Many years ago I bought a sketch pad from Aaron Brothers art store and began to record some of the unique features of the Arizona countryside on paper with pen and ink. The Strathmore 300 Series includes a very fine quality paper in the 11" x 14" size which is perfect for mobile sketching and outdoor impressions. One of the scenes captured in this manner I entitled "Arizona Landscape," painted with acrylics on a similar size Masonite panel which I had primed with acrylic gesso. Rather than using the smooth side, I opted to paint on the rough-textured side of the panel, allowing for a more painterly feel as if painting on the surface of a prepared canvas. While I liked the overall appearance of the finished result, I have to admit that the rough texture made the process of painting more difficult and time consuming in order to achieve the desired results. Blending colors and shading various areas can be performed with greater ease on smooth surfaces. Still it is fun to experiment a bit with various textures and to explore the full extension of possibilities when trying to capture what the eye sees or what the soul feels. Often in Arizona you gain the impression of entering into some secluded palace of breathtaking desert colors surrounded by rugged mountains, a place where singular beauty seems to capture the heart and make time stand still. This particular scene represents one of those moments where the observer may easily become transfixed by the evolving pattern of rocks, trees, rolling hills, distant mountains and mystical horizons along the edge of the Arizona landscape.
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Exotic Shapes and Colors Upon Wood Grain Sometimes it is fun to experiment with different grounds for an acrylic painting, searching for a suitable surface beyond the typical canvas or heavy duty artist's stock. With this painting I found that the grain structures on a wood surface can provide perfect shapes and textures for an imaginary scene in an atmospheric island setting. Back in the 1960's I remember watching a television program entitled "Adventures in Paradise" which featured the exotic tropical beauties of the South Pacific. Even in Southern California along the coastline and in Southern Florida along the Keys one may come face to face with the allure of the ocean environment and the unique colors of seascapes and stretches of sandy beach. This particular set of patterns on wood grain sparked an imaginative blend of shapes, colors and "island euphoria." When acrylics are diluted with water they often act like wood stains as utilized in the making of fine furniture or wood products. The artist can obtain some very subtle effects by working with the textures and patterns observed and highlighting certain areas via lighter or darker hues. I added some further points of interest by using acrylic gesso and white paint in a stippling technique, almost reminiscent of the French pointillist painter Georges Seurat (1859-1891), one of my favorite artists. The gloss acrylic medium provides a nice sheen to the overall picture, but you can also obtain an evocative dry effect by designating certain areas as alternative contours painted with matte medium to vary the visual characteristics of the scene. Since 1978 I have lived in Arizona and found the beauty of the skies and landscapes here to be unsurpassed. While traveling on one of my many journeys to the lakes and canyons of this State, I came across a series of landscapes which captivated my sense of space, imagination and unparalleled atmosphere. On the road to Saguaro Lake I stopped the car just to take in the broad sweep of mountains towering above the desert floor. Everywhere I looked I could sense the immense majesty and splendor of this dynamically arranged landscape. You could envision momentarily the utter solidity of these fantastically colorful rocks, feeling the dizzying power of the heights soaring skyward far from the viewer's humble point of view. The lake itself seemed to sit nobly ensconced like an enchanted oasis neatly shelved between enduring monoliths. Here was this great body of water stretching outward for miles within an expansive desert kingdom. Such a compelling sight seemed perfect as subject matter for an acrylic painting.
