No Sunshine when She’s gone-Bill Withers

Ain’t no sunshine when she’s gone
It’s not warm when she’s away
Ain’t no sunshine when she’s gone
And she’s always gone too long…Wonder this time where she’s gone
Wonder if she’s gone to stay
Ain’t no sunshine when she’s gone
And this house just ain’t no home
Anytime she goes away

Wonder this time where she’s gone
Wonder if she’s gone to stay
Ain’t no sunshine when she’s gone
And this house just ain’t no home
Anytime she goes away

This song has been in the background of the Kaffeehaeuser -and I like that term-as I sometimes, in my Walter Mitty manner, like to imagine Penzance as a sort of Vienna. Sometimes the conversation feels as good as that in the heyday of the Cafe Central! As the darkness of twilight looms with the storm clouds and the sense of life’s losses becomes more a melancholy nostalgia. Outside the colours of the sky are glorious and then the song begins with its evocative repetition of the third verse:-

And I know, I know, I know, I know,
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know,
Hey, I oughtta leave young thing alone
But ain’t no sunshine when she’s gone

The only other song that seems to have a similar effect is, of course, Stormy Weather, which once brought tears to my eyes in -banal  and bathetic note– Pizza Express in Truro! 

Ain’t no sunshine when she’s gone
Only darkness every day
Ain’t no sunshine when she’s gone
And this house just ain’t no home
Anytime she goes away
Anytime she goes away
Anytime she goes away
Anytime she goes away

The song is so popular that there is naturally a detailed note about its origins back in 1971 on https://en.wikipedia.org/wiki/Ain%27t_No_Sunshine

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Joachim Ringelnatz und Strassenbahnen

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Strassenbahn 23 und 13

 

Was nur in Frankfurt sich begibt:

Die Trambahn hielt auf offner Strecke.

Sie sah am Wege eine Schnecke

Und sagte gähnend: »Steigen Sie ein, wenn es Ihnen beliebt.«

Die Schnecke wehrte: »Danke, mir pressiert es.«

Da gab die Bahn ein Abfahrtssignal und noch eins und

ein drittes und viertes.

Und wirklich begann sie allmählich weiter zu fahren,

Um noch vor Sonntag die nächste Station zu erreichen.

Dort lagen an dreihundert Leichen,

Lauter Leute, die über dem Warten verhungert waren.

 

Joachim Ringelnatz wurde als jüngstes von drei Geschwistern in einem Wohn- und Geschäftshaus am Crostigall 14 in Wurzen bei Leipzig um „11 ¾ Uhr“ in einem Zimmer über dem Flur geboren, wie der Geburtsschein der Hebamme belegt. Seine Eltern waren beide künstlerisch tätig. Sein Vater Georg Bötticher, der einer thüringischen Gelehrtenfamilie entstammte, war ein Musterzeichner und später hauptberuflicher Verfasser von humoristischen Versen und Kinderbüchern. Er veröffentlichte vierzig Bücher, unter anderem in Reclams Universal-Bibliothek. Die Mutter Rosa Marie, Tochter eines Sägewerksbesitzers, zeichnete ebenfalls, entwarf Muster für Perlstickereien und stellte Puppenbekleidung her. Ringelnatz wuchs in bescheidenem Wohlstand auf: Die Familie beschäftigte zwei Dienstmädchen.

