The Best Gifts!

A book from Gerard

A book from Gerard

Throughout this past year as I paid humble tribute to many great artists, a few of them have reached out to me and sent me original pieces of their beautiful artwork.

Gerard Sendrey not only gifted me with his art, but we also became friends and he has written an article about me in Creation Franche’s Publication which is due to come out in a few days.  You can visit the website here.

10401461_10152985324102923_5324986694005556845_n

My tribute on top…then three Gerard sent me.

You can watch a documentary on Gerard here (it comes in two parts) and please visit my blog page here if you haven’t already.  He’s such a wonderful artist and man.

I’ve also received original work from Pierre Silvin, who happens to be Gerard’s son!  His artwork is so special and so hard to mimic since I wasn’t sure of the materials, but even when I received the actual art in the mail, I couldn’t quite figure it out.  His pieces have a kind of luminescence and beauty that can’t be emulated.  Please visit my blog on him here if you haven’t seen his work!  It’s lovely.

Pierre Silvin Original with a nice note

Pierre Silvin Original with a nice note

Today I received 7 pieces and a nice note from Sophie Orlicki who I also paid tribute to!  I squealed when I saw the package because I had a feeling it was going to be artwork.  Her pieces are so beautiful in person and I cannot wait to get them framed like I did with Gerard and Pierre’s work.  Please visit my blog page for her here.

I never expected to receive such thoughtful and wonderful gifts let alone the artist themselves contacting me.  I am honored to have paid them tribute and honored that they reached out to give their

Today's gift from Sophie Orlicki.  So beautiful in person.

Today’s gift from Sophie Orlicki. So beautiful in person.

appreciation and thanks.  It makes me feel very special and makes me understand why I did this project in the first place.  I hope I inspired you all and I want to thank you again for your support!

This is only the beginning!  I am in the process of organizing all my pieces.  Readying everything to take quality photos for the book I’m designing that’ll hopefully be on sale on amazon.  And most of all figuring out the logistics of having an art show with all 365 pieces before sending them out to all that have reserved a piece.  These artists will be getting some Linda Patricia Cleary artwork in the mail soon!

Gerard's work framed and in my house!

Gerard’s work framed and in my house!

Whatever has not been reserved, gets sold at the show etc. will be available online after the show is over.  BUT, if you’d like to reserve one in advance, please message me or “like” me on Facebook, find the painting you want and put your name in the comments to reserve it.  That’s where I am keeping track of everything.  Here’s the Facebook page for Day of the Artist.

Love,

Linda

Day 359- Paul Duhem- Locked Doors

It’s Day 359 and it’s Christmas Day!  Merry Christmas to you all.  I had a great time doing today’s piece and now I have to cook a bunch of food for my husband, brother and myself and try to have a nice relaxing day.  Please join me in honoring Paul Duhem today!  I wanted to honor his style, but also honor today’s holiday. 🙂

Paul Duhem

Paul Duhem

Paul Duhem

Paul Duhem

Paul Duhem was born in Blandain, Belgium. He left school at 14 and worked as a farmhand for various agricultural concerns. During the Second World War he went to Germany, where he laid rails for the railways. Going to France at the end of the war, he was arrested for his collaboration with the Germans. But not being in full possession of all his faculties, he was transferred from prison to a psychiatric hospital before being employed as a labourer in farms in the region.

In 1977 he was admitted to a home where he did horticulture. Twelve years later, at the age of 70, Paul Duhem started to draw within the framework of a

Paul Duhem

Paul Duhem

workshop. He devoted himself to this activity, continuing until he died.

The human figure is a recurrent motif in his compositions. He drew the same face, which can be interpreted as a self-portrait, over and over again in an obsessive manner, declining it in series, introducing subtle variations in shape, rhythm and color.

Biography above is from Art Brut.com’s website.

Paul Duhem had been institutionalized for more than 40 years and was well into his seventies when he established a grueling quota for himself. He made up his mind that he wanted to produce six artworks a day, every day, for the remainder

Paul Duhem

Paul Duhem

of his life. Each morning after taking breakfast at a hospital for mental patients in southern Belgium, he brought out his crayons and jars of paint and crayons and, in the three or four hours before lunch, produced three new drawings. Then, in the hours between lunch time and dinner, he turned out three more works. Duhem’s subjects mostly took just two forms — a sad-eyed homme whom everybody understood to be Paul himself, and also the locked doors that he encountered everywhere in the mental institution.

Duhem was born in Blandain, a farming region. Because his parents were too poor to care for all their children, he was mostly

Paul Duhem

Paul Duhem

raised by grandparents. He attended school until his fourteenth year, and then left to work on a farm. Duhem was serving in the Belgium Army during World War II when, after being wounded and suffering shell shock, he was taken captive and held for two years in a German concentration camp.

Duhem finally resumed the life of a farmhand, but the war and prison years had taken a toll on his mentalstability. Diagnosed as schizophrenic, he was admitted to a mental institution in 1977. Because of his years as a farm worker, Duhem was given assignments as a gardener and groundskeeper at the institution.

Paul Duhem

Paul Duhem

In 1990, after beginning to show fragility of health, he was retired as a day worker. Soon after, he started producing colored drawings, at first turning out works with a variety of subjects, including birds, floral still-lifes and windmills, and then gradually limited his art to his own visage and the locked doors. He was 81 when he died in the summer of 1999.

Duhem’s work is widely admired art brut enthusiasts today, and is to be found

Paul Duhem

Paul Duhem

in nearly every significant museum collection of art brut in Europe. A large Paul Duhem museum show was presented in Brussels in 2001. The show then traveled to museums in France and The Netherlands.

Biography is from Dean Jensen Gallery’s website.
I hope you enjoy my piece today!  I had a great time painting it.  I will see you tomorrow on Day 360.  Then only 5 paintings left.  I can hardly believe it.
Best,
Linda
Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Side-View Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Side-View
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Day 357- Hannelore Baron- A Complete Thing

It’s Day 357 and I had a very busy day with filming and also have a holiday party this evening.  I was still able to get today’s piece done.  I wish I had more time to focus on it.  Please join me in honoring Hannelore Baron today.

