gri_2003_m_46_b03_f10_031
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Transcribers
- 65874880 - tmeconverse
- 65904424 - JulieBA
- 65918134 - SusanMorley53425
- 66042374 - Lynst
- WINNER - 66060879 - tinkapuppy
- 66061769 - highc51239
65874880 - tmeconverse
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their performance as this and find on-lookers an irritating distraction with which they [are] quite unable to cope. Such a one was Paul Cezanne. In the country district of Provance where he lived and worked for the greater part of his life, his audience was mainly little boys, for their parents would have been working on the land, and there were few bourgeois visitors to be met with on the dusty roads. Unfortunately exasperation got the better of strategy and instead of letting be and hoping for the boys inevitable boredom and departure, Cezanne acted aggressively, thereby exposing himself to a mobile counterattack in which, owing to his fixed position he lost every advantage.
Painting out of doors can, on occasion, be an unmitigated pleasure. Sitting in a green landscape in Summer weather before a desired view, with a willing friend to read aloud, is one of my chief delights. But the weather is fickle and seasons change all too quickly so that those happy circumstances do not recur as often as I would like. Frequently, too, the desired view can only be obtained from a most uncomfortable place. Such was my position when I decided to paint the Red Lion brewery before its total demolition, on the Festival of Britain site. The most satisfactory position for my purpose involved my standing on the foot-way of Hungerford Bridge, towards the Charing Cross side. Here and there in the iron-work balustrade there are little embrasures and in one of these I stood facing my 'motif', my paper block balanced precariously on a rounded knob on the coping, my paint-
65904424 - JulieBA
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their performance as this and find on-lookers an irritating distraction with which they quite unable to cope. Such a one was Paul Cezanne. In the country district of Provance where he lived and worked for the greater part of his life, his audience was mainly little boys, for their parents would have been working on the land, and there were few bourgeois visitors to be met with on the dusty roads. Unfortunately exasperation got the better of strategy and instead of letting be and hoping for the boys' inevitable boredom and departure, Cezanne acted aggressively, thereby exposing himself to a mobile counterattack in which, owing to his fixed position, he lost every advantage.
Painting out of doors can, on occasion, be an unmitigated pleasure. Sitting in a green landscape in Summer weather before a desired view, with a willing friend to read aloud, is one of my chief delights. But the weather is fickle and seasons change all too quickly so that these happy circumstances do no recur as often as I would like. Frequently, too, the desired view can only be obtained from a most uncomfortable place. Such was my position when I decided to paint the Red Lion brewery before its total demolition, on the Festival of Britain site. The most satisfactory position for my purpose involved my standing on the foot-way of Hungerford Bridge, towards the Charing Cross side. Here and there in the iron-work balustrade there are little embrasures and in one of these I stood facing my 'motif', my paper block balanced precariously on a rounder knob on the coping, my paint -
65918134 - SusanMorley53425
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their
performance as this and find on-lookers an irritating distraction
with which they quite unable to cope. Such a one was Paul Cezanne.
In the country district of Provence where he lived and worked for
the greater part of his life, his audience was mainly little boys,
for their parents would have been working on the land, and there
were few bourgeois visitors to be met with on the dusty roads.
Unfortunately exasperation got the better of strategy and instead
of letting be and hoping for the boys' inevitable boredom and de-
parture, Cezanne acted aggressively, thereby exposing himself to
a mobile counterattack in which, owing to his fixed position, he
lost every advantage.
Painting out of doors can, on occasion, be an unmitigated
pleasure. Sitting in a green landscape in Summer weather before
a desired view, with a willing friend to read aloud, is one of my
chief delights. But the weather is fickle and seasons change
all too quickly so that those happy circumstances do not recur
as often as I would like. Frequently, too, the desired view
can only be obtained from a more uncomfortable place. Such
was my position when I decided to paint the Red Lion brewery before
its total demolition, on the Festival of Britain site. The
most satisfactory position for my purpose involved my standing on
the foot-way of Hungerford Bridge, towards the Charing Cross side.