Quelle:-https://de.wikipedia.org/wiki/Joachim_Ringelnatz

 

 

https://en.wikipedia.org/wiki/Camborne_and_Redruth_Tramways

Philby, Zoltan Kodaly and István Szegedi Szüts

First let us get ourselves into the right mood with some Hungarian Music –from :-Szegedi Szűcs Judit: Három sós perec

Now translated from the Hungarian version of Index against Censorship by means of the partially garbled Google translate we read of a certain man -István Szegedi Szüts being bound up somehow with the Fourth Man, Kim Philby:-

“Probably never know how mixed up next to each other Szűts Szeged and Philby because Philby one word did not remember the incident, as a later joint útjaikról not, in fact never down either by Szegedi Szűts name, just “Hungarian” referred to as hinted. Nevertheless Szűts Szegedi could play a significant and important role in his life, has recently come of age since the 1930 Easter led Philby’s first trip to Hungary. Motorcycle arrived, but that where you’ve been, shrouded, but much seems certain that Szűts Szegedi’s company reached the Low Countries and Subotica surroundings, where the Black Country is very similar conditions met, but are not industrial workers, but the manual peasants life seen with your own eyes.

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Philby same year appeared again in Budapest, this time in the company of Tim Milne, who first hired King Street apartment and a car repair shop encamped, which was for the owner than George Szűts Szeged. Philby and Milne very well felt in the capital: fried meat ate, swam the Danube, which have been removed and used at the time, watched the Blue Angels (was Marlene Dietrich’s first major success in 1930, the German sound film made Heinrich Mann’s novel, first pool by way of ), they walked along the Margaret Island and Milne’s memoir, according to Philby never once gave signs of increasing political beliefs. Szegedi Szűts not name popped up ever again; if there was a secret painter mid-thirties established in England in 1959 when the death took to the grave with him. Philby’s commitment towards the working class and communism found it a few years later confirmed in Vienna, where two Hungarian also participated actively in the consciousness of Philby spy and of becoming.”

Which is very interesting and suggests the possibility that to an unknown extent, Philby was involved with a Hungarian painter who knew the Russian spy and was possibly a contact in his activities. This was not just any painter but an artist who has been compared with Paul Nash, was an excellent woodcut printer and also a talented writer, István Szegedi Szüts. He was born in Budapest and lived for a large portion of his life in the small south Cornwall fishing village of Mullion. István Szegedi Szüts was a member of an Olympic fencing team in 1912 and a brave officer fighting the Russians in the Carpathians during the First World War. It was at this time that he was ordered to shoot any straggelers among his own men to prevent a more horrid death from persuing wolves. His fascinating prints recording his experiences in the K and K forces can be seen at http://www.bhandl.co.uk/articles/2013/03/19/viewer.aspx.

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István Szegedi Szüts, a self-portrait at the age of about 32
István Szegedi Szüts, a self-portrait at the age of about 32

Images from the First World War may be seen at Barnes, Hampton and Littlewood where they say:”Szuts first visited England in 1929 and held a solo exhibition at the Gieves Gallery, London in the same year. In 1936 he moved to Cornwall with his partner Gwynedd Jones-Parry, whom he married in 1937. The couple lived at Caunce Head near Mullin on The Lizard and remained there for the rest of their lives. Szuts exhibited with The Newlyn Society of Artists and The Penwith Society of Arts.” The link is at http://www.bhandl.co.uk/articles/2013/03/19/viewer.aspx

Wordless Book,"My War" showing a village during WW1
Wordless Book,”My War” showing a village during WW1

 

A teacher and educational philosopher he was also a friend of a friend of the composers Béla Bartók, Zoltán Kodály and György Ránki.

 

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Paintings of Refugees by Maurice Minkowski(1881-1930) and Frances Hodgkins(1869-1947)

The paintings of Jewish refugees from Odessa and Bialystock by Maurycy Minkowski around 1910 are haunting, heartbreaking and evocative. Yet both in their colourful lyricism and moving composition they are a reminder that the refugee crisis is by no means a new phenomena; they are also pointers to some sort of categorical imperative that it requires urgent action still today. These are art works which demand that the fight for peaceful refuge and against racism is taken seriously now and once again.