Hannelore Baron

Hannelore Baron

Hannelore Baron 1978

Hannelore Baron 1978

Hannelore Baron (June 8, 1926 – April 28, 1987) was an artist whose work has become known for the highly personal, book-sized, abstract collages and box constructions that she began exhibiting in the late 1960s. Born in Dillingen/Saar, Germany, she and her family fled persecution in Nazi Germany, illegally crossing the border into Luxembourg in 1939. In 1941 Baron’s family sailed from Lisbon to New York and setteled in the Bronx, New York City.

By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making increasingly abstract paintings and probably already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life. In the late 1950s Baron combined a variety of techniques and began making her first collages. Occupied with raising two children (daughter Julie and son Mark) and beset by psychological problems, Hannelore nevertheless exhibited her work and in 1969, the year of her one-person exhibition at Ulster County Community College, she began to make the box constructions that would become her signature. In the early 1970s, Baron established a studio and devoted her time and energy completely to her artwork until her death in 1987. Hannelore Baron was self-taught.

Although her compositions are completely abstract, she considered them to be both personal and political statements. In her own words,

Everything I’ve done is a statement on the, as they say, human condition…the way other people march to

Hannelore Baron- Untitled Collage 1977

Hannelore Baron- Untitled Collage 1977

Washington, or set themselves on fire, or write protest letters, or go to assassinate someone. Well, I’ve had all the same feelings that these people had about various things, and my way out, because of my inability to do anything else for various reasons, has been to make the protest through my artwork… H.B.

Throughout the 1970s and 1980s her work garnered critical acclaim, along with gallery and museum exhibitions in the United States, Europe and Japan. In 1995, her work was the subject of a one-person exhibition at the Solomon R. Guggenheim Museum in New York. In 2001 her work was the subject of a traveling exhibition curated by Ingrid Schaffner and organized by the Smithsonian Institution Traveling Exhibition Service. Her works can be found in the collections of The Museum of Modern Art, New York; the conSolomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; the Los Angeles County Museum of Art, Los Angeles, The Art Institute of Chicago, Chicago, the San Francisco Museum of Modern Art, San Francisco, the Museum of Fine Arts, Boston; and Israel Museum, Jerusalem.

Biography is from wikipedia.

Below bio is from artist’s website. www.hannelorebaron.net

Hannelore Baron

Hannelore Baron

Hannelore Baron practiced an art of concealment and protection. Out of rough and common materials she fashioned constructions, drawings and collages that transmuted the painful experiences of her life into indelible images of the darkness and mystery of being. Baron was born Hannelore Alexander in Dilligen, a small town in the Saar region of Germany in 1926. Her father, Julius, was a Jewish textile merchant, and almost as soon as Hitler came to power, the family began to feel the ominous consequences. Hannelore and her brother were sent to a special school for Jews only. On Kristallnacht, the family’s apartment was ransacked and her father beaten. Thus began a period of flight and border crossing that did not end until the family managed to emigrate from Lisbon to New York in 1941. In the midst of all this, one of Baron’s most vivid memories was that of a brief return to her family’s wrecked apartment, where the bloody handprints of her father were still visible on the walls.

By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making increasingly abstract paintings and probably already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life. On one of her rare forays out, to sketch, she met Herman Baron, a book salesman for the Philosophical Library, and they

Hannelore Baron

Hannelore Baron

married in 1950. The milieu was intellectually rich: Baron’s brother ran a small press and published works by avant-garde writers such as Maya Deren and Henry Miller, and Baron himself soon opened his own bookstore in the Bronx. Isolated by her mental distress, however, Hannelore developed her art without instruction and without direct knowledge of the currents that were changing the art world. Her abstract paintings betray no debt to Rothko, Gorky or Motherwell. But she did manage to visit an exhibition by John Heliker, a friend of Baron’s brother, and the experience was decisive: she saw how collage could combine all aspects of art, from drawing and painting to sculptural manipulation of materials. Over the next three decades, Hannelore would explore the implications of mixed media with depth, subtlety and daring.

Occupied with raising two children (daughter Julie and son Mark) and beset by psychological problems, Hannelore nevertheless exhibited her work and in 1969, the year of her one-person exhibition at Ulster County Community College, she began to make the box constructions that would become her signature. In these works, damaged wood and metal, often tied or nailed together, enclose secrets that can only be guessed at: scraps of

Hannelore Baron

Hannelore Baron

her past, mysterious games without rules, concealed objects. In their rawness and obscurity they form the necessary counterpart to Joseph Cornell’s elegant enigmas. In these works and in her collages, Hannelore was able to convey her sense of the fragility of life, the mythic substratum of human experience, and broader concerns for the environment, the injustices of war, especially the Vietnam conflict, and the physical pain of existence. In 1973, she was diagnosed with cancer and would struggle with various forms of the disease until it took her life in 1987. After her death, Hannelore’s work was the subject of a one-person exhibition at the Solomon R. Guggenheim Museum in New York and, in 2002, a national touring exhibition organized by the Smithsonian Institution. She once remarked of one of her works, “The solution didn’t come only from my head, it was lived out and worked out. It is a complete thing.”

~

I hope you enjoy my tribute today!  It was a therapeutic experience creating it.  Her style is very distinct and hard to emulate because of it’s subtlety, so I tried to get into a mind frame of my own while creating this piece.

I will see you tomorrow on Day 358!

Best,

Linda

Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Side-View Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Side-View
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 1 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 1
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 2 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 2
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 3 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 3
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Day 346- Kelly Moore- Absurdity is My Friend

It’s Day 346 and I have an improv show tonight and things to get done today…so I’ve finished my painting and I

Kelly Moore

Kelly Moore

am excited to honor today’s artist.  Please join me in honoring Kelly Moore today!  I’ve compiled information about him from various sites.

Kelly Moore

Kelly Moore

Kelly Moore is a Self Taught Artist who has no formal training or education in art. His Original, Expressive work has been referred to as Outsider Art, Art Brut, Raw Art and Visionary Art. His intuitive style and technique reflects a raw, primitive quality that is frequently juxtaposed with a startling innocence.

From the website- www.artistaday.com

Toxic Alternatives-Kelly Moore

Toxic Alternatives-Kelly Moore

i paint at the flea market

on the tesuque reservation in new mexico.

and i am a completely self taught full time artist.

