Art | The Daily Norm

Apr 15

My travel sketchbook: The Tramuntana from Fornalutx

It’s been a horribly long time since my last entry in my travel sketchbook, the trusty book I like to take with me on my travels and in which I instantaneously capture my surroundings with a drawing in pen. But then again my travels have been somewhat overshadowed by a mighty great move from London to Mallorca, and all of the career and lifestyle changes that has entailed. However, now 5 months into my Mallorca move, and starting to spread my wings from Palma to the nearby plentiful natural scenery that permeates this stunning island, I have reached once again for my travel sketchbook to capture some of the beauty which I find all around me.

The Tramuntana viewed from Fornalutx (2015 © Nicholas de Lacy-Brown, pen on paper)

I drew this quick sketch from the wonderfully appointed balcony attached to our room in the Petit Hotel in the village of Fornalutx. What the hotel may have been missing in luxuries, it gained from a stunning location on the edge of the village with unparalleled views of the surrounding Tramuntana mountain scenery. This sketch attempts to capture something of that wonderful view from our room, enjoyed, all too quickly, for a mere 20 hours stay in the town.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Apr 10

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Interpretation No. 14 – Deia

How could I not paint Deia? Such was my jaw-dropped awe at this village on the slopes of a rocky Mallorcan paradise that i wanted to rush home and start 40 paintings simultaneously. But while more will surely follow, with time short, I opted for the “something is better than nothing” option and set about painting a small gouache landscape to enter my collection of interpretations. Rather than paint the main cluster of Deia’s buildings, such is the image which frequents the most postcards, I opted instead to paint the surrounding mountains and smaller settlements, finding these to be by far the most inspirational. However catching the mountain light and the vast scale of nature’s backdrop was not easy, and while I am fairly satisfied with this initial attempt, I surely need to try my hand at other views of this incredible place. Until then…

Interpretation No. 14 , Deia (2015 © Nicholas de Lacy-Brown, gouache on paper)

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Mar 18

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Sebastiao Salgado Genesis

Being a major artistic proponent of the use of colour, there is nothing I enjoy quite so much as gazing at a gallery full of vibrant paintings, each popping out from the white walls of an exhibition. However there are times in life when there is nothing quite so stunning as the use of black and white to suffuse a work with an atmosphere which could never be obtained through the distractions of colour. And of all the monochrome coloured exhibitions I have seen in my time, none has been quite so successful in black and white as the latest international phenomenon from Brazilian photographer Sebastiao Salgado, Genesis.

Inspired by Salgado’s horror at seeing his own homeland gradually deforested, its naturally lush habitats cleared away in the process of urbanisation, the Genesis project was conceived from an ambition to capture images of some of the most unspoilt and isolated spots on the planet, serving as a reminder of what rare beauty nature alone can create, and what gems of the natural world are continuously threatened by the activity of man. In the course of bringing together such images, Salgado embarked on an inspirational 8 year journey of discovery which took him on some 32 trips to the most remote places where he founds landscapes, marine environments, ecosystems and even indigenous human communities which have remained relatively untouched and unseen by the majority of humankind.

The result is an exhibition of some of the most stunning photographic landscapes I have ever witnessed. Scenes which appear so biblical and mammoth in their scale that you would swear they were the result of digital manipulation. But these captures are as far from digital as it is possible to get – the pure genius of nature captured by an equally brilliant photographer. And of course, as the exhibition intended, they are deeply thought provoking too. For these environments must not just be conserved in photos, but also in reality, for the sake of us all.

Sebastiao Salgado, Genesis is currently showing at the Caixa Forum in Palma de Mallorca, and the series is also available in large folios and books from Taschen.

All photographs are the copyright of Sebastiao Salgado and Amazonas Images

Mar 4

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Interpretation No. 13 – Ibiza Town

Busy times are upon us in the Spring-awakened island of Mallorca, and with the high season just around the corner, all of the businesses across the Balearics are preparing for the onslaught of tourists in their thousands. For The Daily Norm that means something of a quieter pace of life, as my creativity is diverted and energies exhausted on the multiple requirements of work. Nonetheless, I have happily retained the odd hour for a little personal engagement in private creations, and next off the easel is the 13th gouache in my collection of “interpretations” – landscapes reinterpreted with a simpler finish and flattened matt colours.

