You are currently browsing the category archive for the ‘Creative Process’ category.

This poem was written to celebrate the first named Storm Lady, about a year ago, so perhaps it is still appropriate now.

 

Storm Ladies

 

 

Storm Lady Immogen hammers our doors and our windows

it’s the fault of Aeolus for letting her out of his bag

and our fault as well, for tattooing a name on her

innocent shoulder.

 

Is she tempted to blow as when all Suffolk’s windmills

indignantly groaned into flame, with their arms madly whirling,

ripped oaks out like sprout stems, demolishing church-towers and drowning

some eight thousand sailors?

 

‘A once-in-five-hundred-year tempest,’ could blow up again, any minute.

because Gaia’s provoked, or a force generated at random ?

Either way we can’t see, cannot draw, this fierce air that we picture as sinister

isobars, sliding and clenching.

 

“But I love wind” you say, and we know what you mean is

the scent on spring breezes and bracing brown gusts in the autumn

that whirl leaves round our heads and throw rooks like old rags round the sky

But beware what you love, for

 

the Wind-God has ungentle daughters, his feline avengers:

watch out for a day which is still, with the grass hardly moving,

when we peer through the pane, and we ask ourselves

‘What is that roaring?’

 

 

 

 

02 2016

 

 

 

mousedhackney

This is a drawing I did when in self-imposed exile in Hackney.  I was rather pleased with the drawing of two men working on the flat-roof on the other side of the wall, top right. But a mouse got into my plan-chest and chewed up the paper – and the men – for a nest. So much for vanity.

 

The men working on the roof were linked in my mind with the man on the building in the wonderful Jongkind etching. ‘Demolitions dans la Rue des Francs Bourgeois, St Marcel,’ where every line is alive. Jongkind seems to me to reach a peak of energy and expressiveness in his etchings which he never quite finds elsewhere. There is, also in my mind, a link to the two men working or the roof in my poem ‘Two walks with K‘.

jongkind-etch-lite-copy

Well. However that may be, the mouse won. Nothing lasts in this universe, as the Anglo Saxon poets knew. Or as Dryden later put it, with an etcher’s vigour:

All human things are subject to delay

And when fate beckons, monarchs must obey

 

Happy New Year (not to mice)

David

 

On Saturday 24 September I visited a very fine exhibition of Christopher Wood’s paintings in the Pallant House Gallery in Chichester. Many familiar pictures, and some unfamiliar ones. I was particularly drawn to an early painting of flowers in a vase, presented as a black silhouette against a medium dark background. Disconcertingly, in the middle of the black shape of the foliage thrusting out of the vase, there is a cluster of carefully observed florets. The result is a bit like Magritte, but much more sensuous. Naturally (as is always the case) there wasn’t a post-card of the picture you particularly want to remember; I’m sorry I can’t show it to you. Maybe, in these digital days, you could buy an image for a small sum, generating fees for the gallery and the copyright holders.

 

Talking of small sums, it costs £10 to get into the Pallant House Gallery, which will inevitably cut out many people, and casual visiting.

 

On view in the Gallery bookshop there was a blazing cluster of Peter Iden reproductions flanking one of an Ivon Hitchens landscape. (Peter would have been pleased with the company). You can only see this work in reproduction in the bookshop: there is none in the Gallery. Here are some samples. About a mile away is the small room in a small flat where Peter did all his late abstracted Downland landscapes. It’s a neat illustration of the biblical adage, that a prophet has no honour in his own country

img_3235-copy img_3258-copy

P1000044

 

Here it is again – my friendly fieldmark. Most years the field next door (Claypit Hill rising to Dicky Hill- the two fields were merged in the years after the War, part of a general amalgamation of fields, and tearing out of hedgerows here), is ploughed up, harrowed, raked and sown, and then a final fieldmark is embossed on it like a watermark by a heavy tractor. It will sit here now for the next three seasons, accentuated by the growth as it comes, modified by the nature of the crop. It’s a natural  symbol – a bit like a Greek alpha or a rune, but very much itself. Next years fieldmark will probably look similar – but not the same – and will stare up at the changing moon, currently an orange sickle in the West at dusk, who presides over this sort of variability. It will certainly creep into some future picture of mine, as it has so many times in the past.

