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Posts tagged ‘Provence’

My Travel Sketchbook: A Fountain in Aix

I dragged my trusty travel sketchbook all the way down to the South of France, and in my bag from Marseille to Cassis to L’Estaque. Yet it wasn’t until we got to Aix-en-Provence that I was inspired to take it out, and begin sketching the romantically quaint streets of this Provençal gem. Aix is a town of such interrupted charm that any part of the place could have been picked at random and replicated as a painting or sketch. Yet for me, Aix’s enduring appeal arises in the trickling of its fountains, be they wall-mounted masterpieces or the large round basins from which statues peruse the streets and spray water high into the air while around them diners sit and enjoy the somniferous trickle.

A study of Aix’s many fountains could easily occupy a day, at the very least, especially if you take time to sit back and enjoy a glass or two of rosé wine alongside their ripped waters. It was a study which inspired my painting of Aix’s many fountains shortly after my last trip to the city, yet the hours of work which that painting required did not render them commonplace in my eyes. Rather, it was one of my favourites of the lot – the fountain just off the Cours Mirabeau, with a three dimensional star crowning its apex- which finally encouraged me to reopen my sketchbook to the light of day. This is the result.

Aix Sketch

Aix, street detail (©Nicholas de Lacy-Brown, 2017, pen on paper)

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2017. 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 artwork of Nicholas de Lacy-Brown, visit http://www.delacybrown.com 

Marseille to Marbella, Part VI: Aix, Le Birthday Boy

I adore Aix-en-Provence. Apart from the inimitable Paris, it is undoubtedly my favourite city in France. Elegant, leafy, filled with bustling squares and trickling fountains, it is a city which is inescapably gentrified, and which exudes a real sense of cultural enrichment and a proud artistic heritage which resonates at every corner. Ever since we first went back in 2013, a visit which led to my painting, Aix: City of a Thousand Fountains, Aix has held a prominent place in my heart. If you want true Provence, the kind of Provence which you’ve seen on postcards or dreamt about in visions framed by lavender-scented cobbled streets and rosé wine supped amongst stripey-shirted waiters and vichy table-clothes, this is really it. Aix is a veritable feast of pretty squares and idyllic leafy shopping streets. Dare I say that it is close to perfect?

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So when we decided to head down to Marseille around the time of my birthday, Aix had to feature, and given that it is truly my favourite place in the region, it felt like the perfectly appointed seat of celebration for my impending anniversaire.  Soon enough we were bedded into a lovely little attic room in the Hotel des Quatre Dauphins (very La Bohème) named after the four dolphin fountain of the same name which trickles away in this very ochre-coloured stately area of Aix. Within seconds we were on the main leafy thoroughfares of Aix, where Cezanne, Aix’s most famous son, used to sip on wine and consider how best to capture the nearby Mount St Victoire. And all around we were surrounded by cafes and galleries and boutiques aplenty. During 24 hours in Aix we must have seen over 200 paintings in exhibitions which ranged from the Jaeger collection to a retrospective of Sisley landscapes. We had breakfast opposite the multi-coloured food market (more about that later in the week), lunch in the imperial surroundings of the Hotel de Caumont and dinner in a tiny patio hung with decorative laundry and bourganvilla. Could there be a better way to spend a birthday?

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So once again Aix proved to be the perfect Provençal destination, and a flawless birthday gift. It’s one of those towns which seems to glow with a golden sheen, like Rome whose streets bask in the reflected light which bounces of its terracotta walls. Here the effect is created by walls painted in butterscotch and caramel, and reflected across the streets with the aid of sunlight magnified in trickling fountains. It really is an aesthete’s paradise. That’s why Aix can make a Cezanne of us all.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2017. Unauthorised 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.

Marseille to Marbella, Part IV: L’Estaque

Any art historian or Impressionist aficionado will recognise the name L’Estaque even if they cannot bring a vision of the place immediately to mind. Today, this small fishing village could be easily missed. It is now but one suburb merged involuntarily into the insuperable urban sprawl of Marseille. Yet 100 years ago it was at the centre of an artistic movement. Not only did the port and the surrounding landscapes inspire some of the most preeminent forefathers of Impressionism, but it is also credited as being instrumental to the birth of the Cubist movement.