Massacre- Kelly Moore

Massacre- Kelly Moore

folks have described my work

as art brut, folk and even outsider art

personally

i think i am my own

genre of art

i am a flea market artist

From his website. www.kellymoore.net.

Review of Absurdity is My Friend available on amazon.com.

Aliens- Kelly Moore

Aliens- Kelly Moore

This is a well produced book outlining the work of self-taught artist Kelly Moore from New Mexico, where he shows his work at the local Tesuque Pueblo Market. Large color reproductions fill the volume and are accompanied by Moore’s poems and photographs of his desert environment and surrounding landscape.

His colourful paintings are composed of a whole variety of strange figures and beasts often in a carnival

Desert Light- Kelly Moore

Desert Light- Kelly Moore

procession across the surface or set within a distant landscape.

Other compositions are more involved with lettering, swirling, colors, thick impasto and dark surrounding atmosphere, while others show different series of strange figures, including ghosts, or ornamental beasts lined up in rows before one’s eyes. An attractive book which is an impressive documentation of Moores work. –Raw Vision Magazine

ABSURDLY MOVING ART

I met absurdity out West and now he’s a friend of mine. I stole that,

Brave- Kelly Moore

Brave- Kelly Moore

actually, from the title of a book published by an artist we discovered at a flea market outside Santa Fe. What’s absurd is that Kelly Moore isn’t as well known as Thornton Dial or Howard Finster. He’s so outside art that he actually makes art outside – almost year round, in his Tesuque Flea Market “stall.” He bungie-cords this three-sided gallery closed during the week, more to keep out the snow or desert summer heat than thieves.

If it was just the wack-factor, I probably wouldn’t be writing a blog about this guy. We have plenty of crazy right here in Beaufort, South Carolina. But Kelly Moore’s work stopped me cold and it was 97 degrees out at the time with forest fires burning on two sides. He was adding the finishing touches to an unframed canvass in the one triangle of shade inside his flea market stall, listening to Sixto Rodriguez on a battery-powered CD player.

“You ever hear this guy?” said the painter. “He blows my mind.” I had, actually, just a few days earlier when I

Billy the Kid- Kelly Moore

Billy the Kid- Kelly Moore

watched “Searching for Sugarman.” Rodriguez gives away the money he earns — now that he’s been rediscovered. Kelly Moore gave me a copy of his book of paintings and poems.

He writes with even less punctuation and spell check that Word autocorrects for – stream of consciousness from a mind determined to swim against the stream. Describing his painting is more difficult. There’s something so personal, and gripping about the unrestrained figures, dreams and animals he paints that it’s impossible to art-speak it away. He tries, mostly in self-deprecating quips about failure and rejection.

"Dead Cowboy Totem" by New Mexico flea market artist Kelly Moore

“Dead Cowboy Totem” by New Mexico flea market artist Kelly Moore

He wanted me to be sure to mention his body odor and his three-photo-only policy for not sucking away his soul. He scuffed the dust off a metal sewer cover that a friend sent him from New Orleans after the hurricane – in case I needed a portal to get the hell away from him in a hurry. It was not-so-subtle satire from a man rebuffed for not being native enough, primitive enough, awe-struck-by-art-schools enough for the outsider art word to champion.

So I will, for what it’s worth. I’m not an art scholar but I’ve been lucky enough to look at art around the world. With Kelly’s work, I didn’t even have to leave this country to be transported. It lifted me out of the representational, the familiar, the pretty and took me on darker dreams to wilder places. Great art is like that. It’s a connection that transcends language or culture, whether you live in a camper or a castle or paint in a studio or a shed in the desert.

Above is from Teresa Bruce Books Blog, Right Brain Safari.

I hope you enjoy my tribute piece today and I’ll see you tomorrow on Day 347!  I’m definitely buying his book!  And you should too!

Best,

Linda

Find Your Soul- Tribute to Kelly Moore Linda Cleary 2014 Acrylic on Canvas

Find Your Soul- Tribute to Kelly Moore
Linda Cleary 2014
Acrylic on Canvas

Side-View Find Your Soul- Tribute to Kelly Moore Linda Cleary 2014 Acrylic on Canvas

Side-View
Find Your Soul- Tribute to Kelly Moore
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Find Your Soul- Tribute to Kelly Moore Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Find Your Soul- Tribute to Kelly Moore
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Find Your Soul- Tribute to Kelly Moore Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Find Your Soul- Tribute to Kelly Moore
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Find Your Soul- Tribute to Kelly Moore Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Find Your Soul- Tribute to Kelly Moore
Linda Cleary 2014
Acrylic on Canvas

Day 341- Len Jessome- Need To Create

It’s Day 341 and I really had a great time with today’s painting.  I love the style and somewhat therapeutic effect it had on me.  Please join me in honoring Len Jessome today.  I couldn’t find a photo of him online so I decided to use a self portrait.

Autoportrait- Len Jessome

Autoportrait- Len Jessome

Jesus wouldn't like it - Len Jessome

Jesus wouldn’t like it – Len Jessome

Canadian artist , Leonardo Jessome was born in 1963 in Hamilton, where he lives and works. He left his career in 2000 to devote himself full time to his artistic activity.  Its very singular work is already present in many private collections in North America and Europe.

His work is based on the human condition and man’s place in contemporary society . He painted portraits of rare intensity in a unique graphical style .

His inner demons led him naturally to the raging street art but it’s

Almost Happy- Len Jessome

Almost Happy- Len Jessome

not the bomb attack that the artist but his canvases with brushes in a raw style , powerful and free.

Biography is from Galerie Sylvie’s site.

i have a manic need to create—my work is based on the temporality and fragility of life and all the experiences life may encompass. i use whatever medium is available to express an idea. sometimes i use house paint, industrial rust paint and / or mix these with artists paints, each has a unique property and express ideas differently.
 
I Love You- Len Jessome

I Love You- Len Jessome

flowing industrial paint achieves different results than artists oil. as in life not everything mixes as perfectly as one might hope, exceptions are made to the exclusion of others. as a result my work may patina and change over time.