Translating from the IWO in Buenos Aires, where it states:-

He was born into a wealthy Jewish family in Warsaw in 1881. At five years old he was deaf as a result of an accident. Having shown artistic vocation, he studied art at the Art Academy of Krakow where he graduated with honors. In his early years he painted portraits of local personalities and impressionistic landscapes.
His experience Pogrom of Bialystok (1905) was decisive in the course of his life: he abandoned his specialty as a landscape and portrait painter to devote himself almost exclusively to painting scenes of religious and secular Jewish life in Eastern Europe. 
Minkowski rejected the new artistic movements of the early twentieth century to put his painting in the service of a style that could be defined as “ethnographic” and became the portraitist of anonymous Jews, refugees, and the impoverished masses. 
His large canvases showing the victims of the pogroms attracted the attention of the European public, and despite the barriers imposed their origin and communication difficulties, his paintings were exhibited in Antwerp, Dusseldorf, Berlin, Paris and other cultural centers in Europe .mm1
in addition to painting many scenes of the suffering of the Jews in Russia and Poland in the early twentieth century, Minkowski devoted much of his work to exalt the role of women in Judaism,
At http://www.pagina12.com.ar/diario/suplementos/las12/13-2747-2006-07-06.html we read that of  his work  in Buenos Aires, where this deaf and dumb painter, the critics Silvia Bronstein Wilkis and Zachary M. Baker wrote:-
“Soon Minkowski will present to the Argentine public in his simple and beautiful  work. Undoubtedly and without prejudice, the heart will appreciate a work that only the heart has dictated, ” Julio E. Payró.wrote from Belgium in the newspaper La Nacion, in June 1926, “No violence, no scene of lethal fire, brutal invasion, but the memory and the threat of pogrom weigh in the atmosphere of the work of Minkowski (…) Thus, in his immense tenderness, the artist’s gesture Leasehold the horizon of Poland and embraces all suffering humanity, “said the Belgian art critic in another part of his article.”mm2
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Frances Hodgkins (see these two above images of Belgian Refugee children painted in St Ives in 1916) was a significant New Zealand painter of whom David Tovey has written in his interesting book Sea Change Fine and Decorative Art in St Ives 1914-1930. During World War I she spent some time in Zennor, Cornwall, where she worked with the Swansea painter, Cedric Morris, who painted her portrait in 1917.She herself began to paint in oils in 1915.
As the website at the New Zealand Museum, http://collections.tepapa.govt.nz/topic/935 states:- “The outbreak of World War One forced Hodgkins to move from Paris to St Ives, a small fishing village in Cornwall, England. Here she found it difficult to travel or earn money and endured considerable hardship. However, it also meant that she had time to paint, and she experimented with larger works, using oil and tempera as an alternative to watercolours. Her works from this time show the influence of Post-Impressionism. “
Tovey points out that under the proactive approach of Gussie Lindner that St Ives took in some 99 refugees from Belgium of whom something like 62 remained in 1915. The large oil which is in the Christchurch,NZ gallery, the upper of these two above was called “Unshatterable” and was exhibited at the International Exhibition in 1916. He quotes from curator Ken Hall at Christchurch who mentions how in this painting the grey swirling area in the top left represents the absent father. Moffat Lindner felt these paintings showed considerable talent and he was to provide for her and encorage her in various ways. More information on Lindner who was a key figure in the St Ives Society of Artists may be found at http://cornwallartists.org/cornwall-artists/moffatt-lindner
 In 1915 St Ives was a small town but played its part in taking in those in dire need-surely now we can maintain this enlightened tradition particularly for those who are victims of the devastating weaponry and ferocious assault.
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St Ives in Mid-October

The town is at last fairly free of tourists and today the St Ives Archive Centre-situated presently in Carbis Bay- is presenting an exhibition of St Ives in the 1970s. Actually the photographic display ( of Sam Bennets) goes back a good deal earlier to Doble’s Wall, sailing ships and coaches (which used to be called charabancs)jammed together in narrow streets. The awkward relation between traffic and pedestrians being one constant through the years. The Archive Centre next year is concentrating on the Torrey Canyon and the promenade Fire,{http://www.stivesarchive.co.uk/}