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How and why cubism came about here is unclear, but Cezanne, a forerunner of the movement, was evidently as inspired by the geometric volumes of the railway bridges and houses clinging to the hills as he was by the hard-edged stone quarries near his birth city of Aix. But it was perhaps the contributions of Georges Braque which were to be the most significant. While his initial response to the landscape was a fauvist expression in a multi-coloured palette of startling bright tones, it was his decidedly cubist landscapes depicting L’Estaque’s house-filled hillsides which really put the town, and cubism, on the artistic map.

L’Estaque by Braque and Cezanne

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Given its place in art history, I felt that this little former village had to be on our Marseille itinerary, even though for many, it may go unnoticed. Happily we were able to take a boat the 30 minutes along the bay – a far preferable trip to the alternative of a sweaty commuter train out of the Gare St Charles – and this approach gave us  the advantage of seeing the hillsides of L’Estaque from afar, characterised as they are by the arched railway bridges which feature so predominantly in Cezanne and Braque’s landscapes.

I would be lying if I said that we were blown away by the town. It is, in essence, a very simple seaside village with a hand-full of bars and a port packed with fishing boats. It is also somewhat difficult to imagine the quaint village which Braque and Cezanne might have discovered when they arrived years ago, free from the modern industrial structures which sit just outside the town, and the tall wire fencing which closes off much of the port from view. However, once we strolled up into the higher streets, and looked across both the port and the rooftops of the gradually ascending town, suddenly the shapes and volumes which must have inspired that new cubist way of depiction fell into place, and the true artistic significance of L’Estaque gained clarity.

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Satisfied, therefore, by our trip and the insight it provided into the birth of cubism, we grew fonder of L’Estaque, a notion which a few glasses of rosé on the sunny portside promoted. And then, as though reminding us that a contemporary society also lives today in this town of cubist history, a bugle call and a loudspeaker announced the commencement of Le Joute – a form of water based jousting which captured our attention for the remainder of the afternoon. Only then did we head back onto the water, gliding away from L’Estaque in a boat bound for Marseille, watching behind us as the forms of houses and rail bridges grew smaller until they resembled mere cubes on a craggy hillside…

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© Nicholas de Lacy-Brown and The Daily Norm, 2001-2017. Unauthorised 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.

Marseille to Marbella, Part III: Waterfront Renaissance

The shady reputation which has dogged Marseille for years was, at least in part, shaken off in the run up to 2013 when the epithet of European Cultural Capital for the year prompted France to pull put all the stops to initiate a revolutionary new look for a waterfront in decay. Sweeping away much of the city’s industrialised port, and making magnificent new use of the ancient stone fortresses which stand like a gateway to the city and recall the age of Dumas and the Count of Monte Cristo, the city embarked on an architectural and cultural renaissance which has reinvented the city’s place on Europe’s artistic map.

MuCEM and the Fort St-Jean

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The result is a new waterfront which combines a freshly gentrified old neighbourhood with the implantation of stunning new architecture to produce a dazzling display of cultural verve immediately alongside the Mediterranean sea. Central to the architectural revolution is the Musée des Civilisation dÉurope et de la Méditerranée (MuCEM), a masterly conjoining of a Rudy Ricciotti’s striking modern cube, covered from top to bottom with what looks like a giant lace mantilla, and, across a vertiginous narrow footbridge, the restored Fort St Jean, which today is awash with Mediterranean inspired gardens and striking sculpture. This combination of ancient and modern works surprisingly well. Both buildings are imposing and structural, but in their newly polished finish look dazzling, particularly at night. Next door to MuCEM another striking addition is the Villa Méditerranée, featured in Stefano Boaeri’s striking cantilevered construction which appears to defy gravity as it bends horizontally across a pool of Mediterranean water. 

The Villa Méditerranée and MuCEM by night

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But this waterfront would not be complete without the church which stands guardian over it all: the Cathédrale de la Major. Wedged between the sea and the district of Le Panier, the imposing 19th century structure looks like a cross between the Sacre Coeur in Paris, and Santa Maria Novella in Firenze. It’s stripes stone construction seems to echo the typical dress of Riviera beach goers, while adding a touch of elegant sobriety to this newly revolutionised cultural hub.

The Cathédrale de la Major

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© Nicholas de Lacy-Brown and The Daily Norm, 2001-2017. Unauthorised 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.