I started this little landscape as soon as I came home from the island of Ibiza. My first time on the island left me much enamoured, despite the fact that in low season it was worse than deserted, not least in the historical old town from which this view originates.

Interpretation No. 13 – Ibiza Town (2015 © Nicholas de Lacy-Brown, gouache on paper)

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Feb 27

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Orient: Painting the landscape of Mallorca

I have become enchanted, some might even say obsessed, with the landscape of Mallorca. How could I be otherwise? I have the advantage of living in one of the most perfectly compact, incredibly diverse and utterly breathtaking naturally beautiful islands in the world. From crystal clear waters on fine sandy beaches, to mountain ranges so sensational that they have been protected by UNESCO, Mallorca is a pure paradise of landscapes, and a world apart from the beach babe reputation it gained over the years.

Unsurprisingly, as an artist newly arrived in Mallorca, I have an incredible thirst to paint the land around me. No wonder that I have some 5 paintings currently on the go in my light-infused studio which is blissfully big enough to allow so many projects to proceed at any one time. And the latest to achieve completion, and now my second major oil painting of Mallorca since my arrival at the end of last year is this one: Orient.

Orient (2015 © Nicholas de Lacy-Brown, oil on canvas)

Based on the stunning scenery of the Tramantana mountains amidst which I was lucky enough to spend a working week back in January, this painting depicts one of the breathtaking views I encountered. So utterly perfect because of its symmetry and its central view of one such beautiful mountain, this view reminded me of the landscape near Aix-en-Provence which has the Mont Sainte-Victoire at its centre, and which so fascinated Cezanne that he painted countless renditions of it. Similarly enchanted by this view, I never had any doubt that I would apply it to canvas, and here is the finished result. Now I can’t wait to complete another.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Feb 23

Interpretation No. 12 – Capuchin Monks, Amalfi

The heady days of Amalfi coast indulgence are now too many days behind me to count – it must be at least 250 rather forlorn days since I sampled the paradise of Amalfi, Capri and Positano during a blissful week on the Italian coast last summer. And it has been almost as long since I last thought to paint the place, even though it was on my hotel balcony on the Amalfi Coast that my collection of interpretations began. It was therefore something of a blast from the past when, opening up sketch book the other day in order to start a new gouache project, I discovered a half finished gouache painting based on the Amalfi Coast, left sadly uncompleted.

My feeling with paintings is that each painting has its time, and even when a project goes unworked for some time, it should always be left until the time is again right to continue it. A painting should never be destined for the bin. So when I reopened this hitherto unfinished work, I so enjoyed the breath of fresh Italian air that gushed open my opening it that I decided that the time was right to finish it off, even if it meant completing the Amalfi scene here in my new home of Mallorca.

Interpretation No. 12: Capuchin Monks, Amalfi (2014-15 © Nicholas de Lacy-Brown, gouache on paper)

The painting, which will be the 12th in my collection of gouache interpretative landscapes, was actually based on an old engraving we picked up in Amalfi just before catching a boat back home to Positano. Being a city renowned for its ancient homemade papers, we could not resist buying a print on Amalfi’s finest, and as soon as we found this image, I was captivated. There was something about the alluring tranquil activity of the Capuchin monks depicted, one tying back a vine and the other reading before a view of Amalfi, that made me want to recreate this idyllic scene of the joie de vivre for modern times.

The original engraving we purchased in Amalfi (c. 1880, artist unknown)

A gouache interpretation was born and now, thanks to my rediscovery of the image, it is completed. I am pleased with the relative simplification I have achieved by repainting the scene in broad flat gouache colours, and I have to say that the colour has certainly brought this 19th century engraving back to life. It could almost be modern day except that, sadly (or not for those rich enough to stay there), the Capuchin Monastery of Amalfi is today the swish Gran Hotel Convento di Amalfi, a place from which this view can still be very much enjoyed, albeit sadly without the monks.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Feb 19

February in Paris – Part 3: Sonia Delaunay at MAM

Anyone having a quick peruse of my own personal artwork will know that I am a huge lover of colour. As far as I am concerned, what point is there in having colour available if it is only to be muddied and diminished with blacks and browns? No doubt sharing my opinion were some of the boldest expressionist and modernist painters of the 20th century, whose bold use of colour was at first seen as terribly scandalous but which eventually came to characterise an entire generation of art, when the boundaries of accepted aesthetic values were pushed to new extremes.

