Art & Music Workshop at BrynMorris May 14th 2011

It was a marvellous day: Seimon Morris played various chords and sequences which we listened to carefully, and then visualised in colour the character and intervals in each one; this included the unresolved dominant 7th at the end of Messiaen’s L’Ascension. (During this some swallows were chirping in the barn – wouldn’t Messiaen have loved that!)

12 versions of Tallis’ ordinal were played in different keys, and everyone wrote down what they thought was the character of each, having briefly discussed aspects of tonality, and then did a coloured image of their reaction to one of them; some amazing similarities here.

We visualised a journey through Bach’s strictly tonal 1st 2 part Invention, then listened to Birtwistle’s Imaginary Landscape and each did paintings which expressed their understanding of this very different journey. My friend the composer Erika Fox was here, she knows Birtwistle and loves his work, and gave us some salient insights into the music. Even people who never usually listen to contemporary music made a great effort to engage with it. Jim included the call of the cuckoo in one of his pictures.
We ended up with a home made version of Ligeti’s Poème Symphonique using some metronomes and various clocks, all ticking slightly at odds with each other.

I am very much hoping to do this again, and especially with children: there are still a lot of things we didn’t have time for – a 19th century Credo where the words are intoned on one note while a succession of chords play around it. (Seimon had suggested that this was like a single transparent colour moving against a changing landscape of other colours.) Also the contrasts in Vivaldi’s Concerto for Piccolo and basso continuo, Fratres by Arvo Pärt, and perhaps one of Schenker’s Graphic Analyses.

People really enjoyed the day, and came up with an amazing variety of individual responses.

Jim wrote:

From Bach to Birtwistle

“From fixed view, or familiar- to unexpected surprise
From sleep or habit
– to awake.
From sitting in one place
– to moving around.
Fragments – unrelated to each other
– seemingly.
Details, parts, seen on a background
–  yet not seen as a whole.”

Thanks, Elizabeth-  A brilliant day

Erika said
“I found it wonderfully liberating to try and express something in a (for me) new medium. I feel I have learnt something about spacing, colour and texture. Doing is not at all the same as observing. A cliché, but one needs reminding.”

Catherine
Such fun! Really interesting exercises. It makes you think again about art and music, and puts the fun back into it. I would love part 2!

More workshops at BrynMorris are coming.

Remembrance Day – Sketchbook from the Somme.

In 2004 Elizabeth Haines travelled to the Somme with the David Jones Society, returning with a full sketchbook.Sketchbook from the Somme
Sketches relate to Mametz Wood, the Ulster Tower (memorial to the men of the 36th (Ulster) Division), the memorial to the 38th (Welsh) Division and to the Somme.
“The men of the first wave climbed up the parapets, in tumult, darkness, and the presence of death, and having done with all pleasant things, advanced across No Man’s Land to begin the Battle of the Somme.” (Masefield).
The 56-page facsimile sketchbook is 150 by 110 mm and printed on quality 170gsm cartridge with board covers.
You can still order your own signed copy for £25 directly from Elizabeth Haines.
Telephone 01437 532498 (from the UK), +44 1437 532498 (international)
or email: Haines_Studio@hotmail.com

Charente Painting Week, 2009

During the first week of September, 2009, Elizabeth organised a painting week for 6 artists Charente painting weekat John and and his wife Sarah’s house near Cognac. TCognac painting workshophis was a hugely enjoyable; two of the participants were already experienced painters, but the other four were comparitive beginners. All produced outstanding work and felt they had made significant progress, as well as having a great time.
An informal show was held for the neighbours on the last day, which was much admired; the weather was perfect, the food (thanks to Anita and Tom) was fantastic.
We will be going again next year, and possibly having another week in the spring.
Please contact Elizabeth for details.

Llyn Nantlle from the ‘North Wales Sketchbook’

This sketch of Llyn Nantlle and Snowdon is taken from the ‘North Wales Sketchbook – Brasluniau Gogledd Cymru’ by Elizabeth Haines.

This area around Snowdon drew many famous painters in the 18th century. Notable were Richard Wilson RA (1714-1782) and George Fennel Robson (1788–1833). The painter Cornelius Varley painted near here in 1802 and again in 1803, as well as Alfred de Breanski (1852-1928) and John ‘Warwick’ Smith (1749-1831).

The ‘North Wales Sketchbook’ is available from the artist, Elizabeth Haines, at a cost of £35 plus p&p. Tel:01437 532498 / +441437 532498 or Haines_Studio AT Hotmail.com.

See also:
‘Snowdon from Llyn Nantlle’, Richard Wilson, c.1765. Oil on canvas, 101 x 127cm, Accession Number WAG2429.
and
George Fennel Robson (1788–1833). ‘Snowdon from Llyn Nantlle’, North Wales, 1832. Graphite and watercolor with gum. The Metropolitan Museum of Art, New York, Harry G. Sperling Fund, 2009 (2009.451).

North Wales Sketchbook

The Mart at DolgellauThis sketch from the Mart at Dolgellau is taken from the ‘North Wales Sketchbook – Brasluniau Gogledd Cymru’. Dolgellau lies below the Cader Idris mountain range in Snowdonia. This small market town with its narrow streets has evolved from a village in the 12th century. The road into Dolgellau passes over Y Bont Fawr, meaning the big bridge. This bridge with its seven arches was built in 1638 and has been much modified since for the changing needs of the town.
The sketchbook is available directly from the artist, Elizabeth Haines, at a cost of £35 plus p&p. Haines_Studio AT Hotmail.com or 01437 532498 / +441437 532498.

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