The Honeymoon Chronicles, Part III: Saint-Paul de Vence

There would be few who would have blamed us if we had never left the sensational tranquility which can be found within the stone walls of La Colombe d’Or. And yet the hotel is itself nestled against the ancient stone walls of the tiny village of St-Paul de Vence in the South of France, and within those mighty ramparts can be found a tiny little village so utterly picturesque that it was worth the struggle of leaving our well-appointed loungers beneath La Colombe’s Calder mobile.

While Saint-Paul is visibly ancient and utterly medieval with its maze of cobbled steep streets nestled within large protective ramparts, its reputation ballooned largely owing to the fame of La Colombe d’Or and the increasingly famous jet set of artists and intellectuals who stayed there. What then followed was the opening of the Fondation Maeght, one of Europe’s most significant collections of modern art installed in a museum created by Marguerite and Aimé Maeght just up the road from La Colombe d’Or. Consequently, with some of the most important art of the modern era on its doorstep, it is no wonder that the fame of St-Paul has magnified, nor indeed that the village itself has become a mainstay of art. For besides the usual offerings of Provençal soaps and local olive oils, the village is crammed full of art galleries.

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St-Paul is a tiny village with a little church located at the peak of the hill, and the remainder of the streets spiralling around downwards from that centre point. It was a place in which to stroll, and photograph; to soak in the ambient shady streets filled with little shop signs and flowers; to peruse the little shop windows and the multi-coloured offerings of the art galleries; and to breathe in the local perfumes of lavender and soap. And with the village right on our doorstep, we made good use of St-Paul as a destination to shop, stroll and dine. Here are some of the photos I made during our time in the town.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2015 and The Daily Norm. All rights are reserved. 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.

New painting alert! – A week of sneaky-peeks on twitter

I make no secret of the fact that I am a great creative, spending hours of every day and week creating, whether it be sketching, painting or printing, or further afield cooking up feasts in the kitchen or closely acquainting myself with my camera. However, since starting work full-time two years ago, the rate at which I complete the large scale oil paintings which I used to create on a regular basis, and many of which will be on display at my forthcoming solo exhibition, has really slowed. Last year’s Autorretrato took me around 9 months to complete, and the work which I turned to shortly after completing that one – my painted exploration of Aix-en-Provence in the South of France was commenced as long ago as last summer.

So it is with a great degree of excitement that I am but mere brushstrokes away from completing this homage to Aix which I have been working on tirelessly (on and off, admittedly) for the last 6 months. Fairly large in scale (1oocm x 75cm) and big on detail, it was always going to be a fairly ambitious project, containing as it does a landscape and cityscape all rolled into one together with illustrations of some 9 of the city’s famous fountains as well as a number of shops and cafes.

As I approach the completion of that work, I wanted to share the excitement with you, and what better way to do that than share some exclusive peeks of the details of the work? Starting from today, I will be sharing one glimpse a day of my new painting – it’ll be a bit like a jigsaw puzzle, with little pieces of the work being released day by day before the whole painting is unveiled next week. But while the first peek is contained here on this post, it’ll be the only one – for all of the rest, you’ll need to check out my twitter, @DeLacyBrownArt, from which I will be posting a new detail of the painting every day this week. And as if that weren’t incentive enough to follow me, my twitter will also tell you whenever a new Daily Norm post is published!

Aix: City of a Thousand Paintings (2013-4 © Nicholas de Lacy-Brown, oil on canvas) Detail - Ribbons!

Aix: City of a Thousand Paintings (2013-4 © Nicholas de Lacy-Brown, oil on canvas) Detail – Ribbons

So please do check out my twitter, and come back again to The Daily Norm soon to see the complete image of my brand new oil painting. Arghhh, the excitement!!

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2014. 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

The Daily Norm’s Photo of the Week – Marseille Soap

We’re big fans of liquid soap in my household. It’s altogether more convenient, tidier, and often more aesthetically pleasing. It also comes in a progressively more varied range of sweetly smelling brands, some so eye-poppingly expensive that they make hand soap the latest in luxury living. While I don’t usually go for the old fashioned bar of soap therefore, I must admit to having become smitten with the authentic square soaps characteristic of the Marseille region when I was in Provence during the summer. From deciding against buying such soaps quite vociferously at the beginning of the trip, my will was slowly worn down as we went from place to place, and boutique to boutique, charmed by the wafting homely perfumed smell of these traditional Provençal soaps in all their varying shapes and colours.