It’s a fairly odd thing to find a painting by one artist on one side of a canvas, with a painting by another artist on the other side – of course it does happen, but it isn’t very common, though artists have often painted over their own, or other people’s work. Well. now two Tony O’Malley paintings are coming up for auction, each with half a Francis Bacon sketch on the other side. There was an article about this, with pictures, in the Mail on Sunday. Of course, it wasn’t ‘a canvas,’ it was a piece of hardboard; it wasn’t cut in half by Tony O’Malley (we wouldn’t have let him saw the board, as he had a very dicky heart), and you had better not call him ‘a minor artist’ in Ireland.

 

Regular readers will know how the event came about (see St Ives Studio; The Disappearing Bacon which I posted on this blog six years ago). If you want to look at the MoS , go to: http://www.dailymail.co.uk/news/article-3467476/A-20-000-slice-Bacon-artwork-renowned-British-painter-fetched-millions-cut-HALF-reused-minor-artist.html

 

What is amazing, and never occurred to me, was that the pictures would ever surface. I assumed that Tony would have primed the boards and then painted on them so that the Bacons would have been under two coats of paint: it certainly didn’t occur to me that he would have been foresightful enough to preserve what was already there. On one thing my memory let me down on – I thought the Bacon was on the knobbly side of the hardboard, but obviously it was on the smooth side. I suppose I was influenced, thinking back, by the fact that Bacon sometimes painted on the unprimed side of canvas, an idea he got from Graham Sutherland .

 

Anyhow, Tony painted on the knobbly side; two rather heavy, cludgy pictures, perhaps influenced by Alan Lowndes (who of course was in turn influenced by L S Lowry) – very unlike the luminous paintings he later produced.

 

As to the story (in the Mail on Sunday) about the row between Francis Bacon and his then lover, a painter friend (Clive Cable, who died some years back)) was in the pub in St Ives on one occasion when Bacon and his lover came in after a fight the previous evening. As Clive retailed their pub account of the fight, one of them dropped out his false teeth, and the other stamped on them!

 

 

HYTHPIC 1

The educational propositions of Utopia, laid out by David Austin and David Page.

 

I was walking past a junior school the other day: a nice school—a clarity of glass and formal brick with a warmth to it. The children had finished their break, the whistle had blown, and they were moving in. Crumpled over the railing in front of the school was an elderly man: as I came nearer I realised that he was convulsed with laughter. Tears were running down his cheeks. I must have looked puzzled, because he gestured with his hand and said, “Excuse me,” and then, as he wiped his eyes, “but it is all so very extraordinary. I have just been to see your zoo,” he said, “and the parallel is exact. You put your young into houses, yes? And there are keepers to control and feed them. Only to watch the tea-party here, it is free.”

 

I must admit I was piqued, although I am not a specially patriotic man. “Look here,” I said, “it’s generally agreed that our educational system is pretty good; we have put up some splendid buildings and we’re working on the old ones. The teachers are decent and thoughtful, on the whole, and the methods are improving—gradually, but perceptibly. How much better do you do in your country?”

 

Hythpic 2

 

His eyes widened. “Oh, but—” he said, “you see, we do not shut small people away, and do things to them. We leave them free, and let them grow in their own way.” I started angrily. “That’s a completely- Utopian idea . . .” but he caught my hand and before I could say any more was pumping my arm like mad, laughing and smiling. “Come, come, we must have a drink together, you are the first person, the first, mark my words, who had guessed my country. Tell me what you know of Utopia.”

 

Though of course, he told me; as we walked to a nearby pub we fell to discussing the stranger’s outrageous view of a generally accepted and admired system. He was not, it seemed, as ignorant of our ways as had appeared at first; but the novelty of the Utopian system gave me the strangest sensation, like a man standing on a path in the early morning mist, perceiving an unfamiliar set of shapes and volumes, not recognising his own house.