"Arizona Skies and Landscapes" was painted in 1986 just at the peak of my pictorial interest in abstract atmospheres and the colorful impressions as seen through the eyes of an artist. I chose wood as a painting surface because I liked the solidity and feel of the material as opposed to canvas or paper. The blend of colors reminds me of the sometimes nebulous ranges of hues seen throughout the changing hours of the day, bright in the morning, intense in the afternoon, glowing toward evening. At times everything seems to coalesce like some grand architectural symphony, where shapes and spaces seem to collide and evolve from one set of dimensions to another. I started to paint a low-relief ground as a textured acrylic surface, but then became absorbed by the variations of color in the overall pattern taking shape. So it seems that the colors may be more significant than the implied shapes which dominate the background. There may be a few more abstract landscapes from the 1980's, but this painting is perhaps one of my favorites as it strikes a visual chord of fascination with the Arizona desert/ mountain environment. "Strings On Holiday" - 12 inch diameter format on pressed wood, acrylic paint. From an original sketch completed in 1986, currently in the artist's collection. For a time this painting was featured in an art show at Mountain View Station, one of the branches of the US Postal Service at Mesa, Arizona. I posted a picture of the original sketch for this finished painting in the blog-post entitled "Strings, Dreams and Orchestral Visions" published on 11/21/2013 (still available in the archives). In that post I indicated the story behind this rather imaginative set of images. Previously I did not believe that I could fully or adequately illustrate the visual content of my dreams, but completing the first sketch and then the final painting convinced me that the subject was within grasp. This entire scene was set out before my eyes in a vivid dream sequence which stayed with me for hours, days and weeks after first viewing. The main subject which dominated this imaginary landscape was a floating violin or cello which seemed to slowly advance across a wide agricultural field and then to just hover in front of my vantage point. The instrument seemed to glow with a white light infused from within, emitting musical notes all the way along the richly colored fields below, some notes also hovering above the ground, others disappearing beneath the field, and still others remaining partially submerged like scythes or farm implements skimming the surface. The sky above seemed to suggest a mixture of both daytime brilliance and night-time wonder. What seemed to be a farmhouse in the distance also looked like a music stand from which more notes were emanating and joining the chorus in successive waves. To the left stood an enormous red-branched tree with a fine display of sinewy extremities. In the left distance what appeared to be a striped orange and brown mountain also seemed to become part of the foliage of the red tree, suggesting a colorful bonnet or regal canopy of fantastic size and character. Surprisingly I do not remember hearing any explicit forms of music in the midst of this dream, yet there was dynamic motion, color and possibly just the mysterious sound of a solo violin. At this time (1986) I was working full time as a letter carrier for the US Postal Service and had not played a musical instrument since 1965. In 2000 some friends gave me a beautiful vintage Scandalli accordion which transformed the way I thought about music. Then I joined You Tube in 2009 and began to post some videos of accordion music including some improvisational pieces and folk and classical standards. In some respects I think that the dream of the floating violin and the imaginary landscape helped to re-ignite my passion for seeing and hearing the wondrous beauty of acoustic music. Despite my initial reluctance to try to capture this dream via visual Art, I found that the image came quickly and fairly easily once the process had begun. Correspondingly, the practice and study of music also came along so naturally with the gift of an accordion. It seems that we are only away for a short time and then we are ready to explore anew our musical or artistic roots. Once those notes are planted in the ground, we have only to look up to see the full picture. Usery Mountain Recreational Park, just north of McKellips Road in Mesa, Arizona. The unique coloration of these mountains may have inspired some of the images seen in my original dream. The finished painting suggests the various stripes of tan and brown, transformed into the brown and orange pattern in the imaginary scene. The original three inch diameter sketch on artist's paper, composed just after I experienced that unusual dream of the floating violin and imaginary landscape. I used color pens and tried to work quickly in order