They are quietly symphonic—exhibiting scale, color, technique, approachability—and quite different in effect from the chamber music played by the works associated with the "etching revival," with their more personal artistic language.
During the war, Brewer published seven etchings of Rheims Cathedral, whose extensive damage was an architectural rallying cry for supporters of the Allies. Each of these etchings is filled with a sense of monumental loss like that expressed in "The Goblin at Rheims," a sonnet by American poet Hortense Flexner :. From his high arch, nestled in stony nook, He used to leer across the twilight space Of the great aisle — the goblin with the book, Bent in huge hands.
In this sense, they may be appreciated as lacunae of ruin, all the more powerful in their urgency because of their restraint. They resisted the incendiary impact of illustrations like those of Gustave Fraimont but had great meaning all the same. The art of Ludwig Meidner and J. Alphege Brewer in before they went in different directions.
Below it, J. Early on a Friday morning after a night of heavy rain. This painting is for sale, you can contact me on FB or … More email jamesbrewer99 gmail. Acrylic painting, xcm. Another commission done, another happy customer. Was fun to paint a scene from Taranaki.
I spent a good chunk of my childhood on those black sand beaches. Finished another city painting for the NZ Artshow :. Just put the finishing touches on a painting for the NZ bush series. The new view from my 3 year old niece's bedroom window. Decided that the boring old brick wall could use a facelift. Silly old Uncle James for the win. Painting some NZ history, based on a photograph taken over a century ago. Here he is seen next to his bivouac where he slept beneath a NZ flag.
This particular photo stood out to me and i really wanted to do a painting based on it. Willis Street, Wellington. Just before sun up after a rainy night. First painting finished in the new art studio, a bush scene based off a photo I took in the Urewera national park NZ. Final painting for the NZ art Show, this one took me a very very long time, more detail than the camera can catch.
Artist for scale :. First painting finished for the New Zealand art show : not a self portrait Acrylic on canvas, World War 1 battlements on the cliffs of Dover. Painted for my Dad for his birthday. A triptych of mist rolling down hills in the Ureweras. It was inspired by a trip I took with some friends last … More year to Te Urewera National Park, one of the most beautiful areas of New Zealand containing some of the last untouched native forest in the country.
Visiting is like taking a time machine back to an ancient time when the country was covered in dense canopies of native trees and ferns woven tightly together and shrouded in mist. Walking along the trails, you half expect a Moa to cross your path. This painting across three canvases is roughly cm by 90cm, the hillsides of bush are painted in acrylic and the mist is painted in oil.
The picture is a compilation of photos I took mixed in with some creative licence, the idea being to attempt to express the timeless beauty of pristine NZ forest and capture some of ancient magic, which luckily for us all still exists in this amazing part of our country.
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See All. Photos by James Brewer. See all. It's not the most exciting print in the world but it's an interesting thing. It would just about pass as a watercolour and at first glance it would pass as Japanese, although in a very hazy, indistinct way.
Oddly enough it's rather more reminiscent of some of the later Japanese printmakers - I've seen some Tomikichiro Tokuriki prints from the 30s and 40s that have a similar quality - than of the early influencers. I think it is largely to do with the keyblock issue. Well, in that case the post was made for you. And as you know far more about modern Japanese than I do, I appreciate the commentary. As it happens, I have amended the post since you left your comment and have asked readers who own woodcuts by Brewer to say how they think they were printed ie were they machine-printed, on an Albion press or by hand?
Both Ben Dunham and myself would appreciate any insight you could offer. I hadn't been aware of his woodcuts. They are very good so this comes as a bit of a revelation. His etching can be quite good - but are generally accused of being dry and dark which translates to "dated" in this day and age but as a whole , I think Brewer merits another look.
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