 

“Without schooling,” I said, “how can you possibly educate your Utopian children?” “In Utopia No-one is Educated,” he replied. On seeing the surprise and disbelief in my reaction he hastened to explain. “Our language does not have your transitive verb to educate. But what child would choose to go to school except following the Pied Piper, to find out where the other kids had gone? We have no schools to interrupt the process of learning, nor professional educators to corrupt it.”

 

Hythpic 3a

 

“Corrupt it,” I cried, unable to restrain myself, “but the pedagogic profession is most highly respected among us: we keep the remuneration very low, precisely so that mere material gain shall not exercise those who enter it. It is regarded as the vehicle which transmits our culture from generation to generation.” “In Utopia,” the imperturbable stranger replied pleasantly, “we are not as aware as yourselves of the generations. Furthermore your culture seems to me to be trimmed and distorted to fit your educators’ own dimensions. Your educators, after all, need reassurance as to the effectiveness of their work, which they will get by asking questions. To ensure that they will be reassured indeed, they teach children the answers to those questions which they intend to ask. We have a joke in my country about a self-fulfilling Professory. Indeed, it is much easier to pass on neatly ordered knowledge—to teach people a grammar in place of a language—and in the process English teachers produce philistines, and mathematics teachers produce tally-men.

 

” We paused to buy some beer and sit down. I was in something of a brown study over my glass. “Supposing,” I said, “that you are right; what then is the use of our educational system?”

 

“A good question,” he replied. “Primary education is unnecessary —children learn to read and calculate from literate and numerate parents anyway. Children of illiterate innumerate parents do not learn anyway. It is no good teaching children: you must first teach parents. However, primary schools do keep children off the streets, where they might pick up something useful. Secondary schools perform largely the same function, meanwhile selecting a docile group for training as an intellectual elite. Of course, no one knows whether they are intellectually superior, since it cannot be tested, nor what such a phrase implies, but it is enough that everyone believes it to be true, for so one gets your Government by Consent. In tertiary education, then, this elite is trained in obsolescent techniques by those who can’t or won’t make their way in their own profession.”

 

“It’s true,” I said, “that most would say their most intensive period of learning took place in the first two years after the course ended,” and he replied, “Why then postpone this experience?”

 

Hythpic 3b

 

But I wanted to go back a point or two. “You said that it is parents who teach; but in this complex age what two parents could cover the range of learning needed?” “Why two?” he said. “In Utopia a Wise Child Chooses All its Parents. Natural curiosity leads a child to those who can help him. In your country, contrariwise, two parents have two point five children, a dog, a cat, and three rose trees—and they build a wall around them!”

 

“It’s natural to want privacy,” I retorted.

 

“By privacy,” he said, “you mean freedom from intrusion while you do all those things which it is more fun to do in groups. The children, locked in, destroy your ‘privacy’ far more effectively than the neighbours you lock out; yet they long to get away—and do indeed escape for some hours to the community—to a larger house, a larger walled garden, and teachers in loco parentis (a quaint phrase). And through their life they will be pursued by the spectral ideal of the Big Happy Family. In the meantime, however, you protect them from the people next door, and they protect their children from you.”

 

“But eventually,” I said, “their education comes to an end and they get on with the serious business of life.”

 

“You mean this education was not serious?”

 

“Not the same as work.”

 

Hythpic 4a

 

“Aha, work. In Utopia Nobody Works. People make things, people create.. But by work, in your society, you mean doing something for most of the day, by compulsion. I have tried to analyse this. As far as I can see your people do three kinds of work. They slave laboriously because they are cheaper than machines which could do the same job. Secondly they watch machines slaving because they are cheaper than machines which could watch the machines. Thirdly they organise this money which discovers the shocking cost of machines in terms of human labour, and organise it with such complication that everyone forgets what it means. And so you have Economics: the solemn study of the phenomenology of a metaphor. Perhaps the real use of your education is to accustom men to a pattern of work, and to suppress their creative impulse—otherwise who would stand for it? But I forgot, there is a consolation prize, and this too we have not got: In Utopia there is No Dignity of Labour.”

