David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

09 November 2016

Donald Trump Elected President

Image of 

Bust of 
Paul Signac 
] 1863-1935 (
as Square and Circle 
regarded as 
Daruma Muralist
Bust of Paul Signac (1863-1935), 1935. By Jan and Joël Martel (Nantes 1896 – 1966 Paris). Signed J.J. MARTEL on the side of the base and inscribed Paul Signac on the front. Patinated plaster. Dimensions: 60 by 28 by 39cm, 23 5/8 by 11 by 15 3/8 in. 

This large and impressive bust by the Martel brothers represents their close friend Paul Signac, the renowned Neo-Impressionist painter. It was executed just prior to Signac’s death in 1935 and so provides a rare and contemporary portrait sculpture of the living artist. 

Jan and Joël Martel were identical twin brothers who collaborated together as sculptors throughout their lives. The brothers worked in a range of media, including traditional materials such as plaster, bronze and stone, as well as new ones such as ceramic, aluminum and reinforced concrete. During the mid-1920s their work evolved from stylized realism to greater abstraction, although they never fully abandoned figural reference. They were also famous for their animal subjects, most notably birds, in terracotta and porcelain.
Paris, Exposition de l'A.E.A.R., 1935. 
Paris, Salon des Indépendants, 1935. 
Boulogne, Oeuvres de peintres et sculpteurs contemporains, 1936. 
Paris, Salon des Indépendants, 1936 and 1938. 
Saint-Jean-de-Monts and La Roche-sur-Yon, Rétrospective Joël et Jan Martel Sculpteurs, 1976-1977.
Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something...