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alex_colville_2008_artist_and_car

Artist and Car, by Alex Colville, 2008
Dog and Priest, 1978 (below)
© Micheline Walker
July 25, 2013
July 28, 2013 (updated)
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Dear Readers,

Matters have not improved. I cannot even use the “Add Media” feature. I copied and pasted the pictures in this message. “Add Media” doesn’t work, nor do the “tags.” However, WordPress’ Happiness Engineers will fix the problem. I will also contact the computer company. Just in case. In the meantime, I feel totally abandoned. I miss reading your posts and writing my blog is now part of my daily routine.  Life is quite the challenge.

The weather is glorious. I own one ninth of a small apartment building and my personal space is a large apartment facing various backyards. My neighbours have lovely gardens and I can see mature trees. Moreover, on this side of the building, one does not hear cars.

I have inserted videos featuring Alex Colville speaking about his art. In my earlier posts, I did not mention that Mr Colville was very meticulously in his work. He drew lines, a grid, and then made his sketch. The results were magnificent, but his perfect renditions have sometimes been interpreted as realism. There is no doubt that the “Skater” is a perfect drawing and that it is a representational painting, i.e. it’s not an abstract painting. Nor is it a realist painting. We see a skater, or rather, the back of a skater, but why did he chose to paint the skater in reverse? At times, he paints a mundus inversus, a world in reverse. Colville’s “realism” is therefore deceptive, but his compositions are stunning.

Video dated 24 July 2013

The video dated 24 July 2013, the video I inserted in my last post, is like an exhibition. It includes a few artworks that depict World War II. Please click on the following link to view it: https://www.youtube.com/watch?v=PUkokSs3JR4.

Love to all of you,

Micheline

Alex Colville Speaks (Canadian Broadcasting Corporation)

Dog and Priest — painting by Alex Colville

Skater — painting by Alex Colville

Skater, by Alex Colville, 1964