Chief amongst them were a tremendous twosome – what today may be termed a “power couple” – two of the greatest proponents of modernist expressionism and of the power and glory of pure colour: Robert and Sonia Delaunay. Together, these two artists, who married in 1910 and in 1912 proclaimed the birth of Simultanism, refocused the attention of the art world on the dynamic power of colour, using the strength and unique characteristics of colours as an end in themselves rather than a means of expressing something else. The paintings and other artworks which resulted are progressively abstract explosions of structured colour which, by virtue of their use of a full panoply of rainbow hues, are full of expressive happiness and boundless energy.

Of course as is often the case with a power couple, there is often one of the two who history overlooks, and few could argue that it was Sonia who remained in the shadow of her husband for many years during and following their successful careers, a fact which is not ignored by the Museum of Modern Art in Paris (MAM) who were therefore determined to stage a bigger and even more significant Sonia Delaunay retrospective when they opened their Sonia expo a few months ago.

The result is an exhibition which is every bit as full of the Delaunay dynamism and energy as the paintings themselves. It is a show which demonstrates that although it was Robert Delaunay who conceptualised abstraction as a universal language, it was Sonia who experimented with it in all sorts of media, including posters, clothes and objects, and much of the MAM show comprises Sonia’s dapple in fashion, for which she designed countless zany fabrics and original outfits, as well as her determination to include abstraction and colour within the household, and as a backdrop to theatre, parties and other everyday recreational activities.

For me, the main success of the MAM show is its collection of Sonia’s paintings which, when seen as a group, vibrate full of the energy and exhilaration which results from bringing together so many electric colours in one room. I particularly love how her consistent use of coloured circles is occasionally adapted to more figurative imagery, such as her abstract image of flamenco dancers, where the use of circles adds to the feel of fast sweeping dance movement. I was also interested to see how the genesis of her work was so much more figurative than it was abstract, but that even from the very beginning, her use of colour remained strong, so that even the simplest of portraits contain a face or skin tone loaded with a palette full of colour.

And it is for this unyielding uninhibited use of colour that I love the work of both Sonia and Robert Delaunay. But right now Sonia’s work is hogging more of the spotlight, an quite rightly too – every person deserves their place in the sun.

Sonia Delaunay: The Colours of Abstraction is only open for another few days at the Musée d’Art Modern de la Ville de Paris, closing on 22 February 2015. But worry not, for come April the retrospective will reopen in London’s Tate Modern, running until August.

Feb 11

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Mallorca Sketchbook: Olives and Grain

To call these little paintings “sketches” is perhaps something of a misnomer, not least for my sketchbook which is traditionally full of black and white line drawings. However, my move to Mallorca has undoubtedly coincided with a rush of colour into my life, and the drawings I am doing now are more colourful in their creation. They are also painted – these two little detailed sketches are painted in my new favourite medium for quick artwork: gouache.

Representing very much two staples of Mediterranean cuisine, these little paintings illustrate the grain which goes into Mallorca’s local bread, and the black olives which are so plentiful all over the island.

Black olives (2015 © Nicholas de Lacy-Brown, gouache on paper)

Grain (2015 © Nicholas de Lacy-Brown, gouache on paper)

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Feb 2

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Arrival – Painting the moment when the Mallorca Move sunk in

In the time since we arrived in Mallorca a little over 2 months ago, I have been constantly creating. Such are the benefits of stepping into an intrinsically creative role as Artistic Director of an amazingly dynamic company. But the time for painting for my own personal collection has not been so profuse. Yet I knew that I was going to paint very soon after we arrived. It was in fact on the Tuesday following our arrival on a Saturday evening that a painting first appeared in sharp focus in my mind.

We had stepped out on a walk one afternoon in search of water. Living in a city next to the sea, an awareness of the ocean is continuous, and yet an immediate proximity with the water is not always so easy. Here in Palma, before you get to the sea, you need to traverse roads and parks, jogging lanes and a busy harbour. But on that afternoon, we walked our way through one section of the harbour, passing yacht clubs and huge boats being renovated for the summer, only stopping when we came to the water’s edge.

