Oh when the saints…

Detail of St Margaret and the Dragon (see previous post for the complete image)

My previous post, way back in April, was all about drawing and featured an image of St Margaret and the dragon. It was based on a medieval French oak carving in the Philadelphia Museum of Art.

Apparently Margaret was swallowed by the devil who appeared to her in the form of a dragon. Fortunately for her, the crucifix she was carrying got caught in the devil’s throat and he threw her up again. I had such fun drawing that improbable situation I thought saints and martyrs might make an interesting occasional series.

I next came across St Vitus. He was only 12 years old, and had already been tortured by his father, when he was asked to expel a demon from the son of the Roman Emperor Diocletian. This he did but made the foolish error of not joining in the pagan celebrations that followed. Rather ungratefully, Diocletian had him thrown into a pot of boiling oil, along with a rooster to ward off evil spirits. Vitus died of his injuries the following day. The fate of the chicken is unknown.

St Vitus (ink and Prismacolour pencils in a Stillman and Birn Gamma sketchbook)

The dancing (St Vitus’ Dance) came much later when medieval Germans believed that throwing shapes in front of statues of the hapless boy would ensure a year of good health. Since then, Vitus has become the patron saint of entertainers, Methodists, epileptics and, oddly, oversleeping.

These are irresistible stories, I hope you’ll agree. In case anyone is concerned about the practice of throwing mystical youths into boiling oil or virgins being swallowed by dragons, neither of these stories can be historically verified, deadpans Wikipedia.

These drawings originally appeared on my Instagram feed: both were drawn in ink and coloured pencil.

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For the birds

For the birds blog
The AGM of the American Acclimatization Society (A5 ink and coloured pencil 2019)

On one of those leisurely disengaged days between Christmas and New Year – you know, you’ve just finished an extended breakfast at around 11 and have no particular plans for the day – a few of us started discussing murmurations of starlings. I wondered aloud if starlings were common in the U.S. and it transpires that they are, all thanks to the American Acclimatization Society and especially a man called Eugene Schieffelin.

It is said, though not proven, that Eugene insisted that as an aesthetic goal the organization should introduce every bird species mentioned in the works of Shakespeare (of whom Eugene was an avid admirer). Whether you think Eugene was a hero or a villain depends on your view of Victorian scientists playing God. One could argue that if the Deity had wanted there to be starlings in North America, He, above all, was well-placed to put them there. Whether it would be wise to wait for a rather obsessive New York pharmacist to get the itch seems rather hit and miss to me.

It’s usually the case that if you introduce a foreign species into an ecosystem things start to go wrong in a Sorcerer’s Apprentice kind of way. Sure enough, the 100 or so starlings that the Society let go in Central Park now number over 200 million across North America. They have endangered other native species competing for nesting places and food – especially the delightfully-named sapsucker – and have even been blamed for the spread of English ivy throughout the continent. In 2007 the San Francisco Chronicle called Eugene’s Society “the canonic cautionary tale of biological pollution.” That’s a high price to pay even for some pretty spectacular murmurations out west.

It’s not recorded whether the members of the AAS dressed up in comedy bird beaks, indulged in avian puns and got up to the sort of high jinks  pictured above, but I like to think they did. You had to make your own entertainment in those days, after all. They strike me as an idealistic, sentimental and innocent bunch, but as history as demonstrated time and again, those are probably the most dangerous people of all.

Season of the Quince

Quinces on a Plate (A5 ink and coloured pencil on Stillman & Birn Gamma paper sample 2018)

This year I didn’t have to drive around the country lanes of Suffolk looking for unwanted quinces, left at garden gates with a sign saying “Help yourself.” This year my own tree – encouraged by the hot summer – had its own bumper crop.

I’ve no idea what it is about them that I find so alluring. Perhaps it’s their irregular shape: sometimes bulbous and knobbly, sometimes like tight yellow apples, sometimes golden pears. It could be their range of colour, from orangey-gold to clear, bright cadmium yellow through pale greens, their bruises turning from a rich reddish-brown to the darkness of old varnished oak.

There is also a certain mystery about the noble quince. Is it ripe yet? Wait for the distinctive scent and the pure yellow colour, my neighbours said. But they rot from the inside out: cut open a fruit that looks perfect on the outside and the flesh is already turning brown.

And that scent: so long absent, then suddenly there. The downy skin and the gentle perfume, like the touch and scent of a baby’s head. It smells, too, of the sun and the south, of shady gardens in places where you’d like to be – far away from your computer and your workload and your deadlines. The scent, in short, of contentment, of joy, of delight.

This year I decided not to risk making my own jelly or marmalade, which always results in several jars of quince syrup. Instead a much more competent friend agreed to make it on my behalf. The first results of this arrangement have been jars of golden jelly, fragrant as the fruit itself, looking like a fairy tale gift when held up to the light.