to fully capture the essence of the scene. The colors differ somewhat from the final painting but remain true to the spirit of the original vision. A traditional Scottish folk tune with words written by Lady Nairne (Carolina Oliphant) who lived from 1766-1845. The words are from a Scots poem also known as "Bonnie Charlie," with the song first published as part of the collection entitled "The Scottish Minstrel" (1821-1824). Performed upon my Hohner musette accordion, a 4/5 reed instrument in LMMM configuration. The sheet music is from the collection entitled "The Folksong Fake Book" published by Hal Leonard. This song appears in the classic 1939 film "Gunga Din" produced and directed by George Stevens, starring Cary Grant, Victor McLaglen and Douglas Fairbanks, Jr. When the British Army is sent to rescue several missing soldiers, this song is sung by the troops marching to save their comrades. Interestingly enough, the film was shot on location in the Alabama Hills near Lone Pine, California. Author Dave Holland tells the story behind this film and many others in his fascinating book "On Location in Lone Pine." The scenery certainly suggests the rugged wilderness of colonial India, and Holland indicates where each segment was filmed (including the Temple of Kali location just off Horseshoe Meadow Road, the remarkable British Fort near Indian Springs and the wonderfully exotic Tantrapur Village). Holland's book was published by The Holland House in September 1990. Cover of the DVD for the 1939 film "Gunga Din" directed by George Stevens, starring Cary Grant as Sergeant Cutter, Victor McLaglen as Sergeant MacChesney, and Douglas Fairbanks Jr. as Sergeant Ballantine. Other stars include Sam Jaffe as Gunga Din the Regimental Bhisti, Eduardo Ciannelli as the Guru, and Joan Fontaine as Emmy. The cover of Dave Holland's book "On Location in Lone Pine," a comprehensive list of all the films made at the scenic location of the Alabama Hills near Lone Pine, California. Holland gives a detailed account of all the memorable locations for the 1939 adventure film "Gunga Din" and relates many interesting stories regarding the production of this cinema classic. An American folksong from Kentucky performed upon my vintage 1950's Iorio accordion, a 4/5 reed instrument in LMMH configuration. The sheet music is from "The Folksong Fake Book" published by Hal Leonard, a collection of over one thousand folk tunes from around the world. I remember listening to this song during the early 1960's Folk Revival, a time when so many folk artists were just coming into prominence. Some favorites from that era are Peter, Paul & Mary, Tom Paxton, Judy Collins, Pete Seeger, Bob Dylan, Eric Andersen, Dave Van Ronk, Ian and Sylvia Tyson, Phil Ochs and a host of other notable performers. I first heard Pete Seeger and the Weavers in the late 1950's and still marvel at their fantastic ensemble sound captured via historical recordings.
I remember the Folk Revival era from the late 1950's and early 1960's when folk music became such a popular style within our culture. The Kingston Trio had a series of hit singles and record albums just as new acts started to come onto the stage. My beautiful friend Gail introduced me to the folk music of Joan Baez and Bob Dylan, artists who were just emerging during the new decade of the Sixties. Previously I had been immersed in Classical music, Country music (Bluegrass), and Latin and European music. It was a startling sound to hear those glorious acoustic guitars and an occasional banjo accompanying the soloists and folk ensembles heard on the radio or via concerts or LP albums. There were many college and commercial radio stations in the New Jersey/ New York metropolitan area which broadcast folk music and featured shows highlighting the new acts as well as showcasing the more familiar names of that time. Gail loved Joan Baez and raved about the folk style which Joan perfected at that time. The lyrics were meaningful and poetic, words which stayed with you and spoke volumes to the heart and inner spirit. When Bob Dylan entered the scene with his first album, his songs became folk standards which captured the heart of an entire generation. Dylan's book "Chronicles" echoes some of the excitement and experimentation which occurred during those eventful years. This American folksong was one of the tunes I first heard during the early Sixties, and one which still manages to evoke the flavor and atmosphere of that remarkable era. I would like to dedicate this song to my friend Gail for revealing to me the lasting value and poetic richness of folk music. Wasn't that a time.... An 18th Century Irish folk song with words written by Thomas Moore in 1808. Performed upon my Hohner Ventura IV M accordion, a musette instrument featuring 4/5 reeds in LMMM configuration. This Hohner has several rich-sounding musette voices which lend great character to traditional folk songs.
