Branch Line Tea Room, St Erth

Cosy and gemütlich and comfortable
Cosy and gemütlich and comfortable

This is a favourite stopping off place where in the midst of all the travel you might enjoy either quiet or a brief encounter; perhaps both. Perhaps, one of the few actual benefits of privatisation, it is filled with transport posters from the 1930s. You can so easily imagine the billowing steam from the last trains which ran on the St Ives Branch line up until the 1970s.https://www.youtube.com/watch?v=a3O7uSD2qlk

Then the music begins, a gentle voice from the past:-

Sometimes I’m happy, sometimes I’m blue
My disposition depends on you
I never mind the rain from the skies
If I can find the sun in your eyes, oh

Sometimes I love you, sometimes I hate you

Calling cards for The Branch Line Tea Room
Calling cards for The Branch Line Tea Room

Ah, but when I hate you
Don’t you know it’s ’cause I love you
That’s how I am, so what can I do?
I’m happy when I’m with you

I never mind the rain from the skies,
As long as I see the sun shinging in your eyes
Don’t you know that

Sometimes I love you, sometimes I hate you
Ah, but when I hate you
That’s because I love you
That’s how I am, so what can I do?
I’m happy when I’m with
So happy when I’m with
I’m happy when I’m with you

(Read more: http://muzikum.eu/en/123-14654-197076/kathy-kirby/sometimes-im-happy-lyrics.html#ixzz3DUJ6zRWl)Tea Room3

British Surrealism at Falmouth Art Gallery

Agar, Eileen (1899-1991): Untitled, signed, inscribed 18/75, lithograph, 75.5 x 57 cms. Presented by Tremayne Applied Arts, St Ives.

There has been a renewed interest in works of British Surrealism in recent years. In summing up an exhibition in The Independent on the 26th May 2008 at The Middlesborough Institute of Modern Art- http://www.independent.co.uk/arts-entertainment/art/features/british-surrealists-minor-league-but-major-players-834236.html -Tom Lubbock wrote,” People have said that Britain was Surrealism’s original native land Alice’s Adventures in Wonderland, William Blake, the gothic novel, Gulliver’s Travels etc. Perhaps we didn’t need the whole movement-and-manifesto thing. But it produced, slightly by accident, a group of very interesting pictures that ought to have a wider showing, and which the Sherwin Collection is willing to lend.” Clearly symbolism and surrealism have obvious links in mythology and archetypes and such matters were thrown into the generally creative and tempestuous furore which grasped interest in the period between the wars.This climaxed in in the organisation of the International Surrealist Exhibition in London in 1936. There is some evidence of these issues in the paintings displayed in the current exhibition, mostly on loan in Falmouth from the Southampton Gallery. The artists on show include PAUL NASH,CECIL COLLINS, CERI RICHARDS, ROLAND PENROSE, JOHN TUNNARD, EILEEN AGAR &ITHELL COLQHOUN.

Some idea of the range of the Exhibition may be gained from the images to be found at this website, http://www.thisiscornwall.co.uk/pictures/Photos-British-Surrealists-Falmouth-Art-Gallery/pictures-16910494-detail/pictures.html

However, the most exuberant and baroque piece was a comparatively recent work by David Kemp – entitled “The Hanging Gardens of Basildon”. On his blog, Kemp comments, “It is one of a series of a dozen large plant forms, all influenced by “THE GARDEN OF EARTHLY DELIGHTS” an enigmatic painting by the great Hieronymus Bosch, which  explored many  aspects of medieval life, many of which might still be seen as relevant to the human condition, in our modern world?” This comment on the fantastic botanical forms and the connection with Bosch is reminiscent of the work of the VienneseSchool of Fantastic Realism as explified by Arik Brauer whose interest in Bosch he derived from his own tutor, Albert Paris von Gütersloh.

Arik Erich Brauer Die Honigkaeuferin

No visitor can possibly fail to be impressed by the peculiar botanical drawing, named “Prophylactic sea-mouth” by Edith Rimmington. The haunting form appears as some kind of elongated mutation of a dogfish egg-case with a coiling eel like flagellum.

However, for those interested in the development of the work of Paul Nash, his oil painting, “The Archer” will doubtless attract attention both for its muted complementary colours and the charmingly odd bucolic setting. A friend comments in a personal communication, “The Nash is one of his complex compositions worked on for years with bits from all over the place.  There is a letter by Nash about it in Tate Archives. The central ‘archer’ feature was a structure he made from an old toy boat, glass tube, twig, seaweed etc.  I don’t think it exists anymore other than as a photo. It looks more compelling in the photo with strong echoes of surrealist sculptures by Giacometti, Man Ray etc.  He constructed (like Lanyon), collected and photographed sculptural objects from which he derived elements of his paintings.

Paul Nash The Archer

The ‘target’ is from Men-An-Tol of course + mirrors etc; the shadow of the girl bottom right, sampled from De Chirico etc.etc.  All very sexual with the ineffective arrow being merely the shadow of the archer….. I’m not convinced that he managed to get it to cohere as an image.  I wish he had left the landscape dominant as with ‘Landscape at Iden’ http://www.tate.org.uk/art/artworks/nash-landscape-at-iden-n05047 where the symbolic elements infuse the composition naturally.”

Those interested in Roland Penrose’s work can consult http://www.rolandpenrose.co.uk/works.aspx

Autumn and Rilke, Keats usw.

René Karl Wilhelm Johann Josef Maria Rilke

 

 

Rilke’s poem seems apt for the time of the year, although the recent summer might be difficult to describe exactly as  groß.

Herbsttag

Herr: es ist Zeit. Der Sommer war seht groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.

Befiehl den letzten Früchten voll zu sein;
gieb ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.

Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

One translation may be found at http://picture-poems.com/rilke/images.html#Herbsttag

The phrase “picture-poems” is suggestive of imagism and Pound and Wyndham Lewis somehow seem to be current in the zeitgeist with the excellent production of Parade’s End on BBC2 adapted by Tom Stoppard in currently much in vogue. There are certainly lines which capture the visual imagination such as,” auf den Fluren laß die Winde los.” Although time and season are obviously central to the poem. This dynamic is reinforced in the second stanza with,” Befiehl den letzten Früchten voll zu sein;
gieb ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin…..” Befiehlen here probably being an invocation so as to arrange, allow or ordain matters so that the fruits attain full ripeness.

The wind, frequently and beautifully referred to in Shakespeare’s sonnets, also connected with time for example Sonnet 54 as wanton, (” As the perfumed tincture of the roses,

Hang on such thorns, and play as wantonly

When summer’s breath their masked buds discloses:”) adds to the unruly, random, dégringole quality and to the sadness, possibly of the poet himself, in the final stanza.

Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

Of course, most English readers will immediately be reminded in this poem of Keats’s Ode to Autumn.

Season of mists and mellow fruitfulness!
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the mossed cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’erbrimmed their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reaped furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers;
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cider-press, with patient look,
Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too, –
While barred clouds bloom the soft-dying day
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing, and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.

Keats wrote in 1819, ‘How beautiful the season is now–How fine the air. A temperate sharpness about it. Really, without joking, chaste weather–Dian skies–I never liked stubble-fields so much as now.”

John Keats

For an insightful and a radical and political reading of Keats’s poem, it is worth looking at A Poetry Primer, The Secret Life of Poems by Tom Paulin (http://www.amazon.co.uk/Secret-Life-Poems-Poetry-Primer/dp/057127871X/ref=sr_1_1?s=books&ie=UTF8&qid=1346952035&sr=1-1)

in which the poppies are associated with the repressive/reactionary use of the Redcoats of the British Army and the grim reaper’s sickle with the cavalryman’s sword. If Rilke knew of Keats’s Ode as one imagines he did, he is unlikely to have been aware of such associations.

There is an entertaining discussion of Rilke in Clive James’s splendid collection, Cultural Amnesia: Notes in the Margin of My Time.

There is a detailed website in German at http://www.rilke.de/

Another discussion of Keats’s Ode is at http://www.guardian.co.uk/books/2012/mar/23/john-keats-autumnal-idealist-social-commentator

De Kooning and friends

 

This photograph of de Kooning and his wife, Elaine is engaging in its own right and may be found on a very useful and visually appealing website, at http://artistandstudio.tumblr.com/archive a site which includes self-portraits, painters and their models, their ateliers in pictures and photographs. Looking at this handsome couple prompts further work into abstract impressionism, its history and associated figures. The photograph is particularly engaging and was taken by Ibram Lassaw.

Willem de Kooning(April 24, 1904 – March 19, 1997) was born in Rotterdam in the Netherlands and journeyed to New York at the age of twenty, he was a stowaway and was very taken by Jazz. He came to prominence when he painted the 105 public murals for the 1939 New York World’s Fair. As the Wikapedia article about him states,” As his work progressed, the heightened colors and elegant lines of the abstractions began to creep into the more figurative works, and the coincidence of figures and abstractions continued well into the 1940s”. At http://www.theartstory.org/artist-de-kooning-elaine.htm it states of the couple,” Elaine and Willem de Kooning endured a long and, at times, very tumultuous marriage. As much as each artist benefited from one another’s paintings and teachings, they mutually suffered due to constant infidelities and struggles with alcoholism.”

Of particular interest is the abstract expressionism developed by de Kooning’s erstwhile colleague, whose fascinating work can be viewed at http://www.tumblr.com/tagged/adolph-gottlieb?before=1338654139 Gottlieb joined de Kooning and others, including Mark Rothko from 1935 to 1940 in a group known as “The Ten” http://www.louisschanker.info/tendisc.htm. Some of Gottlieb’s ouevre is somewhat reminiscent of Paul Klee.

 

Mariner
Man Looking at Woman by Adolph Gottlieb

Gravity
Gravity

 

 

Glass, The Strange History of- by Lyne Stephens Fortune

In this panoramic view of two Cornish families spanning two centuries all sorts of characters make an appearance. Not only are we educated in the ambience of English Merchants in Portugal but people as diverse as Southey, William M.Thackery, John Lemon and Canning, to mention but a few, all make an appearance. It begins by relating the making of a fortune by William Stephens, grandson of the Vicar of Menheniott and an enterprising genius. Her is the story of a merchant who becomes a manufacturer of glass.

William was educated at Exeter Free Grammar School, having left the area near Saltash, where he grew up. He went on to serve on the Lisbon packets upon arrival in Portugal became involved with the intrigues of Carvahlo, the Marquis of Pombal. He was next to witness the destruction of Lisbon by the great earthquake in 1755. As Jenifer Roberts interestingly points out, high waves from the latter were still above 8 foot when they made boats in St Ives rise more than eight feet. Then William opened a glass factory in Marinha Grande and securing exemption from taxes, charmed princes and queens so as to build a fabulous fortune.

The profits from the Stephens fortune passed also into the hands of their Lyne relations also living in both Portugal and Cornwall. The author outlines the family history, which involves wars and rebellions and diverting interludes. Eventually some of the fortune ends up in the hands of a feisty French ballerina and into the hands of various lawyers settling claims upon it. This is a splendid tale, well written and for those who find truth stranger than fiction, a great historical and biographical account.

Glass-
The Strange History of the
Lyne Stephens Fortune