Cv/VAR Volume XX presents a resume of work by Philip James from the 1960s to date. The various sections feature landscapes made of Cornwall, Cumbria, Dartmoor, the Cotswolds and Sussex and abroad in Greece and Spain; his extensive city views, graphic and experimental work. The volume acts as as a summary of the artist and a key to published ...
Cv/VAR Volume XX presents a resume of work by Philip James from the 1960s to date. The various sections feature landscapes made of Cornwall, Cumbria, Dartmoor, the Cotswolds and Sussex and abroad in Greece and Spain; his extensive city views, graphic and experimental work. The volume acts as as a summary of the artist and a key to published monographs of featured series and related software titles released by Cv/Visual Arts Research. "My first landscapes were made on site on Dartmoor and the South Downs of West Sussex in 1965-67, progressing to studies in Cornwall, Cumbria and France. The city views began in 1968 with a skyline of London from Parliament Hill. I returned to landscape in 1997 when I made a triptych of Wheal Martyn Quarry north of St Austell. This was featured in Country Life Magazine and was eventually purchased by a descendant of the Clay Captain founder. Encouraged by the Turner Gallery in Exeter I developed a more substantial series of Dartmoor, taking in favourite locations such as Black Down, Postbridge, Manaton and Buckland. At the same time I worked on seascapes of north Cornwall: Crackington Haven, Summerleaze and Crooklets Beach near Bude. I have continued an extensive number of studies of The Square Mile of the City of London, exploring its intricate network of side alleys and hidden courtyards. In 2003 I commenced several paintings of Paris in a similar vein. My choice of themes and subjects grows from an instant impression or 'take' on a particular place, encountered in my many small excursions. The subject of Cannon Street happened when I emerged from a shadowed corner to see brilliant sunlight cast on embellished buildings over the street. From initial studies I moved to quite grand-scale canvases of the scene, always trying to feel my relation to the space and atmosphere of the setting. So it is with the landscape; in May this year, following the coastal road around the Cornish peninsula, I came upon a white house built into great slabs of rocks at Sennen, surrounded by brackish moorland - it was irresistable to paint it! I hold on to the subjects, returning to them over again in small and large canvases. As I draw them out through a veil of limited colours there is an increased resonance. I'm not so interested now to paint things as they appear but to allow the excitement of an unknown drama to emerge , of what might be." Philip James, 08/03
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