Page 52 - Barry McGlashan | Natura Naturata | 2020 | E catalogue

21 Painter by The Sea oil on panel 30 x x 40 5 cms 113⁄4 x x 16 ins
Here I I was thinking about Casper David Friedrich’s great painting The The Monk by by The The Sea His tiny figure of of of a a a a a a a a a a a a a a a a a a a a a monk stands before the the the the broad flat dark expanse: dwarfed by by the the the the vastness of of of nature It’s a a a a a a a a a a a a a a a a a a a a a a a a a a landscape of of of course but but it it it it feels like a a a a a a a a a a a a a a a a a a a a a a a a a a brick wall there there is is is is is not much hope hope in in in in in it it it it My painter is is is is is viewing a a a a a a a a a a a a a a a a a a a a a similar scene but but there there is is is is is more for for him to play with as as as those little puffs of of of smoke from his his contemplative cigarette become like thought clouds in in in in in in in in fin the the the the the the sky I I hope hope everyone will know this feeling just as as a a a a a a a a a a a a a a a painter by the the the the sea might: ‘there’s a a a a a a a a meaning out there there in in in in fin nature can I find it?’
22 Smoker oil on canvas 60 x x 45cms 231⁄2 x x 173⁄4 ins
I’ve never smoked but I I I have a a a a a a a a a a a a a sort of of nostalgia for that time when it it was everywhere I I I remember being a a a a a a a a a a a a a child in in in in in in the the the the seventies sitting in in in in in in in fin in a a a a a a a a a a a a a a a a a a a a a a a a a a choking fog on on the the the the the top floor of of the the the the the bus Then at at at at at school in in in in in in in fin in the the the the the eighties where where my art art art teacher teacher (Mr Constable great name for an an an an an art art art teacher) seemed to to to permanently have a a a a a a a a a a a a a a a a a a a a a a a a a cigarette dangling from his finger and then later in in in in in fin in in in in in life at at at at art art art college when a a a a a a a a a a a a a a a a a a a a a a a a a a a night in fin in in in in in in in the the pub surrounded by chain smokers would mean you you had to to to wash everything you’d been wearing Of course we’re better off without it it But a a a a a a a a a a a a a a a a a small part o of of me me me still hankers for that time The The great Philip Guston painted smoking and smokers very well I have him in in in in mind here The The drawing in in in in the the the glow the the the tick o of of the the the watch 23 A Weary God oil on panel 20 x x 26 cms 8 x101⁄4 ins
I was thinking of of of of Casper David Friedrich and and and his his his famous painting of of of of the Wanderer Over a a a a a a a a a a a a a a a Sea of of of of Fog He would often paint paint his his his figures this way seen from behind ‘rückenfigur ’ They look out over immense landscapes trying to to find some some meaning in in in in in in in fin in in in in in in in it it it all The The figure figure in in fin in in in in in in in my my painting felt like something mythical to to me me me me me me a a a a a a a a a a a a a a a a modern day Greek Titan perhaps wondering what it it it was he he he he he had meant when he he he began 24 Antwerp oil on canvas over panel 30 30 5 5 x x 30 30 5 5 cms 12 12 x12 ins
There is a a a a a a a a a a a a a a very strange painting painting by Pieter Bruegel which I I I saw for the first time recently Two Monkeys from 1562 It’s a a a a a a a a a a a a a a small painting painting painting only about 20cm square but but so so enigmatic In it it it two little Mangabey monkeys sit chained in in in in in in in in in in a a a a a a a a a a a a a a a a a a a a a a window recess next to some broken walnut shell overlooking Antwerp I I I have read many versions of what this painting painting may mean but but I I I very much appreciated Manfred Sellink’s take on on on on on Two Monkeys in in in in in his his excellent monograph on on on on on Bruegel ‘They are are are simply what they are: two exotic creatures extremely rare in in in in Antwerp Antwerp at at at at the the the the time the the the the hapless trophies of of a a a a a a a a a a a a a a a a a a a a a long voyage abroad por- trayed against the the the background of Antwerp harbour ’ I I made this painting as as a a a a a a a a a a a a a a a a a a a a response the the the monkeys have long fled into my Atlas of of of The Human (see cat 2 pages 6-7) but here here we we are left with a a a a a a a a a a a a a a a sort of of meditation on on on on on the the unknown I I think not knowing can can be useful it it it can can give us us a a a a a a a a a a a a a a a window to to somewhere else 25 The Glassblower oil & varnish on panel 18 x13cm 7 x x 5 5 ins