Here and there in the iron-work balustrade there are little embras-
ures and in one of these I stood facing my 'motif', my paper block
balanced precariously on a rounded knob on the coping, my paint-
66042374 - Lynst
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their
performance as this and find on-lookers an irritating distraction
with which they quite unable to cope. Such a one was Paul Cezanne.
In the country district of Provance where he lived and worked for
the greater part of his life, his audience was mainly little boys,
for their parents would have been working on the land, and there
were few bourgeois visitors to be met with on the dusty roads.
Unfortunately exasperation got the better of strategy and instead
of letting be and hoping for the boys' inevitable boredom and de-
parture, Cezanne acted aggressively, thereby exposing himself to
a mobile counterattack in which, owing to his fixed position, he
lost every advantage.
Painting out of doors can, on occasion, be an unmitigated pleasure. Sitting in a green landscape in Summer weather before
a desired view, with a willing friend to read aloud, is one of my
chief delights. But the weather is fickle and seasons change
all too quickly so that these happy circumstances do not recur
as often as I would like. Frequently, too, the desired view
can only be obtained from a most uncomfortable place. Such
was my position when I decided to paint the Red Lion brewery before
its total demolition, on the Festival of Britain site. The
most satisfactory position for my purpose involved my standing on
the foot-way of Hungerford Bridge, towards the Charing Cross side.
Here and there in the iron-work balustrade there are little embras-
ures and in one of these I stood facing my 'motif', my paper block
balanced precariously on a rounded knob on the coping, my paint-
WINNER - 66060879 - tinkapuppy
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their
performance as this and find on-lookers an irritating distraction
with which they quite unable to cope. Such a one was Paul Cezanne.
In the country district of Provence where he lived and worked for
the greater part of his life, his audience was mainly little boys,
for their parents would have been working on the land, and there
were few bourgeois visitors to be met with on the dusty roads.
Unfortunately exasperation got the better of strategy and instead
of letting be and hoping for the boys' inevitable boredom and de-
parture, Cezanne acted aggressively, thereby exposing himself to
a mobile counterattack in which, owing to his fixed position, he
lost every advantage.
Painting out of doors can, on occasion, be an unmitigated
pleasure. Sitting in a green landscape in Summer weather before
a desired view, with a willing friend to read aloud, is one of my
chief delights. But the weather is fickle and seasons change
all too quickly so that those happy circumstances do not recur
as often as I would like. Frequently, too, the desired view
can only be obtained from a most uncomfortable place. Such
was my position when I decided to paint the Red Lion brewery before
its total demolition, on the Festival of Britain site. The
most satisfactory position for my purpose involved my standing on
the foot-way of Hungerford Bridge, towards the Charing Cross side.
Here and there in the iron-work balustrade there are little embras-
ures and in one of these I stood facing my 'motif', my paper block
balanced precariously on a rounded knob on the coping, my paint-
66061769 - highc51239
PAINTING OUT OF DOORS IISome painters are not as strong-minded and confident of their performance as this and find on-lookers an irritating distraction with which they quite unable to cope. Such a one was Paul Cezanne. In the country district of Provance where he lived and worked for the greater part of his life, his audience was mainly little boys, for their parents would have been working on the land, and there were few bourgeois visitors to be met with on the dusty roads. Unfortunately exasperation got the better of strategy and instead of letting be and hoping for the boys' inevitable boredom and departure, Cezanne acted aggressively, thereby exposing himself to a mobile counterattack in which, owing to his fixed position, he lose every advantage.
Painting out of doors can, on occasion, be an unmitigated pleasure. Sitting in a green landscape in Summer weather before a desired view, with a willing friend to read aloud, is one of my chief delights. But the weather is fickle and seasons change all too quickly so that those happy circumstances do not recur as often as I would like. Frequently, too, the desired view can only be obtained from a most uncomfortable place. Such was my position when I decided to paint the Red Lion brewery before its total demolition, on the Festival of Britain site. The most satisfactory position for my purpose involved my standing on the foot-way of Hungerford Bridge, towards the Charing Cross side. Here and there is the iron-work balustrade there are little embrasures and in one of these I stood facing my 'motif', my paper block balanced precariously on a rounded knob on the coping, my paint-