles – Colin Taylor Part two of his wonderful 3-part essay on contemporary landscape and how to translate that popular genre into a vital and important work of art…part two discusses “what is seeing.” – The second article is about why the Transavantgarde, movement that started in 1979,  is still a relevant way to think about Art today and the choices a painter makes during the creative process. SPIKE & Friends – our old critically minded journalists, returns from their travels and talks to TUBES about space for painting exhibitions, or rather, the lack of it. And of course not forgetting about the brilliant 11 artists taking part in the first new Tubes Artists Gallery – A space thats just for painters.

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