It is the capturing of the idea that is key. the patina records the passage of

Darkness I Wish I Was Yours- Len Jessome

Darkness I Wish I Was Yours- Len Jessome

time. the style of my work changes often, expanding my awareness and perceptions.

i like that my paintings live in many parts of the world. snippets of my thoughts and feelings scattered around this earth that will remain when i am no longer here.
Len Jessome

Len Jessome

Above is from Len Jessome’s blog.

I hope you enjoy my piece for today!  I will see you tomorrow on Day 342!
Best,
Linda
Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Side-View Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Side-View
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Day 336- Henry Darger Jr.- In the Realms of the Unreal

It’s Day 336 and I’ve been excited to do this artist for a long time.  I knew it was going to be challenging and I think I had too many ideas that my brain got a bit jumbled.  Well, I finally did it and I think I’m pretty happy with it.  Please join me in honoring Henry Darger Jr. today!

Henry Darger Jr.

Henry Darger Jr.

Hands of Fire- Henry Darger Jr.

Hands of Fire- Henry Darger Jr.

Henry Joseph Darger, Jr. (April 12, 1892 – April 13, 1973) was a reclusive American writer and artist who worked as a hospital custodian in Chicago, Illinois. He has become famous for his posthumously discovered 15,145-page, single-spaced fantasy manuscript called The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion, along with several hundred drawings and watercolor paintings illustrating the story.

The visual subject matter of his work ranges from idyllic scenes in Edwardian interiors and tranquil flowered landscapes populated by children and fantastic creatures, to scenes of horrific terror and

Henry Darger Jr.

Henry Darger Jr.

carnage depicting young children being tortured and massacred. Much of his artwork is mixed media with collage elements. Darger’s artwork has become one of the most celebrated examples of outsider art.

Darger was born in Chicago, Illinois, to Rosa Fullman and Henry Darger, Sr. on April 12, 1892. Cook County records show that he was born at his home, located at 350 W. 24th Street. When he was four years old, his mother died of puerperal fever after having given birth to a daughter, who was given up for adoption; Henry Darger never knew his sister. One of Darger’s biographers, the art historian and psychologist John M. MacGregor, discovered that Rosa had two children before Henry, but did not discover their whereabouts.

Henry Darger Jr.

Henry Darger Jr.

By Darger’s own report, his father, Henry Sr., was kind and reassuring to him, and they lived together until 1900. In that year, the crippled and impoverished Darger Sr. had to be taken to live at St. Augustine’s Catholic Mission home and his son was placed in a Catholic boys’ home. Darger Sr. died in 1905, and his son was institutionalized in the Illinois Asylum for Feeble-Minded Children in Lincoln, Illinois, with the diagnosis, according to Stephen Prokopoff, that “Little Henry’s heart is not in the right place”. According to John MacGregor, the diagnosis was actually “self-abuse” (at the time, this term was a euphemism for masturbation, rather than self-injury).

Darger himself felt that much of his problem was being able to see through adult lies and becoming a ‘smart-aleck’ as a result, which often led to his being disciplined by teachers and ganged up on by classmates. He also went through a lengthy phase of feeling compelled to make strange noises (perhaps as a result of Tourette Syndrome) which irritated others. The Lincoln asylum’s practices included forced labor and severe punishments, which Darger seems to have worked into In the Realms of the Unreal. He later said that, to be

Henry Darger Jr.

Henry Darger Jr.

fair, there were also good times there, he enjoyed some of the work, and he had friends as well as enemies. While he was there, he received word that his father had died. A series of attempted escapes ended successfully in 1908, the 16-year-old returned to Chicago and, with the help of his godmother, found menial employment in a Catholic hospital and in this fashion continued to support himself until his retirement in 1963.

Except for a brief stint in the U.S. Army during World War I, his life took on a pattern that seems to have varied little: he attended Mass daily, frequently returning for as many as five services; he collected and saved a bewildering array of trash from the streets. His dress was shabby, although he attempted to keep his clothes clean and mended. He was largely solitary; his one close friend, William Schloeder, was of like mind on the subject of protecting abused and neglected children, and the pair proposed founding a “Children’s Protective Society”, which would put such children up for adoption to loving families. Schloeder left Chicago sometime in the mid-1930s, but he and Darger stayed in touch through letters until Schloeder’s death in 1959. Darger biographer Jim Elledge suggests that Darger and Schloeder may have had a romantic relationship while Schloeder lived in Chicago.

Henry Darger Jr.

Henry Darger Jr.

In 1930, Darger settled into a second-floor room on Chicago’s North Side, at 851 W. Webster Avenue, in the Lincoln Park section of the city, near the DePaul Universitycampus. It was in this room, for 43 years, that Darger imagined and wrote his massive tomes (in addition to a 10-year daily weather journal and assorted diaries) until his death in April 1973 in St. Augustine’s Catholic Mission home (the same institution in which his father had died). In the last entry in his diary, he wrote: “January 1, 1971. I had a very poor nothing like Christmas. Never had a good Christmas all my life, nor a good new year, and now… I am very bitter but fortunately not revengeful, though I feel should be how I am…”

Darger is buried in All Saints Cemetery in Des Plaines, Illinois, in a plot called “The Old People of the Little Sisters of the Poor Plot”. Darger’s headstone is inscribed “Artist” and “Protector of Children”.

In the Realms of the Unreal is a 15,145-page work bound in fifteen immense, densely typed volumes (with three of them consisting of several hundred illustrations, scroll-like watercolor paintings on paper derived from magazines and coloring books) created over six decades. The majority of the book, The Story of the Vivian Girls,

Henry Darger Jr.

Henry Darger Jr.

in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm Caused by the Child Slave Rebellion, follows the adventures of the daughters of Robert Vivian, seven princesses of the Christian nation of Abbieannia who assist a daring rebellion against the evil regime of child slavery imposed by John Manley and the Glandelinians.

Children take up arms in their own defense and are often slain in battle or viciously tortured by the Glandelinian overlords. The elaborate mythology includes the setting of a large planet, around which Earth orbits as a moon (where most people are Christian and mostly Catholic), and a species called the “Blengigomeneans” (or Blengins for short), gigantic winged beings with curved horns who occasionally take human or part-human form, even disguising themselves as children. They are usually benevolent, but some Blengins are extremely suspicious of all humans, due to Glandelinian atrocities. Darger illustrated his stories using a technique of traced images cut from magazines and catalogues, arranged in large panoramic landscapes and painted in watercolours, some as large as 30 feet wide and painted on both sides. He wrote himself into the narrative as the children’s protector.