 

“Talking of dignity,” I said, “let us return to the old; how do you look after them?”

 

“I am glad you mention them, for I had been told that here it was impolite to do so.”

 

“But what do you do for them?”

 

“We do not make them different,” he said. “In Utopia we Give Toys on Every Birthday. With toys one explores the world; one stops needing them when one stops learning. While the old learn, they are no different from the young, and in our society the young pass on the culture of the tribe to the old. Here it seems to me, even those in middle age have stopped learning, are frightened. But I forgot your national hero, from your most famous book—looking at his watch and exclaiming ‘Oh my ears and whiskers, I shall be late’.”

 

At this point, suddenly, he would say no more. We played a game of darts, but I got little more from him but a visiting card.

 

Hythpic 4b

 

I have not slept very well recently. I am haunted by the image of a man bent over a railing, helpless with laughter.

 

Note

David Austin and David Page wrote this article for the Spring issue of ARK (Journal of the Royal College of Art) 1970, before they had read Paul Goodman’s article, “The Present Moment in Education” in ANARCHY 107; Homage was then reprinted in Anarchy 115 (sadly without the drawings, more costly to reproduce in those days). We owe this dialogue to English teacher Harold Sheldrake, who made who made DP read Utopia, thus slightly undermining the argument here presented. Isn’t that just like life?

 

 

 

 

 

I suppose most people know the lines:

When I was but thirteen or so

I went a golden land

Chimborazo, Cotopaxi

Took me by the hand

For me romance was as absolute, but engendered differently. An exchange was organised for some of us at school, at the end of the 1940’s (probably via Doris Gare, our French teacher). I was put on a train in London, and met at the Gare du Nord by a man called Monsieur Nash, who took me back to the XIV Arondisement for the night: the next morning he put me on the train to Rochefort-sur-mer. Monsieur N , dressed in navy workers’ jacket and trousers, was an Englishman who had moved to France when young, had lived through the German Occupation unharmed, and now worked as a concierge: he had completely forgotten English: I asked him what words he remembered, and he replied “Plum Pudd-ing?”

At Rochefort I was met by Madame Masson and her son Paul, who was my exchange partner. They lived with M. Masson, le patron, proprietor of the Cafe du Medoc, avenue Camille Pelleton. (I have done a Google-walk, but I can’t see the cafe there now; in the evening the mosquitos used to float in from these plane trees outside, in clouds).

§ Cafe du Medoc   oil on canvas  c. 1951

Cafe du Medoc oil on canvas c. 1951

M.Masson was entirely devoted to his Cafe: he worked seven days a week, from dawn to dusk, and never took a holiday. The Cafe did not have a bathroom: it was a bowl and jug in the room. The cabinet (loo) adjoined the Cafe and was reached from the yard. It was the usual ceramic hole in the ground. with two islands for the feet; on the wall was a wire hook with neatly torn up pages from l’Equipe, the cycle racing paper. If you needed a crap you lowered yourself over the hole by holding onto a bar on the door, which also served to keep the door shut (there was no lock). If someone came and tried to get in while you were on the job it was a bit hard on the stomach muscles. If we needed a bath, there was the Municipal Bath-house, where piping hot yellow water poured into the large bath, straight from the river Charente, silt and all.

Madame Masson was plain but sweet-natured, totally committed to her son, her husband, and to the household. I owe her a lot. I often went along with her early to the morning market, where she would check the whole line, asking “Ils sont a combien les oeufs, Madame?” and so on, finally returning to the best offer. M. Masson, as I said, never left the Cafe, but in the early evening in season he would carefully write the latest placements of the Tour de France on the mirror behind the bar, using a stick dipped in some kind of whitewash,. Those were the grand days of riders like Fausto Coppi and Robic, and I was taken a couple of times for a long wait by the roadside to watch the race swish past in moments.