So when in Saint-Remy-de-Provence we came across a sophisticated little boutique (ironically, run by an Englishman) selling Marseille soaps which were not only traditional, but also charmingly misshapen so as to give them a classic, handmade look, I was sold, and, repenting for my former reticence to buy, spent a good wad of Euros on a variety of those soaps of all different shapes and sizes.

Although we are using one such of the smaller soaps (and keeping the mess at bay in a purpose-made little concrete soap dish bought from the same place), the main reason for buying the soaps was for their decorational value. For in a bathroom like ours which is characterised by its square window, square sink and square taps, the soaps were an obvious attraction.

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So for this week’s Daily Norm photo of the week, I thought I would share with you a rather chic photo of my Saint-Remy soaps, piled up elegantly on the square windowsill of my square bathroom window. Despite being so traditional in the method of their creation, these soaps look startlingly contemporary in this modern bathroom setting, their varying shades of creamy ochre contrasting effectively against the deep grey of my bathroom tiles. A perfect example of when traditional Mediterranean charm meets contemporary urban minimalism, but somehow the two fuse so inexorably well together.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 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. 

Provence Odyssey | Aix: Les Photos

Here at last, after some 22 posts and countless photographs, memories and verbose ramblings, I am finally at the end of my Provence Odyssey write up, with the last of my photograph collections. Of all the cities we visited in Provence, Aix exuded the most life, colour and pure unbridled spirit. While Aix had the pastels and warm colours of its fellow Provençal towns, these were combined with grand elegant palaces, wide boulevards, and an ever bustling abundance of cafes and shops, musicians and entertainers, and best of all a daily food market – a sight which made for such a stunning kaleidoscope of colours, sounds and smells that I could have devoted an entire post to it alone.

I know I sound like a broken record, but amongst these shots are easily some of my favourites of the trip – just check out those sunflowers, with their huge heavy complex faces, gathered in a bunch so rich in their abundance, their colour and sheer hopefulness that if they didn’t suit a room, it would be worth redesigning the room around them. Check out also the stunning old adverts which are painted onto numerous walls around the city, relics of an age when mass-marketing started coming to the fore, and when classic painted images predated the advent of photography. I also love some of the typical shots of life in the city, from the bride with her wedding dress all puffed up and ruffled, and the melancholy achordian player, singing his heart out in a tired little doorway.

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Shutters and fountains, roman artefacts and art nouveau palaces, renaissance sculptures and melancholy musicians – these photos tell the tale of a diverse city, which moves to the beat of its spirited undercurrent, but in doing so loses none of the charm which it exudes from its every fountain, square and boulevard.

This is Aix: My photos.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 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. 

Provence Odyssey | Aix: Day 10 – Au revoir, not goodbye

As the saying goes, let us not say goodbye, but as the French have it, “Au Revoir!”, two words laced with the promise of a return, rather than the abject finality that accompanies the English alternative. Perhaps it is the romance of the French language which encourages such optimism in an otherwise sad parting, or the mere fact that the charm of France makes saying goodbye a near impossibility. Whatever the reason, as we prepared to bid Aix, and Provence farewell at the end of this incredible Provençal Odyssey, we knew, instinctively, that some day we would return. For despite the decent length of our journey, and the multiple sights seen and senses tickled, these days felt like a mere taster of a gigantic feast of pleasure still left undiscovered in Southern France, and for that reason alone, the assurance of a return tends towards reality.

With that ounce of optimism giving us back some bounce in our otherwise sad last steps in the incredible city of Aix, we were minded, as ever, to make the most of our last hours in the city, strolling, at times aimlessly, at others with purpose, in an attempt to take in the very last essence of this place before our departure.

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We started our day, perhaps rather morbidly, but yet appropriately I think, by following the last section of the city’s “Cézanne trail” towards the Cemetery of Saint Pierre where the great artist is buried. The visit felt appropriate, not just because, as the final resting place of so many people, it became somewhat symbolic of the end of our Provençal journey, but also because, having been inspired to visit Provence by the significant artistic connections it carries, it felt only right that we would pay homage to the father of them all in his final place of peace; a note of thanks to the father of modern art.