Henry Darger Jr.

Henry Darger Jr.

Once released from the asylum, Darger repeatedly attempted to adopt a child, but his efforts failed. Images of children often served as his inspiration, particularly a portrait from the Chicago Daily News from May 9, 1911: a five-year-old murder victim, named Elsie Paroubek. The girl had left home on April 8 of that year telling her mother she was going to visit her aunt around the corner from her home. She was last seen listening to an organ grinder with her cousins. Her body was found a month later in a sanitary district channel near the screen guards of the powerhouse at Lockport, Illinois. An autopsy found she had probably been suffocated—not strangled, as is often stated in articles about Darger. Paroubek’s disappearance and murder, her funeral, and the subsequent investigation, were the subjects of a huge amount of coverage in the Daily News and other papers at the time.

This newspaper photo was part of a growing personal archive of clippings Darger had been gathering. There is no indication that the murder or the news photo and article had any particular significance for Darger, until one day he could not find it. Writing in his journal at the time, he began to process this forfeiture of yet another

Henry Darger Jr.

Henry Darger Jr.

child, lamenting that “the huge disaster and calamity” of his loss “will never be atoned for”, but “shall be avenged to the uttermost limit”. According to his autobiography, Darger believed the photo was among several items that were stolen when his locker at work was broken into. He never found his copy of the photograph again. Because he couldn’t remember the exact date of its publication, he couldn’t locate it in the newspaper archive. He carried out an elaborate series of novenas and other prayers for the picture to be returned.

The fictive war that was sparked by Darger’s loss of the newspaper photograph of the murdered girl, whose killer was never found, became Darger’s magnum opus. He had been working on some version of the novel before this time (he makes reference to an early draft which was also lost or stolen), but now it became an all-consuming creation.

Henry Darger Jr.

Henry Darger Jr.

In The Realms of the Unreal, Elsie is imagined as Annie Aronburg, the leader of the first child slave rebellion. “The assassination of the child labor rebel Annie Aronburg… was the most shocking child murder ever caused by the Glandelinian Government” and was the cause of the war. Through their sufferings, valiant deeds and exemplary holiness, the Vivian Girls are hoped to be able to help bring about a triumph of Christianity. Darger provided two endings to the story, one in which the Vivian Girls and Christianity are triumphant and another in which they are defeated and the godless Glandelinians reign.

Darger’s human figures were rendered largely by tracing, collage, or photo enlargement from popular magazines and children’s books (much of the “trash” he collected was old magazines and newspapers, which he clipped for source material). Some of his favorite figures were the Coppertone Girl and Little Annie Rooney. He is praised for his natural gift for composition and the brilliant use of color in his watercolors. The images of daring escapes, mighty battles, and painful torture are reminiscent not only of epic films such as Birth of a Nation (which Darger might easily have seen) but of events in Catholic history; the text makes it clear that the child victims are heroic martyrs like the early saints.

One idiosyncratic feature of Darger’s artwork is its apparent transgenderism. Many of his subjects which appear

Henry Darger Jr.

Henry Darger Jr.

to be girls are shown to have penises when unclothed or partially clothed. Darger biographer Jim Elledge speculates that this represents a reflection of Darger’s own childhood issues with gender identity and homosexuality.  Darger’s second novel, Crazy House, deals with these subjects more explicitly.

In a paraphrase of the Declaration of Independence, Darger wrote of children’s right “to play, to be happy, and to dream, the right to normal sleep of the night’s season, the right to an education, that we may have an equality of opportunity for developing all that are in us of mind and heart”.

Henry Darger Jr.

Henry Darger Jr.

A second work of fiction, provisionally titled Crazy House: Further Adventures in Chicago, contains over 10,000 handwritten pages. Written after The Realms, it takes that epic’s major characters—the seven Vivian sisters and their companion/secret brother, Penrod—and places them in Chicago, with the action unfolding during the same years as that of the earlier book. Begun in 1939, it is a tale of a house that is possessed by demons and haunted by ghosts, or has an evil consciousness of its own. Children disappear into the house and are later found brutally murdered. The Vivians and a male friend are sent to investigate and discover that the murders are the work of evil ghosts. The girls go about exorcising the place, but have to resort to arranging for a full-scale Holy Mass to be held in each room before the house is clean. They do this repeatedly, but it never works. The narrative ends mid-scene, with Darger having just been rescued from the Crazy House.

In 1968, Darger became interested in tracing some of his frustrations back to his childhood and began writing The History of My Life. Spanning eight volumes, the book only spends 206 pages detailing Darger’s early life before veering off into 4,672 pages of fiction about a huge twister called “Sweetie Pie”, probably based on memories of a tornado he had witnessed in 1908.

Despite Darger’s unusual lifestyle and strange behavior, he has not generally been considered mentally ill. This

Henry Darger Jr.

Henry Darger Jr.

topic is addressed in the biographical film In the Realms of the Unreal, in which Darger, while certainly described as eccentric, is also mentioned to be “in complete control of his life”. MacGregor, in the appendix to his book on Darger, speculates that the most fitting diagnosis is autism, of an Asperger syndrome type.

Darger’s landlords, Nathan and Kiyoko Lerner, came across his work shortly before his death, a day after his birthday, on April 13, 1973. Nathan Lerner, an accomplished photographer whose long career the New York Times wrote “was inextricably bound up in the history of visual culture in Chicago”, immediately recognized the artistic merit of Darger’s work. By this time Darger was in the Catholic mission St. Augustine’s, operated by the Little Sisters of the Poor, where his father had died.

The Lerners took charge of the Darger estate, publicizing his work and contributing to projects such as the 2004 documentary In the Realms of the Unreal. In cooperation with Kiyoko Lerner, Intuit: The Center for Intuitive and Outsider Art dedicated the Henry Darger Room Collection in 2008 as part of its permanent collection. Darger has become internationally recognized thanks to the efforts of people who knew to save his works. After Nathan Lerner’s death in 1997, Kiyoko Lerner became the sole figure in charge of both her husband’s and Darger’s estates. The U.S. copyright representative for the Estate of Henry Darger and the Estate of Nathan Lerner is the Artists Rights Society.