Mme. Masson took Paul and I to the sea-side – Fouras. Perhaps we all cycled there, and took the Teleferique across the Charente, or maybe we went by bus – like my family, the Massons did not have a car. The Teleferique was a platform which swished across the river suspended on long cables – now preserved as an ancient monument. On the coast we prized oysters off the rocks. We went to a casse-croute cafe with outside tables: you took your own food and just bought drink. Madameproduced a long French loaf and butter to eat with the oysters, and we ordered a bottle of white wine: it was one of the great meals of my life. I must have gone many times to Fouras, sculling a boat there, or swimming in warm water among vast jelly-fish. And of course I drew. and painted all the time, cycling out into the country. Madame Masson reproached me, in the nicest way, for not speaking enough French, but I made pictures relentlessly.

Fort Boyard from the Ile D'aix ?  oil on board c 1951

Fort Boyard from the Ile D’aix ? oil on board c 1951

Paul Masson was an only child, and in those days there didn’t seem to be any mixing of boys with girls in Rochefort: at any rate, though I would have been susceptible to their charms, I never actually got to know any young woman during my exchanges.

The only friendship I made outside the family was with a postman who frequented the cafe. He had a wooden leg, as so many did in those post-war days, but was a vigorous cyclist all the same, with one leg out before him like a prow. He suggested that I should join him fishing for eels -“S’il mouille, on y va pas,” he said. I think it did rain a bit, but we cycled off on a grey day and spent some hours looking at the water, occasionally lifting the cantilevered net, like Puvis de Chavannes’ Pauvre Pecheur, but catching nothing. The wags in the cafe were delighted, and a tall glass duly appeared on the bar, with a dead frog floating in it, and the legend “Specimen of Fishing at XXX.”

I realised, around then, that I was at home in France: I could speak French; sometimes I could even think in French, and I could connect with the past and the present. Later on in my life I spent time in other parts of Europe, and lived in Germany and Greece. I am a European by custom and conviction, a townsman and a countryman.

Yes, it is true that the present governance of this homeland of ours is muddled and inadequate, (partly because the pragmatic British have spent so long with one toe in the water, unwilling to commit). But after so many wars, this is a place within which we have ruled out fighting as a political tool, where we are free to enjoy wonderful lands, a magnificent history and culture. Let nobody try to take my European citizenship away. Have teeth. Will bite.

Over the years I have done a number of paintings which I have called Homages. I define this personal label, in a rather restrictive way, for paintings, interpreted and developed from black and white photographs of painters I admire. The use of news-photos as a basis for paintings is something Sickert freely used, aware that one can’t be there to see what a news-photographer sees, but that the content is immensely tempting: I have done some of that as well. Somehow trying to paint a picture of a painter you admire, in his environment, seems an affirmation and you hope some of it rubs off on you.

I have been making Homages for a long time: the earliest is a painting of Douanier Rousseau in his studio, holding his violin as if it was a palette, and his bow as if it was a rather long brush..

Douanier Rousseau in his studio acrylic

Douanier Rousseau in his studio 1961  acrylic on duck   68 x 46 cm

The image resonates for me with the description of the celebration banquet for the Douanier, described in that entrancing book The Banquet Years by Roger Shattuck, at which, after tributes, Rousseau gave the company a waltz on his fiddle. I painted the picture in 1961, when I was living in Galatas, Greece, on the mainland opposite the island of Poros. (There is another, more personal, resonance here: I much later learned that Patrick Leigh-Fermor had lived down the road, at Lemonodassos in 1935. and that John Craxton and Lucien Freud had lived on Poros for a while in 1945). There is a bizarre surreality about the Douanier photograph, which the painting hoped to accentuate. Greek houses at that time tended to have framed photographs on their walls displaying family patriarchs and matriarchs: these were really artworks, because the portraits had been retouched and remodelled on the plate before printing, sometimes so much that the image was more drawing than photograph. This feature of Greece also suggested a possible direction.