Do I exaggerate the wonders of quince? I think not. It’s very possible I was put under some spell that holds me in thrall to their beauty, that I’ll admit. I never tire of drawing and painting them, as long-standing readers of this blog will know. I bet that breakfast in Heaven is quince marmalade on Pump Street Bakery sourdough bread, lightly toasted.

Lunch will be Rebecca Charles’ lobster roll.

The art of baseball

Baseball (A5 sketchbook page/ ink/ 2018)

I have a theory about baseball: I don’t think it’s a sport at all, but rather a type of performance art.

At the risk of offending readers in the US, as a sport it’s pretty unexciting: there’s a lot of standing around, no-one ever seems to hit the ball and, if they do, it’s nearly always caught or they get run out.

Seen as performance art, however, it’s fascinating. The costumes, the many rituals, that weird rule that someone on first or second base can run unless the pitcher spots him, the movements of the individual players, the organ accompaniment that offers an ironic musical commentary on the action (or lack of it) – all of this adds up to a rather ritualistic type of performance.

Have you ever seen a field full of rabbits? It has a similar dynamic: the rabbits appear to move in a predestined way which might appear random at first but soon suggests a bigger pattern. Are they being controlled or do they know when it’s their turn in the game?

I’ve developed this theory after seeing one game. I was fortunate enough to be invited to a baseball game the last time I was in the US, and I expected to enjoy the hot-dogs and beer thing but be bored senseless by the actual play (I’d seen it on TV once and it made drying paint look edgy…). In fact the game was compelling: seeing the field as a whole, instead of just close-ups of the players as happens on TV, was what suggested performance art. What’s more, at one stage I went downstairs to the men’s room and hundreds of people were waiting in line for food and drink – it was like a parallel event down there: a festival of deep-fried food, perhaps?

I drew the two batters (never batsmen, I was informed) above from photographs I took at the game. I would like to thank Jim and Susie for introducing me to this new and unforgettable artform, masquerading as a sport.

Precious

Mystery object – see below (pastel and collage 60 cms x 42 cms) 2018

Recently the New York Times printed a photograph (by Nat Farbman) of the young Lawrence Ferlinghetti – one of the leading lights of the Beats – reading his work to a group of onlookers. There he stood, dark and dashing in a tweed jacket and cord trousers, looking every inch the charismatic 1960s poet. At his feet lounged a young man in a similar outfit and a woman in a black sweater and tight skirt. People are drinking wine from tumblers.

As well as being an admired poet, Ferlinghetti was one of the co-founders of the City Lights Bookstore and Publishers. He was the first publisher of Allen Ginsberg’s Howl, for example, which – whatever you think of it now – was a tornado blasting its way through the poetry landscape of the time.

San Francisco is a different place than it was when Ferlinghetti first opened the doors of City Lights in 1953. It was never a city associated with business, but with alternative lifestyles, freedom and revolution. Paul Kantner of Jefferson Airplane called it “49 square miles surrounded by reality.” Now, with the arrival of Google, Apple, Twitter and the – seriously – 5,249 tech start-ups in the city, there’s no place for California Dreaming.

City Lights is not just a bookstore but a vital landmark on the map of modern culture. Ferlinghetti is 99 this year – what’ll happen when the inevitable occurs? I fear poetry isn’t that high on the list of requirements of the twentysomething techies waiting for the WiFi enabled buses to whisk them off to Silicon Valley, so will it just become another artisan coffee shop?

I thought of this recently when I was having dinner with a close friend in Greenwich Village. We’d booked a table at the magnificent Pearl and were enjoying a pre-dinner drink at the Cornelia Street Cafe. The Village is another place where cultural history swirls around you like ghosts in a cartoon film. Think of those writers, artists and jazz musicians who lived, worked and played here. The Bottom Line and the Village Gate –  names familiar from the sleeves of jazz albums of the 1950s and 1960s, are gone – replaced by a pharmacy and university departments.

Shouldn’t places like City Lights be preserved, immune from rent rises and speculation? These are the names that pepper the cultural histories of the 20th century and should be as precious to us as medieval castles or Tudor chimneys. It’s not just architectural excellence that should be preserved but those places that contributed to the spirit of the times, and preferably not turned into tacky museums. Slap them all on the National Register of Historic Places before it’s too late!

So what is that thing that heads this post? Is it Ferlinghetti’s appendix, perhaps? Far from it: it’s a steamed clam, drawn from a photograph of one taken from my dinner companion’s plate. Or should I say it started off as a drawing of a clam, but then I added more and more colour and texture to it and made it into something that is now just an abstract idea of a steamed clam, a variation on a theme of a steamed clam. Don’t worry, chef Rebecca Charles would never serve this to you in Pearl.