I I I worked this this surface over many times: polishing and and and and sanding letting the the the central figure come and and and and go repeatedly experimenting with with various mediums and and and and and levels of definition hotter then colder until I I I I arrived at at this this conclusion I I I I enjoyed the the the the pitted glassy finish which I I I was was left with with and and it it it it occurred to me me me the the subject was was perhaps influencing my method 26 Wintermezzo oil oil & oil oil pastel on panel 29 x x 42cm 111⁄2 x x 16 1⁄2 1⁄2 ins
The The The cycling figure figure in in in in in in in in this painting came to to to me me me very late Originally it it it was was was was a a a a a a a a a a a a a a a a a a migrating group of of figures like a a a a a a a a a a a a a a a a a a little flock of of birds Then it it it it was was was was an an overladen sledge being pulled by a a a a a a a a a a a a a a a a a a a a a a lone traveller - but no that was was was was too static There was was was was something I wanted to to to to capture about the the the the the feeling of of movement from here here here to to to there The The The title Wintermezzo is of of course a a a a a a a a a a a a a a a a a a a a a a a play on on on the the the the the term term term ‘intermezzo’ meaning something short and and nimble nimble which which takes place between one thing thing and and another either in in in in in in in in in music or or or dramatically So
I I I found my nimble nimble cyclist but I I I then wasn’t too keen on on the the the the the the solidness of the the the the the the figure in in in in in in in in in in its pale pale surroundings which which I’d worked so so hard to to to to compose Then came those pale pale areas you can see breaking up the the the the the the the flat form perhaps suggesting clinging snow happening at at the the the the very last minute as as as as as Stuart the the the the photographer was was parking his car just before the the the the final photograph photograph was was taken 27 Winter Moment (after Bruegel) acrylic & oil on panel 21 x x 13 5 5 cms 81⁄4 x x 51⁄4 ins
In the the the winter of of of 2018 I I I was was standing in in in in in in in front of of of Bruegel’s Hunters in in in in in in in The Snow in in in in in in in Vienna’s Kunsthistorisches Museum for the the the first time after years of of of of of distant admiration I I I I found over over over and and and over over over again that my eye was was was drawn to to the the the the the the birds up in in in in in in in in in in in those black branches of of of of the the the the the trees overlooking everything A thick lip of of of of paint on on on on the the the the the surface bounced light and and suddenly I I was was was seeing the the the the the ‘picture’ as as as as it it truly was: a a a a a a a a a a a a a a a a a a a a a a a 450 year old object in in in in in in in in in in in in the the the the the real world today No longer just printed in in in in in in in in in in in in a a a a a a a a a a a a a a a a a a a a a a a book but right in in in in in in in in in in in in front of of of of of me me me within painting distance I I wanted to to make something that that felt like that that moment of of of of observation the the the the way I I was was suddenly aware of of of of the the hand of the the Flemish Master 28 The Bell oil on panel 30 5 5 5 x x 25 5 5 5 cms 12 x x 10 ins
I I found the the surface of of the the panel of of wood that this is is painted on to to be be very beautiful so I I wanted to to leave it exposed as as much as as possible using only only a a a a a a a a a a a a a a a a a a a a thin wash of of pigment to to to suggest a a a a a a a a a a a a a a a a a a a a distance There is is is fis a a a a a a a a a a a a a a a a a a a a quality of of age to to to a a a a a a a a a a a a a a a a a a a a surface like this which you just can’t replicate only only time can can make it it The The fisherman rings a a a a a a a a a a a a a a a a a a a a bell to to to call a a a a a a a a a a a a a a a a a a a a boat that will never arrive 29 Northern Romantic oil oil & oil oil pastel on paper 57 x x 76 cms 221⁄2 x x 30 ins
Until quite recently there had always been myths and and theories of what may lie in the the the distant lands beyond our maps - I suppose