55,335 research outputs found
John Devane: Paintings
No full textSolo exhibition of fourteen paintings on canvas dealing with modes of representation in relation to themes inspired by narrative figuration in film. Title of exhibition: John Devane Paintings.The fourteen paintings included in this exhibition were developed over three years and are the culmination of a process of developing figurative imagery that is developed from personal photographic reference material and in part inspired by film makers including Peter Greenaway. Context: Although disparate in terms of theme and subject matter all of the pictures in this exhibition are linked by a desire to create a meaningful static figurative image in a world saturated by digital imagery. In contextual terms the paintings have their roots in the works of Edgar Degas, Edward Hopper and also William Orpen. One of the pictures included in the exhibition is a direct transcription of a painting by William Orpen entitled: Le Chef de l'Hotel Chatham painted in 1921. aims:The aim of this body of work was to explore narrative figuration through paintings that were derived from a range of sources including: film stills, personal subject matter and other paintings. A number of the pictures were directly inspired by Peter Greenaway's film entitled: 'The cook, the thief, his wife and her lover'. Methodology: The paintings although inspired by the film, are not direct transcriptions of film stills but evolve through a process of improvisation and are thus distinct entities in their own right. The methodology ( a collage like process) aims to explore the validity and status of the painted image as a repository of sometimes disparate imagery that through the process of painting aims to achieve a degree of pictorial unity and harmony. Each painting is a crafted object which is constructed with a knowledge of the key western conventions of figurative painting and in particular the 'materiality' of painting. However, the conventions of western painting are rightly contested in the postmodern age and therefore the imposition of digital source material is in part an attempt to reconcile the diametrically opposed ideas that ensue from the point of tension or point of contact that exists when a 'painted mark' or brush stroke also evokes the notion of photographic replication. Thus the pictorial space is informed by photography but is realised through physical materiality of the paint. The contextual underpinning for my research relates quite directly to the work of German painter Gerhard Richter but also to the more controversial practice of Odd Nerdrum. My ongoing study of the work of Odd Nerdrm is explored in a paper delivered at TRAC2019 'Imagine' (The Representational Art Conference) 2019. My paper entitled: Visual Imagination & touch: the painted mark in representational painting - emerged as a comparative case study of the paintings of Lucian Freud and Odd Nerdrum and the extent to which their practice relies on primary source material as a point of inspiration
John Devane portfolio:Painting and Cinema
No full textA portfolio of paintings inspired by the medium of film originated by the author alongside a contextual statement containing reference and source materia
The marriage record of Townsend, Andrew J. and Devane, Lucy L
No full textMarriage license for Lucy L. Devane and Andrew J. Townsend. John W. Matehett was the Justice of the Peace
On the verge:One oil painting on canvas 122cm x 92cm created by John Devane (sole author) included in a group exhibition.
No full textThis oil painting entitled 'On the verge' was included and exhibited in the RBSA (Royal Birmingham Society of Artists 'Members and Associates Exhibition in 202
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Drawing pencil on paper entitled 'Laria':one drawing by John Devane selected for the RBSA Drawing Prize Exhibition 2023
No full textThis drawing is a study for a larger painting entitled 'The Rehearsal'
Drawing pencil on paper entitled 'Laria':one drawing by John Devane selected for the RBSA Drawing Prize Exhibition 2023
No full textThis drawing is a study for a larger painting entitled 'The Rehearsal'
Head and Whole Exhibition 2
Full text link‘Head & Whole 2: Talking Heads’ was a groupexhibition of work by contemporary artists includingDevane. It is the second in a series curated by LindaIngham. The exhibition included contemporaryvisual artworks with historic works with a focus onthe human form. In addition to the inclusion of twopaintings, Devane also presented a lecture‘Competence, craft and crisis in representationalart’ and a related workshop on ‘The Practice ofpainting: A transformational approach’, as part ofthe Gallery events programme. The exhibition wasopen from 3 September – 13 October 2012, theworkshop held 5 October 2012 and the lecturedelivered 6 October 2012
The road from London to Chichester in com, Suffex : containing 63 mile 2 furlongs vizt. : from ye standard in Cornhill London to Guilford in com Surry ...
No full textRelief shown pictorially.; Road strip map in six sections, with numbered distances along road.; Orientation of north shown in each section..; Derived from John Ogilby's Britannia.; 39 in lower right corner.; Decorative cartouche around title statement
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