What the Homages seek to do is to take an image of the admired (iconic) person – hero, if you like – and to re-interpret it so as to catch something more general about the artist and his view of the world and artistic vision (so far all the subjects have been men), while at the same expressing my own feeling about that  conceptual package. If that sounds pompous I apologise. So, anyway, it is not about making a pastiche, ‘in the style of’, and cannot depart too far from the framework of a photographic image or, as a portrait, from the recognisable features of the subject. These constraints, it seems to me, take the enterprise out to what Browning called ‘the dangerous edge of things’, to contradictions, with the danger of not satisfying any of the implied criteria because of exigencies created by the others.

GEORGES BRAQUE AT VARENGEVILLE FINAL.20.06.15

Georges Braque at Varengeville oil on canvas 2015 100 x 60 cm

The latest picture in this series is called Georges Braque at Varengeville and comes from the b/w photograph at the beginning of Edwin Mullins’ 1968 book on Braque, the first modern master I learned from. Unlike my contemporaries who went to art school, I chose that master before I had fully sharpened my life drawing (honed at the Ruskin School while I was studying English at the University of Oxford). A sort of reverse development from conceptual to perceptual. This picture does not, as I proposed before, try to develop the image via a Braqueian idiom – though when Braque died I had painted a broadly cubist memorial picture: Flowers for George, 1964.

Flowers for George copy

Flowers for George oil on canvas 1964 53 x 40.5 cm

The recent picture accentuates the wonderful seed fronds of grasses which blaze across his silhouetted jacket, like braid on a military uniform: shapes which Braque himself might have wanted to allow to develop into individual entities. Like my old mentor, Tony Oldfield, Braque would not have approved of spatial indicators leading potentially to holes in the picture surface (though I think that the lane does all the same remain more or less vertical like a step-ladder, rather than sliding backwards into depth): he would have tidied and organised the wild growth along the walls of the little canyon which the lane forms. But I wanted Braque set in some confusion and profusion which was not reducible to an organisation of clusters of rational shapes. I saw the silhouette of the painter as an epitome of his elderly self, but the picture widened, tugging at old me, into a statement about age itself. Well, that’s my reaction as the painter, but look and judge for yourself.

The Homages differ from one another, obviously, because they are a response to different personalities and circumstances.

Monet by the Lilly-Pond 2 copy 2

Monet by the Lilly-pond oil on canvas 2007 91.5 x 91.5 cm

Obviously in this one I’ve called Monet by the Lilly-Pond there is a joke about the figure: Monet is so self-consciously posing for the photographer, lying back and holding still, though his right leg wants to pop up as if pulled by the strings on a puppet, and the broad hat prevents one seeing much of the face, just the tip of a nose and a large beard – as often happens in photographs of him outdoors. For me it is all admiration, but irresistably funny – I can’t look at this picture without laughing. Cupped in the curves of the bench, lines of shadow anchor Monet to the ground: behind him there is the lilly-pond back-drop, in a sense his masterpiece. For me a chance to paint a scene, so powerful in Monet’s own pictures that it is almost interdicted as subject-matter for us who come so soon after, was a wonderful experience.

Geoges Braque at Varengeville will be on show in The Forum, Norwich, from July 13 – 17th

Somewhere in the corner of the room there has been a lot of discussion about the Arts in the last few days. The Guardian carried an interview with Julie Walters (Sat 24 Jan) in which she said that she, and working class kids like her, probably wouldn’t get into drama school today. This came in the context of a spat about a supposed dominance of silver-spoon singers and actors initiated by the Labour shadow culture minister Chris Bryant. There is an argument to be has as to whether ‘working-class’ is an adequate label any longer, but we know what Julie Walters means.