St Ives Archive at the Western Hotel (19/10/16)
St Ives Archive at the Western Hotel (19/10/16)

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View from Norway Square
View from Norway Square

The promenade is still warm enough to eat outside so that Kaffekultur survives despite the horrors of Brexit with a great view of Jumbos and other older craft inside the harbour. Polish, German and other newspapers are available from the tiny newsagents opposite the lodge. The atmosphere is more relaxed and it is much easier to move around the town without the impediment of advertising boards and hawkers. The only guy playing a guitar in Fore Street providing a suitably melancholy, but not too plangent  melody.

St Ives "Jumbo" vessels http://www.stivesjumbo.com/
St Ives “Jumbo” vessels http://www.stivesjumbo.com/

In the Penwith Gallery( http://www.penwithgallery.com/current-exhibition/) the Autumn Exhibition looks more colourful than ever and the sculpture and the ceramics are eye-catching too. This gallery deserves to be better known. In addition there is a section which is entitled Resurgence by Sue Davis and Anthony Fagin which is both inspiring and vivid. The press release states,” The exhibition takes as its central theme the regenerative power of the environment to recover from global despoliation whether from natural processes or human overexploitation. However it also reminds us – although not in any figurative sense – that while we may inhabit a world of ineffable beauty and bounteous resources, there is nevertheless a tipping point beyond which global recovery from continuing abuse will be impossible. Notwithstanding the gravity of their message, the approach of both artists to their work is positive and life affirming” (http://www.anthonyfagin.co.uk/publications/PRESS_RELEASE_resurgence.pdf)si2

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Wilhelmina and Stanley in St Ives

The current exhibition in the Penlee Museum in Penzance lasts until 19th November and is certainly worth seeing for many reasons: its variety of styles, the contrasts between her life in Scotland and St Ives, the photographs, her green transparent glaciers and the more abstract endeavours of her later years. There are paintings which are reminiscent of Christopher Wood, bright touches that are reminiscent of Cezanne and the harmonies of Paul Klee can be glimpsed in the waves and beach scenes. wbg6

The view above was painted in 1940 http://www.barns-grahamtrust.org.uk/ -and features the Catholic Church on the left as well as the Church of St Ia almost in the middle. The buildings are vertically elongated which gives them an interesting attenuated quality, The grass of the Island and the roof tiles appear in orange against the predominate blue of the sea. The tide is half way in and the crane on the West Pier is just about visible.

Just a few years before, in early summer 1937, much the same scene was painted by Sir Stanley Spencer. It is interesting to compare the resulting works.stan2

The foreground in Spencer’s painting show palm trees and in general the perspective is given a detailed treatment. There is a large boat alongside the pier. The West Pier is shown in full from this angle and the Island and Downalong shown in considerable detail. The tide level is just a little further inshore. The Mariner’s Church and slipway are both clearly delineated. Spencer became a member of the St Ives Society of Artists. He painted other pictures of the town including this atmospheric painting evidently from the promenade.stan3

Here too is a painting showing the coluration of the rocks and fishing boats equipped with sails along with the coast beyond Hayle in the background. Perhaps painted from the rocks on the town side of Porthgwidden. The lighthouse at Godrevy as made famous by Virginia Woolf in 1927.ssfishing-boats-st-ives-1937

Barns- Graham excels in her sketches which are often interesting in their composition and dabs of spare but effective colour. The palette of yellow against grey below shows this in a view crested by The Island.

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Summer in West Penwith in Black and White

Inspired by this Youtube clip of Berlin taken in 2015 in black and white, I decided to take a look at some, mostly “street” photographs I have taken  out and about in Penzance, Newlyn and St Ives this Summer.

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There are two analogue photography websites i would like to recommend:-

www.ishootfilm.de

and for the forthcoming Newlyn Arts Festival

http://www.homemadeproject.net

the latter will be at the Newlyn Art Gallery