ul. Mozarta 3m 911 02-736 Warszawa paintings
Time is an enemy as well as an accomplice. Working neither for nor against the common thread, it will not accept payment but death. A key concern is to make dreams a reality, and nightmares a fear.
Secured in humanity’s dominance over a common system, and the unlikely onset of a Biblical (Mayan origin) apocalypse, time has made it’s power to intrigue and provoke. With this in mind, the moment to produce new contemporary paintings (as suggested in post # 11 [4 November 2012]) has not yet passed so a declaration of independence remains within reach.
Among the changes to come, the stable themes of nationalism and Europe are not to differentiate neither seek replacement over sub-dominant topics of nostalgia, and modernism. The key tool for battle; gloss paint; will never falter though the abandonment of accompanying medias such as marker pen will deteriorate to the point of banality. Future visual images will become more realistic, romantic and possibly figurative, permeated by a nostalgia locked deeper in the conscious. Drawing influence from Dutch Golden Age, Romanticism and New European Painting, the proposed work is to be produced as soon as physically, socially and financially possible (asapsafp).
Practitioners such as Rembrandt (1606-1669) and Francisco Goya (1746-1828) will engage in public appearances, with original visual imagery captured first-hand.
As can be witnessed from the inserted images, Rembrandt’s ‘The Night Watch’ (1642) generally considered to be his masterpiece, has and will likely hold a strong visual influence in these future projected paintings, taken from works such as ‘The Great Leap Forward’ (see image) by author.
If guessed that situations with opposing ‘light’ and ‘darkness’ are a commonality, the connection is too simple-minded. It is relaying the chosen themes mentioned earlier that will investigate the wooden board/panel which will serve as canvas to the works waiting to be produced. Encroaching darkness is also not necessarily a motif in these works but dark backgrounds make for existential. philosophic thought.
If the image of a Norman Rockwell jumps into conscious thought then cease and desist reading this literature immediately.
In China, there assemblies of workers producing some of the best duplications of works by the Old Masters and movements such as Romanticism, Neo-Classicism etc. Whether this gives rise to the slow collapse of the Communist government and society is yet to be seen, however it enjoys another benefit of labelling further products (such as forgeries) to be “Made in China”.
Such works are likely forbidden in Cuba and were either destroyed, controlled or seized in Communist Russia – but rest assured – these soon-to-be-produced contemporary paintings are not to institutionalise the downfall of these excellent societies but rather to work in their favour, promoting the European modernism that once held ground in Russia, the Soviet Bloc and Eastern Europe. The identity is to be unquestionable.
For those ever seeking to own a Rembrandt, a Goya, a Spanish master or an Old Master in general, the opportunity might approach.
The Socialist Realist movement promoted state-ism and an alliance with the working class which will also continue as a motif in future paintings, basically turning the bourgeois essence of these inserted images upside-down and embedding concepts such as nationalism into the pieces. Nostalgia could be turning around the bend dramatically.
The above title to the post #16 [22 December 2012] ul. Mozarta 3m 911 02-736 Warszawa relates to the former address of the living quarters of Edward Jezycki (1919-2005). Born and died in Warsaw (Poland), the city he loved.