I’ve always rather liked cemeteries, particularly those in the Mediterranean, baked as they are by the glorious sunshine, yet emitting peace and tranquility amongst the shadows of dark cypress trees and pines. This cemetery was no different, providing an almost mesmeric experience as one walked from one elegant grave to another, aware of a family’s sadness in the multiple lives lost here, yet also feeling strangely at peace, somehow contented by the final rest of so many. The cemetery was much bigger than I had supposed, and looking up hill towards the far reaches of the site made for an incredible vista of crosses and little family mausoleums, collectively appearing like a great wave of stone and symbols.

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It took us some time to find the grave of Cézanne, a difficulty not helped by the lack of proper signage and the fact that he lies under a surprisingly innocuous gravestone when compared with many of his neighbours’ lavishly decorated headstones, and also strangely devoid of flowers or tributes from other visitors. This is perhaps testament to the sad lack of respect his city had for him in life, and yet he can lie in peace knowing how incredibly significant his life’s work has been for the art world since. Putting at least the lack of flowers to rights, I lay a simple sheaf of lavender upon his grave, feeling at that moment a great connection with the artistic heritage laid down by this man, an artist so often misunderstood but whose genius will live on forever, both in his own work and the work of countless others who followed in his wake.

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Heading back to civilisation for a final encounter with Aix’s bustling centre, we also felt as though we were resurrecting Cézanne along side us as we headed back to the world of the living. For strolling one last time down Aix’s most prominent avenue, the Cours Mirabeau, with its almost unbroken shelter of plane trees, we dropped in to the Café Les Deux Garçons, the very café where Cézanne would sit each evening to enjoy an aperatif, and where we now went about sipping our last coffee in Aix, gazing upon the chic residents of this city strolling past, breathing the warm fragrant air of Provence, and already planning how, and when we would return to this incredible part of France.

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And with that our Odyssey ended; a finale effected with such efficiency that it was almost as though our story ended just as it had begun. For with holidays like this, each and everyone of us has the opportunity to truly live a dream, and when, like any dream, you walk amongst the pages of its imagination, it feels so real – like there is no other world beyond. But as with every dream, at some point you must awaken, as reality floods back in with the harsh light of day. And so it was that our Odyssey ran dry at last, and London life took hold once again. But not completely. For with this blog, through my paintings, my photographs, and of course the sachets of lavender now to be found placed strategically around my flat, the essence of our Provençal Odyssey still lives on, and will continue to do so, sewing itself into the rich patchwork quilt of our memories which will continue giving us comfort for years to come.

Thank you all so much for reading and sharing in our journey. But it’s not quite over yet – come back tomorrow for my last Provence photo collection. Until then.

The Cours Mirabeau

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All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 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. 

Provence Odyssey | My Journey in Paintings: Provence Patchwork

I have gone on endlessly about the Provençal landscape ever since this vast odyssey, not just across Southern France but also as depicted on this blog, first began some weeks ago, and now I will once again let my art do the talking. For somewhat suitably, as the end of the trip drew near, and four cities had been visited, I decided to start the fourth and final of the artworks completed while on our tour, this time inspired by the journey to Aix.

Taking the fast train from Avignon TGV down to Aix TGV in a mere 20 minutes meant for a lightening speed flight through the undulating topography of the Southern most reaches of the region, but it was nevertheless enough to make my eyes almost dewy with pleasure as they looked out onto the stunning scenery passing us by. The Provençal landscape is not complex, nor terribly unique – but it is beautiful nonetheless, because through the sheer beauty of a bucolic landscape marked by agricultural spaces pinned side by side and bordered by cypress trees and olives, the rolling countryside of the region looks like a patchwork quilt of earthy tones interspersed with the occasional splash of purple lavender or yellow corn.

Composition No. 5 (Provence Patchwork) (2013 © Nicholas de Lacy-Brown, gouache on paper)

Composition No. 5 (Provence Patchwork) (2013 © Nicholas de Lacy-Brown, gouache on paper)

It is this patchwork effect which inspired my final gouache work on the trip. Entitled Composition No.5 (Provence Patchwork), the work once again forms part of my Compositions series. I have used flat, blocks of colour to represent the varied agriculture of the region, and in composition have tried to represent what is almost a cubist landscape resulting from the complicated crisscross of fields and bordering trees that characterise the region. I hope you like it.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. 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.