The Modern Painters

I am happy to announce that I will be working a song with Daniel Land & The Modern Painters for their debut album due out later this year.
The song is called 'Codeine'.

I will be doing a normal(ish) mix down for the album and a remix. I'm in good company as the album should include two songs mixed by Ulrich Schnauss and Mark Peters.
You can hear a version of the song on the band's MySpace.

I interviewed Daniel for my show on RebelRadio.FM
last year and the plan is to do a follow-up interview with the band in studio when their album is released.

They're a great bunch of guys and a fantastic live band - go and see them and buy them a drink!

On this rule, Reynolds remarks—"This precept, so obvious to common sense, appears superfluous till we recollect that some of the greatest painters have been guilty of a breach of it; for—not to mention Paul Veronese or Rubens, whose principles as ornamental painters would allow great latitude in introducing animals, or whatever they might think necessary to contrast or make the composition more picturesque—we can no longer wonder why the poet has thought it worth setting a guard against this impropriety, when we find that such men as Raffaelle and the Caracci, in their greatest and most serious works, have introduced on the foreground mean and frivolous circumstances. Such improprieties, to do justice to the more modern painters, are seldom found in their works. The only excuse that can be made for those great artists, is their living in an age when it was the custom to mix the ludicrous with the serious, and when poetry as well as painting gave in to this fashion."

Many of the compositions of Rembrandt indicate not only a refined taste, but the greatest sensibility and feeling. For example, the small etchings of the "Burial of Christ," and the "Return from Jerusalem;" these, from their slightness, may lay me under the same category as the old Greek, who, having a house to sell, carried in his pocket one of the bricks as a sample; yet, being his own indications, I have given them. It is worth while to compare the "Entombment" with the same subject by Raffaelle, in the Crozat Collection. The whole arrangement is treated in the finest taste of the Italian school. The other design has been always a favourite with the admirers of Rembrandt. The feeling character of the youthful Saviour is admirably portrayed. Holding his mother's hand, he is cheering her on her tiring journey, looking in her face with an expression of affection and solace; while she is represented with downcast eyes, fatigued and "pondering in her mind" the import of the words he had addressed to her, "How is it that ye sought me? wist ye not that I must be about my Father's business?" And even here we can almost excuse the introduction of the little dog, who, running before the group, is looking back, giving a bark of joy at their having found the object of their solicitude. The background is conceived in the finest spirit of Titian.

These are the touches of nature that, like the expressions of our own immortal Shakspere, however slight, and though dressed in modern garb or familiar language, reach the innermost sensibilities of the human heart.


On this rule, Reynolds remarks—"This precept, so obvious to common sense, appears superfluous till we recollect that some of the greatest painters have been guilty of a breach of it; for—not to mention Paul Veronese or Rubens, whose principles as ornamental painters would allow great latitude in introducing animals, or whatever they might think necessary to contrast or make the composition more picturesque—we can no longer wonder why the poet has thought it worth setting a guard against this impropriety, when we find that such men as Raffaelle and the Caracci, in their greatest and most serious works, have introduced on the foreground mean and frivolous circumstances. Such improprieties, to do justice to the more modern painters, are seldom found in their works. The only excuse that can be made for those great artists, is their living in an age when it was the custom to mix the ludicrous with the serious, and when poetry as well as painting gave in to this fashion."

Many of the compositions of Rembrandt indicate not only a refined taste, but the greatest sensibility and feeling. For example, the small etchings of the "Burial of Christ," and the "Return from Jerusalem;" these, from their slightness, may lay me under the same category as the old Greek, who, having a house to sell, carried in his pocket one of the bricks as a sample; yet, being his own indications, I have given them. It is worth while to compare the "Entombment" with the same subject by Raffaelle, in the Crozat Collection. The whole arrangement is treated in the finest taste of the Italian school. The other design has been always a favourite with the admirers of Rembrandt. The feeling character of the youthful Saviour is admirably portrayed. Holding his mother's hand, he is cheering her on her tiring journey, looking in her face with an expression of affection and solace; while she is represented with downcast eyes, fatigued and "pondering in her mind" the import of the words he had addressed to her, "How is it that ye sought me? wist ye not that I must be about my Father's business?" And even here we can almost excuse the introduction of the little dog, who, running before the group, is looking back, giving a bark of joy at their having found the object of their solicitude. The background is conceived in the finest spirit of Titian.

These are the touches of nature that, like the expressions of our own immortal Shakspere, however slight, and though dressed in modern garb or familiar language, reach the innermost sensibilities of the human heart.
ARTIFICE and What is Modern: The Modern Museum In Paris
What is modern? This question is always being asked by artists, writers, historians, scientists who discuss what it means, to be modern. I started the search of this question by going to the museum in Paris, that houses the state's modern art, a solid collection of works that ranges from Picasso, to the latest modern painters, who are living and working in Paris today. Eduard Vuillard, a late impressionist whose work is considered old fashioned, decorative, somewhat of a hybrid between impressionism, and that technique known as "Pointilism". This is a technique of grouping brushstrokes of color together, to breakdown the visual experience of seeing. I consider this to be an early form of the pixel, or the bits of information, together which comprise the digital image. As you wander through the rooms at the Modern Museum, (beware of the confusing entrance, its hard to find this huge gallery space located to the right, of the building) ARTIFICE discovered this late impressionist painter and a work that is not often published as part of the Impressionist period.

The painting I am speaking of, is a self-portrait, and features the artist, in a room, gazing at a painting he has completed which is on the wall of the room. It is like a photo op, a picture within a picture, and if you look at the entire painting you will see the signature of Vuillard, his love of repeating rectangles, squares, and frames within the room. The surface of the painting is pure paint and broken up colors that make the decorative surface very attractive and impressionist in feeling. You see an artist contemplating the work he has done in his life. What is modern, is the image, within an image, within an image, in layers. This is modern: Vuillard was modern, in his review of the impressionist technique, his contemplation of personal and intimate space, and his exploration of painting, as an interesting flat surface, and a series of reduced spaces, repeated rectangles; the final idea, an artist looking through the window of his own life, and work.
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