Henry Darger Jr.

Henry Darger Jr.

Darger is today one of the most famous figures in the history of outsider art. At the Outsider Art Fair, held every January in New York City, and at auction, his work is among the highest-priced of any self-taught artist. The American Folk Art Museum, New York City, opened a Henry Darger Study Center in 2001. His work now commands upwards of $80,000.

Since his death in 1973 and the discovery of his massive opus, and especially since the 1990s, there have been many references in popular culture to Darger’s work by other visual artists including, but not limited to, artists of comics and graphic novels; numerous popular songs; a 1999 book-length poem, Girls on the Run, by John Ashbery; a multi-player online game, SiSSYFiGHT 2000, and a 2004 multimedia piece by choreographer Pat Graney incorporating Darger images. Jesse Kellerman’s 2008 novel The Genius took part of its inspiration from Darger’s story. These artists have variously drawn from and responded to Darger’s artistic style, his themes (especially the Vivian Girls, the young heroines of Darger’s massive illustrated novel), and the events in his life.

Jessica Yu’s 2004 documentary In the Realms of the Unreal details Darger’s life and artworks.

Comic book artist Scott McCloud refers to Darger’s work in his book Making Comics, while describing the danger artists encounter in the creation of a character’s back-story. McCloud says that complicated narratives can easily spin out of control when too much unseen information is built up around the characters.

Darger and his work have been an inspiration for several music artists. The Vivian Girls were an all-girl indie/punk trio from Brooklyn; “Henry Darger” is a song by Natalie Merchant on her album Motherland,

Henry Darger Jr.

Henry Darger Jr.

“Vivian Girls” is song by the band Wussy on their album Left for Dead. “The Vivian Girls Are Visited in the Night by Saint Dargarius and His Squadron of Benevolent Butterflies” is a song by Sufjan Stevens on his album The Avalanche: Outtakes and Extras from the Illinois Album, “The Story of the Vivian Girls” is a song by Comet Gain on their 2005 album City Fallen Leaves, and “Segue: In the Realms of the Unreal” is song by the band …And You Will Know Us by the Trail of Dead on their album So Divided, “The Vivian Girls” is a 1979 song by Snakefinger (Philip Lithman Roth) also recorded by the Monks of Doom on their album The Cosmodemonic Telegraph Company, “Vivian girls” is a song by the band Fucked Up on their album Hidden World, and “Lost girls” (about Darger’s work) is a song by Tilly and the Wall on their album Bottoms of Barrels. On their 1994 album Triple Mania II, San Diego’s industrial noise performance outfit Crash Worship reworked several Darger images and screen printed them on a copper foil foldout discfolio; as well as the insert and disc.

Darger is the subject of a radio play, Darger and the Detective, by Mike Walker performed by members of the Chicago-based Steppenwolf Theatre Company for BBC Radio 3.

Biography is from wikipedia.

I love his story so I decided to include all the the page.  I hope you enjoy my piece for today and I will see you tomorrow on Day 336.

Best,

Linda

Sky Demon- Tribute to Henry Darger Jr. Linda Cleary 2014 Watercolor & Ink on Canvas

Sky Demon- Tribute to Henry Darger Jr.
Linda Cleary 2014
Watercolor & Ink on Canvas

Side-View Sky Demon- Tribute to Henry Darger Jr. Linda Cleary 2014 Watercolor & Ink on Canvas

Side-View
Sky Demon- Tribute to Henry Darger Jr.
Linda Cleary 2014
Watercolor & Ink on Canvas

Close-Up 1 Sky Demon- Tribute to Henry Darger Jr. Linda Cleary 2014 Watercolor & Ink on Canvas

Close-Up 1
Sky Demon- Tribute to Henry Darger Jr.
Linda Cleary 2014
Watercolor & Ink on Canvas

Close-Up 2 Sky Demon- Tribute to Henry Darger Jr. Linda Cleary 2014 Watercolor & Ink on Canvas

Close-Up 2
Sky Demon- Tribute to Henry Darger Jr.
Linda Cleary 2014
Watercolor & Ink on Canvas

Close-Up 3 Sky Demon- Tribute to Henry Darger Jr. Linda Cleary 2014 Watercolor & Ink on Canvas

Close-Up 3
Sky Demon- Tribute to Henry Darger Jr.
Linda Cleary 2014
Watercolor & Ink on Canvas

 

Day 322- Ruzena (Anne Billon)- Teeming Overcrowded Worlds

It’s Day 322 and I’m starting to feel more normal (health-wise)…knock on wood!  I worked on today’s piece last night and today because of the amount of pen & ink detailing I had to do.  I forgot how much I miss working with pen & ink (which is one of my favorite mediums)!

Ruzena (Anne Billon)

Ruzena (Anne Billon)

Ruzena (Anne Billon)

Ruzena (Anne Billon)

I also had the pleasure of corresponding personally with today’s artist who lives in France.  She is a little elusive and I’ve read that she doesn’t like to talk too much about her art.  It was hard to find her biography and current pieces online so she emailed photos and a bio to me.

Her artwork has rapidly become one of my new favorites and I am so exhilarated and honored to do a tribute to Anne Billon A.K.A. Ruzena today!  I hope my tribute does her justice…It was hard to figure out what exact materials she uses and when I zoomed into her pieces…they just intimidated me with all their detail!  Such haunting and beautiful artwork!  I translated her biography and CV from French so please excuse any awkwardness. 🙂  I included tons of her artwork because I love it so much.

Anne Billon (Ruzena)

Born in 1971, Anne studied Social and Economic Administration and History of Art, which led her to work in the field of culture for fifteen years. She is now works

Ruzena (Anne Billon)

Ruzena (Anne Billon)

at an administrative job.

She has always drawn and is self-taught.

Ruzena (Anne Billon)

Ruzena (Anne Billon)

Anne’s maternal Czech grandfather wanted to call her Ruzena. It seemed more appropriate to her parents to choose a name for her to live a less detonating journey for a young French girl. But the reasonable choice was not enough to obscure innate predispositions for refractory behavior.