Arrival (2015 © Nicholas de Lacy-Brown, oil on canvas)

There, sitting with my legs flopped over the harbour edge mere inches from the surface of the water, I gazed directly into the sinking sun before me as it plummeted behind the hillside silhouette and the outline of Bellver castle sitting atop the city. The sky was glowing more and more yellow, and as the light darkened, the water became more like silky liquid ink, and the reflections upon it were golden. It was in this moment that I allowed myself to dream, to wander from reality into a moment of a pure epiphany; a time in which it dawned on me for perhaps the first time how our lives had changed for the better, and how we had moved to a paradise of Mediterranean harbours, of white gleaming yachts, and sunshine.

And there it was. An image of that same view floated into my mind. It was always intended to be a simple image – just the water, the sun, the reflection, the sunset and the cluster of white yachts bobbling upon the water. Yet in that simplicity there is carried a weighty realisation – that we had made the big leap to a new life and a new beginning – It was the moment of our true arrival.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2015. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content. For more information on the work of Nicholas de Lacy-Brown, head to his art website at www.delacy-brown.com

Dec 29

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Conscience and Conflict: Pallant House explores British Artists and the Spanish Civil War

As the year draws to a close, it is only natural to look back on the highs and lows, and to review everything a little. When it comes to exhibitions, I wouldn’t say that 2014 was necessarily the strongest of years in the UK. I was left a little disappointed by a number of exhibitions I attended, especially at the Royal Academy and Tate Britain. However that is not to say that there were not a number of sure hits. My top 5 exhibitions of the year (in no particular order) have to include the Matisse Cut-outs at Tate Modern, Malevich at Tate Modern, Egon Schiele at the Courtauld, and Rembrandt at the National Gallery. But for the final of the 5, one further exhibition has managed to squeeze into my year’s hit-list, just before 2014 expired: Conscience and Conflict: British Artists and the Spanish Civil War at the Pallant House Gallery in Chichester.

As far as modern world history goes, the Spanish Civil War is too often overshadowed by the longer, larger Second World War that followed it. But none can underestimate the significance of this conflict which, in effect, lasted decades beyond the cessation of fighting, and not least because this was one conflict where the Fascists won the war, right on the doorstep of democratic civilisation. And it was this fear – the very real concern that fascism might win at a time when two major fascist dictators were already installed in Germany and Italy, and when a greater world conflict seemed more than likely – that inspired the artistic reaction amongst British Artists that is the focus of this excellent exhibition.

Frank Brangwyn: For the relief of women and children in Spain (1936-7), detail

Clive Branson, Demonstration in Battersea (1939)

Merlyn Evans, Distressed Area (1938)

Walter Nessler, Premonition (1937)

Edward Burra, The Watcher (1937)

Stanley William Hayter, Paysage Anthropophage (Man-eating landscape) (1938)

For British Artists between 1936-9 were reacting not just to the horrors of the war, often with surreal images (Edward Burra’s brilliant watercolours being a prime example), destroyed landscapes (Merlyn Evans), and distraught victims (Henry Moore and Picasso), but also to the innate frustration that the British Government had adopted a non-interventionist policy. This felt like utter madness when the fascist leaders of Europe were actively intervening in the Fascist cause, and caused artists of Britain to uprise, creating brilliant propaganda posters supporting the Republican Cause and, ultimately, fighting in the war themselves.

Pablo Picasso, Weeping Woman (1937)

John Armstrong, Invocation (1938)

Alastair Morton, Spanish Civil War (1939)

Joan Miro, Aidez L’Espagne (Help Spain) (1937)

Henry Moore, Spanish Prisoner (1939)

So this is an exhibition of posters and of paintings, all sharing the high tensions and morbid premonitions of the time. How apt, for example, was Walter Nessler’s Premonition in 1937, in which he imagined London suffering the same bombardment as had destroyed the Basque town of Guernica only weeks before. How right he was, for only 3 years later, his imagined landscape would become a stark reality for Blitzed London. Those tensions are also brilliantly played out in posters such as Brangwyn’s For the Relief of Women and Children in Spain, which uses the catholic imagery of Mary to emphasise the war’s human plight, especially amongst Spanish Children, and of course in Picasso’s Weeping Woman, painted at the same time as the most famous of all reactions to the war, Guernica, and which makes for a sensational focus of this exhibition.

Conscience and Conflict has only 6 weeks to go, but it’s a truly brilliant exhibition, and if you can’t make it your last favourite of 2014, make it your first of 2015. The exhibition closes on 15th February 2015.