I would like to start the next paragraph “The fact is…” but we are desperately short of facts. Very little serious research is done into ‘cultural’ education. As a surmise there are probably fewer working class students studying and training on Arts courses these days, for two reasons. Firstly because this education is no longer easily available to the poorest potential students. The Education Ministry over decades pursued a relentless policy of pushing up entrance requirements. As I’ve pointed out before, this was a civil service policy, because until Gove, the average life of a Minister was about two years, which would not have given them the time to take on board and modify existing policy. Back in the ’60s Art and Design course were a conduit into higher education for working-class students; it was fairly easy in those days to get a place on a course.

Secondly this education is no longer free. Presumably the prospect of being lumbered with a £40,000 debt by the time you start work will put off students proportionately the poorer their background.

So far as raising the entry bar goes, in the late ‘sixties we were able to show that having five O levels or two A levels or no qualifications at all had very little influence on outcomes. Most Art & Design students in those days obtained employment related to their study within three months of leaving college. (Ritchie Dight Frost and Dight : The Employment of Art College Leavers HMSO 1972) This put paid to the myth that thousands of long-haired art school leavers were swelling the dole queues, so the report was sneaked out in the Summer recess. in the hope that no-one would notice it. The Ministry, faced with an actual concrete fact, continued nonetheless to push up the entrance qualifications in some drive for uniformity. But every rise in the bar meant denying access to a cohort of working class students. There is no good reason for these requirements: they should be dropped.

The second obstacle, affordability, requires a radical solution. Of course there is a problem of cost to the State when it expands education. Leaving aside the increase in cost itself, the proposition that it should be left to the Colleges to set the fees was crazy. The colleges immediately pitched their fees at the top end of possible charge, to show that they were not inferior to anyone else. Students meanwhile became lumbered with debt. It all was done in bad faith too, because the (non-silver-spoon) MPs who voted for these charges had mostly themselves been the beneficiaries of a free education.

A graduate tax system, which I read is to be advocated by Peter Hain in his new book The Future of Socialism, implies that the community (The State) accepts responsibility for enabling its citizens to undertake education or training to they level they require, while beneficiaries repay the community by paying somewhat higher tax over their lifetime, rather than carrying a mesmerizing individual loan debt at the beginning of their career. I associate this (I’m afraid wrongly) with “Here come I, Little Jack/ With my wife and family on my back!” To which you can add “my student loan and my mortgage”

So far I have talked about access to the Arts via education.
; there needs also to be much discussion about accessibility of the Arts, and the conditions of work and remuneration of the Arts makers. Here are some notes for that discussion:

1 The Arts are not a frill. They are a major industry in which (because of past investment) this country excels. It is in the natonal interest to sustain it.

2 If you want a peak of excellence, you have to maintain a broad base

3 A healthy arts ecology depends on artists of all varieties (writers, actors, musicians, painters, potters, designers etc) receiving a fair percentage of the profits made from their work. The Government can ensure a fair market-place, but does not.

I have given up on Sayid Javid. He doesn’t seem to have done anything as Culture Minister (please explain otherwise if you are listening). In any case the election is coming and he won’t be in post much longer. What I think anyone who cares about this area should do just now is to write to the political parties and ask them for their Arts policies. If, in the memorable words of someone interviwed by the BBC in a Grays Working Men’s Club the other day, “UKIP are Tories in Drag”, maybe they have a good line on drama?

I’ve always enjoyed an event in those early comedy films (was that the Marx Brothers?) where a banknote is given to someone and then artfully retrieved from the distracted recipient by a piece of string attached to it. Something like that has recently happened to a painting of mine which used to sit in a flat belonging to an old friend in the rue Baubourg in Paris. This enabled me to say that, although I didn’t have a painting in the Tate or the Pompidou, in both cases I did have one next door. Well, very sadly our old friend has died, and the painting has returned to England, to live on the wall of a London sitting room, so my dining-out sentence no longer works.

 

The painting is one of those which sits in a particular period of work, of which you say that you couldn’t do that now. Not entirely true, but an approximation: the technical ability may still be there, who knows, but the drive to produce this particular work, of this kind of work, has gone elsewhere. The conviction would be missing.

I couldn’t do that now!