With exacting detail drawing, Ruzena expresses a world with teeming, overcrowded arabesques organized around angular shapes and mysteriously balanced chaotic compositions that express the ambiguity of being torn between legal requirements and thirst for total freedom.

But humor watches over this tragic universe to bring it a generous subtle tone; a secret humor, tender and painful, like a fragile bow playing on the sharp teeth of the suffering she wants to tame.

With a constant ironic wink, another way to ask the eternal questions that agitate humanity since its origins,

Ruzena (Anne Billon)

Ruzena (Anne Billon)

Ruzena built a profoundly original work that takes its strength in doubt, holder of any authentic creation.

Text is from:

Gerard Sendrey Catalog Extract and dissenting Visions Publishing 2001

Expositions:

  • 2009   . “The world of design and creativity,” group exhibition, Rives (France).
    • “Private Collection” collective, Alter-Art exhibition in Grenoble (France)
    • . Gallery Ex nihilo in Grenoble, France (exhibition organized by the Association Œil’Art)
  • 2010   . “Phantasmagoria”, group exhibition, Gallery Myiawaki, Kyoto (Japan).
    • “Young contemporary painting” sale at Drouot, Paris (France)
  • 2011   . Outsider Art Fair in New York, represented by the Henry Boxer Gallery.
    • “Young contemporary painting” sale at Drouot, Paris (France)
  • 2012   . Collective exhibition in honor of Postman Cheval Gallery Yutaka Miyawaki, Kyoto, Japan
    • . 4th Biennial art shared Rives (France)
    • Ruzena (Anne Billon)

      Ruzena (Anne Billon)

      . “Because what I write can be read in the dark,” solo exhibition, Dettinger Mayer Gallery in Lyon (France)

    • . Outsider Art Fair in New York, represented by the Henry Boxer Gallery
  • 2013. Outsider Art Fair in New York, represented by the Henry Boxer Gallery.
    • Shared collective exhibition in Saint-Trojan les Bains (France) art
  • 2008   . “Black Drawings”, group exhibition, Galerie Beatrice Soulie, Paris.
    • “Shared Art” group exhibition, Rives (France)
    • . Solo exhibition, Galerie Dettinger Mayer, Lyon (France)
    • . Group exhibition, Gallery Dettinger Mayer, Lyon (France)
  • 2007   . “Contemporary Cabinet of Curiosities” group show, Beatrice Soulie Gallery in the exhibition “The Art Elysées” in Paris (France)
    • . “I Margini dello Sguardo – Arte nella Collezione Irregolare Menozzi” group exhibition in Reggio Emilia (Italy)
  • 2006   . “Confinement,” group exhibition, Aubagne Art Festival Singular (France)
    • . “Shared Art” group exhibition, Rives (France)
    • . Personal exhibition, Museum of Creation Franche, Begles (France)
  • 2005   . Solo exhibition, Galerie Dettinger Mayer, Lyon (France)
    • . “Art Brut and Affiliated Works,” group exhibition, Institute for the Humanities, University of @19.04.13-30x20Michigan, Ann Arbor (USA)
  • 2004   . “Interlacing”, group exhibition, Staffelfelden (France)
  • 2003   . Group exhibition, Gallery A Sardine stuck to the wall, Geneva (Switzerland)
  • 2001   . “Visions and Creations dissident” group exhibition, Museum of Creation Franche, Begles (France)
    • . “Interlacing”, group exhibition, Staffelfelden (France)

 

Ruzena (Anne Billon)

Ruzena (Anne Billon)

Permanent:

. Henry Boxer Gallery in Richmond Hill (England)

. Dettinger Mayer Gallery in Lyon (France)

. Jeff Ross Collection in Seattle (USA)

. Collection Dino Menozzi, prints Reggio Emilia (Italy) Cabinet

Biography, CV and photos are courtesy of the artist.

I hope you enjoy my tribute for today.  I had so much fun creating it and it inspired me to do more pen and ink work.  I’ve been painting so much that sometimes I forget the other mediums I love so much.  My arm does feel a little like a zombie’s though.  I also forgot how taxing it is on my tennis elbow to draw so much…but it’s so worth it.  The biggest challenge was mixing the different mediums.  Ruzena’s style with that is seamless.  I wasn’t sure if she used colored pencils and it was hard to do that part.  I enjoyed the pen and pencil part, but I think I wasn’t successful with the color part!  Oh well!  I will see you tomorrow on Day 323!

Best,

Linda

My Little World- Tribute to Ruzena (Anne Billon) Linda Cleary 2014 Mixed Media on Paper mounted on Wood Panel

My Little World- Tribute to Ruzena (Anne Billon)
Linda Cleary 2014
Mixed Media on Paper mounted on Wood Panel

Side-View My Little World- Tribute to Ruzena (Anne Billon) Linda Cleary 2014 Mixed Media on Paper mounted on Wood Panel

Side-View
My Little World- Tribute to Ruzena (Anne Billon)
Linda Cleary 2014
Mixed Media on Paper mounted on Wood Panel

Close-Up 1 My Little World- Tribute to Ruzena (Anne Billon) Linda Cleary 2014 Mixed Media on Paper mounted on Wood Panel

Close-Up 1
My Little World- Tribute to Ruzena (Anne Billon)
Linda Cleary 2014
Mixed Media on Paper mounted on Wood Panel

Close-Up 2 My Little World- Tribute to Ruzena (Anne Billon) Linda Cleary 2014 Mixed Media on Paper mounted on Wood Panel

Close-Up 2
My Little World- Tribute to Ruzena (Anne Billon)
Linda Cleary 2014
Mixed Media on Paper mounted on Wood Panel

Close-Up 3 My Little World- Tribute to Ruzena (Anne Billon) Linda Cleary 2014 Mixed Media on Paper mounted on Wood Panel

Close-Up 3
My Little World- Tribute to Ruzena (Anne Billon)
Linda Cleary 2014
Mixed Media on Paper mounted on Wood Panel

Day 315- Heinrich Anton Müller- Parallel Visions

It’s Day 315 and I had a great time with today’s piece.  It was nice to work with some slightly different material.  Like a chalk marker and pencil.  Join me in honoring Heinrich Anton Müller today.  Below is an article from the NYTIMES.com.