Searching for an exotic old fruit

Tomatillos, Rochester NY (A5 ink and coloured pencil 2018)

In this year of rethinking the direction of my painting and drawing – trying to rein in some of the tangents I follow and develop a recognisable style – I’ve more or less decided to follow two paths simultaneously.

First, there is the line drawing path. I do enjoy drawing people wearing animal heads or household items on their noses. I like ‘illustrating’ Carly Simon’s imaginary friends or a woman in love with a fish (a similar idea won several Oscars, let me remind you). It’s fun to draw Benedict Cumberbatch as a vampire, legendary gallery owner Kasmin naked and the lines and folds on the faces of Jasper Johns.

On the other hand, I love painting fruit. My passion for the lovely quince is well known to regular readers of this blog. Occasionally I’ll let my head be turned by a ripe pomegranate or an exotic purple mangosteen, a gaggle of plums or even a delicately-coloured Swede. Fruit favours acrylics or oils, I think: layering on those colours and shades, adding a touch of shocking blue to a red and orange pomegranate or positioning a highlight of purest titanium white – all very satisfying.

This makes shopping in a well-stocked market or a foreign food store even more of an adventure. For me, Borough Market in London is a place to buy overpriced cheese and subjects for painting. That’s where I first discovered the almost comic mangosteen, shaped like a smaller, purple version of those plastic tomatoes that hold ketchup in transport cafes.

My latest hunting ground is Wegmans, a supermarket in Rochester, NY, on my frequent visits to this under-rated American city. For some time I’ve been eyeing the blousy pitaya (dragon fruit), vibrant pink with little green and yellow horns. Only the fact that I’m here without my acrylics has prevented me from dropping a couple into my shopping cart. Then last Saturday, while seeking out herbs for a New York Times recipe which pairs chicken and mushrooms with cognac and madeira sauce, I discovered tomatillos.

Like small green tomatoes wearing diaphanous outer skins over their shiny green bodies, these Mexican fruits are mainly used to make salsa verde. You can gently peel back the delicate husks, allowing them to tear into interesting shapes that describe the arc of the succulent green flesh where they remain joined to the fruit. I drew them in charcoal, in pencil and, at the top of this post, in watercolour pencil and ink. At under 70 cents for three, they’re the cheapest still life models I’ve found.

Now, where can I get a green pomelo?

You say potato…

Things Americans Say
Things Americans Say (A4 Moleskine Storyboard Sketchbook spread) 2017 [Click to enlarge]
Recently I came across a book of American colloquial phrases and sayings from the 1940s. It made the perfect birthday present for one of my dearest friends, an American who – despite having lived in Paris for nearly forty years – still refers to ‘candy’ and ‘gas stations’. I drew a birthday card highlighting some of the differences in our common language (the meanings of ‘vest’ and ‘derby’) and included a couple of these superannuated phrases.

They were such fun that I carried on, not attempting to illustrate them in any way but simply drawing Richard Thompsonesque characters saying them to each other. I also added a contemporary one: the ubiquitous and deeply annoying ‘reach out’. The result was the drawing at the head of this post. It was meant as an affectionate hommage to our various Englishes, in case anyone is feeling overly teased.

A few days ago, I was drinking Californian Shiraz with some Americans, one of whom asked me the following question, inspired by The Great British Bake-Off: “If you British say ‘bluebriz’ for blueberries and ‘guzzbriz’ for gooseberries, why do you pronounce the cook’s name on Bake-Off Mary Berry rather than Mary ‘Bree’?” It’s a good question.

Last week I went to an American supermarket. A simple shop took the best part of an hour as I tried to translate my mental shopping list from British English into American: chicken stock was found to be broth, sweet potatoes appeared to be yams, not to mention the whole aubergine and courgette confusions (luckily peanut butter is the same in both languages so my breakfast was assured). Were matters of nomenclature not enough to confuse this Englishman abroad, you Americans contrive to store eggs in the refridgerated section. Is there no end to this?

I have nothing profound to say about all of this, except the obvious point that we’re different, you and I. Even if you don’t chill your eggs or talk about ‘razzbriz’, we’re still different. If you hate or fear those who are different, then you have to include members of your own family in all probability: my brother thinks it’s important to wash your car every week whereas I just leave mine out in the rain.

Ultimately such fears – perhaps even starting over something as trivial as the way we speak – leads to hatred, even civil war and genocide: to Rwandans who lived side by side for years suddenly turning on one another; to Bosnians who co-existed for decades in the same city, the same streets, being marched up into the hills outside Srebrenica.

The Germans have a saying – possibly the subject of a future series of drawings – that we’re all foreigners, almost everywhere. If we could only keep that thought in mind when someone walks into our local bar and talks funny. In the meantime our respective governments encourage us to point the finger and exploit the differences between us for their own ends. In that way at least, British and American people are alike.