Listen to Clifton Chenier, the King of the Bayou!
Listen to Glenn Gould who will not let thee go save thou bless him!
Edward G. Nilges, “Peter’s Crazy Aunt Dances on the Strand to the Music of Bach, and the Sweet Zy-Deco Sounds of Clifton Chenier, the King of the Bayou”, acrylic on canvas, 20 * 60 cm, January 29 2012 AMDG
Note: if the painting is truncated, click above on “Spinoza’s Blog” to see the post with other posts. I haven’t mastered how WordPress treats pix, nor how Apple handles them on a Powerbook.
I have decided to declare victory: this painting is done, and, as the Scots say, “this and better may do, this and worse will ne’er do”. The figure is colorful and this rather large (60 * 80 cm) canvas lights up the room with the way she leaps as an hart.
The numerous deficiencies cannot obscure the life in this thing nor its evocation of the bell-like tones of Poussin. Particularly noble is the twisting motion of the abdomen.
I am not bullshitting here. I like this painting and would pay big money for it if I were a collector. This artist, dammit, has thought about the play of light even if he manages to preserve every single mistake he makes, and he makes a lot, by means of translucent paint and cartoon transfer.
Besides, making art makes me feel good. Pity I didn’t put my foot down and do what I had to do years ago but there’s no point in crying over the past. Peter’s Crazy Aunt certainly doesn’t.
Zey vill laff at me at zee Zalon undt der Royal Academy but I shall show zem!
My next project is “Mama Kanumba del Cucamonga takes the Children to Power Station Beach” because I want to see the profile I drew realized in paint. I need to do more plein aire work on Lamma to get a better feel for our wonderful if abused natural environment, which is something I could only imagine when I was a kid in the Midwest, sketching maps of places, anywhere but around Lake Michigan, carved, unlike Lake Michigan, into all sorts of hidden coves and mysterious mountains.
Basically, the geologic youth of the Great Lakes isn’t their fault. They are big melting ice cubes from the recent past, whereas Lamma Island is the forbidden and mysterious peak of a great Mountain that used to oversee a Plain.
I like Peter’s Crazy Aunt’s expression, it isn’t crabby like the expression on my nude which I won’t post online…it is similar to PCA but naked, same overall colors, crabby expression. That’s because I was working full time when I painted on Dance of Victory.
I went dancing last night to an annual festival put on by a fellow Chicagoan. It was hard at first to foot it featly here and there like Ariel in the Tempest because I was on a wooden plank which moved slightly, it was cool (about 17 centigrade) and my feet were seizing up.
But o the power of music to move Helen, as William Kennedy wrote of Helen, in Ironweed, when she gets enough money for a hotel room and can play the Ninth symphony.
There was quite a large crowd of people and a bunch of Lamma kids who also danced. After the dance, three strangers congratulated my “performance” which surprised me because it wasn’t intended to be such, but, I was close to the band (Black Mariah). It gave them felicity which is the whole purpose of art. That was cool.
As I left I was cold and stiff. I started to walk down the steps like an old man but a far older man needed assistance. This always happens to me. On the MTR, a little girl gave me her seat last year but as soon as I, a weary Old Lo-Shih Teacher, took it, the Three Immortals, three really old Chinese guys, got on the train.
THAT is no country for old men. The young
In one another’s arms, birds in the trees
- Those dying generations – at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.
An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.
O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.
Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.