An improvisational dance performed upon my vintage Patti Bros accordion, a 3/5 reed instrument in LMM configuration. This improvisational Valse is based upon the idea that dance is often spontaneous, expressive, and joyously alive. Although the title does not refer to an individual character specifically, I have never forgotten the enchanting cinematic roles played by several film-version Princesses from the 1940's. The first one I can remember is June Duprez who plays the beautiful Princess in Alexander Korda's spectacular fantasy film "The Thief of Bagdad" (1940), one of the most magical films ever created. Duprez is perfectly cast in this film opposite John Justin as Ahmad, with fantastic Technicolor production, a wondrous screenplay and dialogue, memorable cinematography, lavish set design & costumes, and fabulous special effects. Who can forget the magic flying carpet or the flying white horse or the Genie who appears out of the smoking green bottle? June Duprez looks absolutely lovely in this Arabian fantasy film, one of the all time great classics in cinema. The second image that comes to mind is that of Josette Day who plays Belle in Jean Cocteau's 1946 masterpiece "Beauty and the Beast." Cocteau directed this cinema classic with superb attention to detail, featuring marvelous set design and costumes, expressive music by Georges Auric, Henri Alekan's sensational cinematography and near magical integration of all elements. Josette Day captures the beauty of the story through her memorable portrayal of Belle, both repelled by and attracted to the Beast played by Jean Marais (Avenant/ The Beast/ Prince Ardent). Long after I watch this film, I simply cannot forget the astonishing visions captured within the heart of this fascinating fairytale. The third image that stirs in my memory is that of Moira Shearer in the 1948 classic "The Red Shoes," Michael Powell and Emeric Pressburger's sensational ballet film which features Jack Cardiff's brilliant cinematography, superlative art direction by Arthur Lawson, masterful production design by Hein Heckroth and memorable music composed by Brian Easdale. Moira Shearer illuminates the hard work and dedication of the professional ballet dancer, and she is aided by a superb cast of actors and dancers. Robert Helpmann created the choreography, with Sir Thomas Beecham conducting the Royal Philharmonic Orchestra in the ballet sequences. Moira Shearer as Victoria Page lights up the ballet stage, the silver screen and the intense drama of the unfolding artist's story. We sense the struggle between Art and Life, the contest between Boris Lermontov (Anton Walbrook) and Julian Craster (Marius Goring). Although ultimately a tragic tale, the marvelous beauty and artistic talents of Moira Shearer are abundantly displayed throughout the length of this fascinating film. Here is the majesty and the agony of the ballet dancer revealed and ultimately preserved for all who love the art of dance. This Southern American folk melody is performed on my vintage 1930's Hohner Regina VI, a 4/ 5 reed instrument with 16" keyboard and a full 41 treble keys as well as 120 standard Stradella bass. Anonymous 4 performs this traditional song on their album entitled "Gloryland," kind of a continuation of their fabulous artistry on the previous album entitled "American Angels: Songs of Hope, Redemption and Glory." (Anonymous 4 includes Susan Hellauer, Marsha Genensky, Johanna Maria Rose, and Ruth Cunningham.) I believe that Joan Baez performed this song either in her very popular concerts or in some of her many recordings.
Vintage accordions often sound sweet when playing folk music or traditional hymn tunes. This vintage Hohner features a rather beguiling set of tones which seem to especially come alive while performing in certain keys or treble registers. Here I am playing in the key of D minor and calling upon G minor, D minor, B flat, C7 and F to accentuate the characteristic voice of the melody. There is a yearning, haunting quality to this music which breathes throughout in a natural, flowing manner, each phrase speaking as if to the interior of the heart or the inner chambers of one's spirit. Because the accordion fits so closely to the musician's chest, you can feel the resonance emanating from the body of the instrument, sensing the pulse of the music in your fingertips and hands, arms, and legs. It is a dynamic relationship between the player and the bass and treble sections, a heightened sense of awareness as one listens to the passages in musical presentation. A classical favorite performed on my vintage 1930's Hohner Regina VI, a 4/ 5 reed accordion with the traditional 41/ 120 treble key and bass button configuration. The keyboard is only 16.5 inches in length, and the action feels quite a bit different from more modern instruments. But what a sound this petite instrument makes! This has been tuned and restored by my friend Jerry, one of the most remarkable technicians I have ever met.
This Hohner was built in 1938 and features a rather remarkable sound from those distinctive Hohner reeds. I have never heard another 1930's vintage accordion quite like this one. The tones seem to exude a ringing and innately joyous texture from the unique tuning of the reeds. My friend Jerry Sleger did extensive work on this instrument to bring it up to playable condition, including tuning of bass and treble sections, replacement of worn leather strips and re-waxing quite a few reeds where the old wax had weathered. The result is a vintage instrument which now breathes with new life and a wild sonic texture. Here I am playing the famous Classical piece by Jeremiah Clarke (1673-1707), a composition which has always been one of my favorites. The sheet music is from Volume Four of "Das Grosse Akkordeon-Buch" (Le Grand Album pour l'Accordeon), published by Edition Melodie, Anton Peterer Music & Books, Zurich, Switzerland. All of the songs in this four volume set have been collected and arranged by Herwig Peychaer. |
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