Sir George Clausen on Morality

‘The English People Reading Wycliffe’s Bible’ [1925-27] by Sir George Clausen, Oil on canvas, 304.8 cm x 442 cm

Have a real good think about what’s happening here.

In this painting.

The aforementioned oil on canvas is depicting noble persons and ‘ordinary’ folk huddled in close proximity to one another.  Whilst there is a distinct separation between their social classes, including a cringingly aghast demeanour upon the mid-left lady, we do see a coherence of unity.

Religion can stir up avoidably provocative feelings.  Society always has two classes however which way you look at it.  Food for thought, whichever side of the bench you’re on.

The vivid colouration of this piece and realistic yet stylistic representation harks at pre-Raphaelite construction.  It’s a medieval masterpiece.

Given the influence of French artists upon leading British Impressionists towards the late 19th Century, we do see as with all art painters a yearning to ‘the old ways’.  Sir George Clausen is highly experimental.  His body of work unafraid to grace us with fog, dawn/dusk-haze, Realism, Impressionism, Stylistic and (near) Surrealist master classes.

A melted clock and a Dalian signature are not too far-fetched to envisage amongst a select few Clausen works.  Yes, that’s his ability to influence.

I’ve prided myself on keeping my blog neutral in political, religious and current affairs.  Whilst visual art and music are powerful motivating forces my interest has always been social commentary through art.  I make no PR judgements and steer clear of garnering partial affinity with any reasonable PR view as regards my art writing.

What I do-do (sidenote #1 – I found this highly amusing to attract younger Readers) is present information through art and actuate an empowerment throughout all the ages..

.. by allowing you, the Reader, to continuously develop your own knowledge, opinions and beliefs about what you artfully digest.

For the record (sidenote #2 – total vinyl art fan, Darren Baker smiley) I’m indifferent really to searching for the ‘Juju at the bottom of the sea’.

We’re all uniquely homo sapiens, here and now.

Do, do, do, do, do, do, do, do, do, do, do, do, do, do, do, do.

It’s right here, explained in this article cryptically.

Isn’t life about operating humanely, co-existing as closely to our respective laws as we each can with good intentions by the by.

Art has the very capacity to connect people, share views reasonably and agree to disagree amicably.  Our Children Inherit The Art Around Us.

We are all ‘The Torch Bearers’.

‘The Golden Age’ [1919] by Sir George Clausen, Oil & encaustic on canvas, 305.7 cm x 174 cm.

Ancient Egypt.  Pugilism.  Pompeii.  Dainty flowers.  Breezy air.  Working focus.  Craftspersonship.  Oneness with nature.  His Signatory trademark.  Physical exertion.  Protection from the elements.  Fruitage of the Yellow Sun.  The beauty of nakedness.  Love of clouds.

Those were my immediate thoughts about this iconic looking artwork ‘The Golden Age’ by Sir George Clausen.  Art makes me so happy.

‘William Henry Clegg (1867-1945), Director of the Bank of England (1932-1937)’ by Sir George Clausen, Oil on canvas, 235 cm x 120 cm.

First, musical art – “Fidelity Fiduciary Bank” – https://en.wikipedia.org/wiki/Fidelity_Fiduciary_Bank

This portrait shown above by Sir George Clausen is austere, dignified and slightly awkward about his business to pose.

Business from bisig – care, anxious, occupation.

Work consumes.  I never cease to feel confounded by the working desire of triple-millionaires (£100 millions+) and billionaires.  Business is fun.  Profit is good.  Working can be enjoyable especially from a social perspective.

Would you make it your business to stop people in their efforts to work?

Sounds absurd doesn’t it.  That would be called persecution.

‘Rickyard, Morning’ [1923] by Sir George Clausen, Oil on canvas, 52.50 cm x 60 cm.

I’ve included ‘Rickyard, Morning’ by Sir George Clausen for his application of shade, positioning of the working farmers, unusual composition choice, angle of the clouds and use of negative space.

Having closely observed field workers on a livestock-and-barley farm with all their modern machinery gathering hay in large perfectly round bundles this painting kind of called out to me.

Those farmers I watched working until the minutest aperture of dusk is the very reason why the hint of light in this painting is EVERYTHING.

Never say never to underestimating the ineffable intelligence of a Master at their life’s work.

– Matt The Unfathomable Artist, 15th June 2017.

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