Heinrich Anton Müller

Heinrich Anton Müller

Heinrich Anton Müller

Heinrich Anton Müller

Heinrich Anton Müller was born in Versailles (France).

ART REVIEW; The Fantastical Visions Of an Obsessive Outsider

By ROBERTA SMITH
Published: March 17, 1995

These days, outsider art is, as a genre, thoroughly studied and widely appreciated. It may be becoming so deeply in that it almost renders the very term an oxymoron. Still, an exceptional exhibition at the Swiss Institute in SoHo proves that for Americans at least, some significant surprises and discoveries remain.

This show introduces the art of Heinrich Anton Muller, a Swiss outsider, or self-taught, artist who died in 1930 at the age of 61. He’s great, almost on a par with outsider giants like Adolf Wolfli (who was also Swiss), Martin Ramirez and Henry Darger. Muller’s work is not a secret in Europe. Even in his lifetime, his large drawings of fantastical figures and animals were known to Hans Prinzhorn, the German psychiatrist who was among the first to write about and preserve the art of the insane. Muller’s art received its first gallery exhibition in Paris in 1949 and was admired by Jean Dubuffet, who included it in his art brut collection. It also inspired other French artists, like Daniel Spoerri and Jean Tinguely, who both dedicated artworks to Muller, and was seen in the 1972 Documenta exhibition.

Muller’s only previous American appearance was in the less-than-coherent “Parallel Visions” exhibition at the Los Angeles County

Heinrich Anton Müller

Heinrich Anton Müller

Heinrich Anton Müller

Heinrich Anton Müller

Museum of Art in 1991. But this show of 35 drawings and four photographs, which was organized by an independent curator, Roman Kurzmeyer, for the Kunstmuseum Bern and was previously shown at the Moore College of Art and Design in Philadelphia, is his first retrospective in the United States. (The Swiss Institute says it will probably also be the last, because of the drawings’ fragility.)

Muller was a mechanically inclined vineyard worker, born in France, who spent the last 24 years of his life in a mental hospital in Munsingen, Switzerland. Around the turn of the century, he invented a machine for grafting grape vines; others stole his design after he failed to maintain his patent. This loss seems to have triggered a breakdown. Hospitalized in 1906, he began around 1914 to build elaborate linear structures, involving frames and moving wheels, which he saw as perpetual motion machines. (His materials included discarded wood, rags and wire, as well as his own secretions and excrement).

These obsessive works do not survive; in fact, Muller sometimes destroyed them in protest against his confinement. But even in photographs they easily evoke Tinguely’s kinetic junk sculptures, and also resemble distant relatives, madly multiplied, of Picasso’s welded steel sculpture “Project for a Monument to Guillaume” in the Museum of Modern Art.

Luckily, Muller vented his often lustful imagination on paper, too. Looking at his sad, seductive creatures the mind zooms back and forth

Heinrich Anton Müller

Heinrich Anton Müller

between distant and local cultures: to the frequently childlike drawings of Klee and Chagall, Middle and Far Eastern art, medieval art and modern art, as well as Swiss folk art. There’s an image of a duck here that could almost be Japanese. Yet when Muller draws a house, it is complete with Swiss decorations, and when he writes on certain images, explaining the action, it is in big cursive words rendered in exemplary 19th-century penmanship. An outstanding example of the latter depicts one Pere Darou, astride an old-fashioned bicycle, taking his pig Rafi for a walk.

Muller’s main formal staple is a banded line, in pencil, white chalk or colored pencil, that sinuously delineates most of his heads, figures and hybrid creatures, but also, like a flattened serpent, has a life very much its own. Serpents are pertinent, for several of Muller’s people have spiraling reptile tails instead of legs. And one of the best drawings in the show, “Hermine,” depicts an Eve-like woman in orange and green pencil. Holding a bunch of grapes, she stands on a fruit tree with a smaller figure in her belly while a serpent glides upward toward her through a faint glow of orange.

Heinrich Anton Müller

Heinrich Anton Müller

With their big eyes, sad expressions and often ghostly whiteness, Muller’s creatures communicate an acceptance of the harshness of life. They seem like enlarged versions of figures from a book of medieval fables, or an illuminated manuscript. For example, “Hermine” has a small, quite beautiful rat on her head, and she’s not the only one; the device brings Aesop to mind and, similarly, gently stresses the interrelatedness of the species. Vulnerability is signaled in other ways: especially striking is an image of a goat whose hooves have grown into long curls, which resemble exotic Persian slippers and suggest neglect and immobility.

Despite a prevailing wistfulness in many of Muller’s images, his art can also strike the eye as quite aggressive. His banded line almost always takes command of the surface, and his work is infused with an implicitly confident — and modern — sense of scale and process. His drawings, not unlike his sculptures, are also constructions, sewn-together pieces of butcher paper or cardboard in which blunt stitches, sometimes forming borders, add to the drawn motifs. His backgrounds are often enlivened by being rubbed, tinted or textured, and he can also smear on materials with an almost expressionistic verve. In “Our Baker,” white chalk seems to waft over the body of a slyly grinning serpent like flour or smoke, giving his shape further power.

This power gives way in the show’s final works, made after 1925, when Muller suffered a severe case of pneumonia. He returned to his art but produced much smaller, more delicate images of figures and wilted trees in colored pencil. They seem to be almost in the process of fading from sight, which is consistent with the biographical note that Muller died in 1930 “after a brief illness during which he would not allow himself to be examined.”

Article on Heinrich Anton Müller from www.nytimes.com.

I hope you enjoy my tribute today on this interesting and intriguing artist!  I sure had fun creating it.  I will see you tomorrow on Day 316.

Best,

Linda

Sadness Strikes Again- Tribute to Heinrich Anton Müller Linda Cleary 2014 Acrylic, chalk and pencil on canvas

Sadness Strikes Again- Tribute to Heinrich Anton Müller
Linda Cleary 2014
Acrylic, chalk and pencil on canvas

Side-View Sadness Strikes Again- Tribute to Heinrich Anton Müller Linda Cleary 2014 Acrylic, chalk and pencil on canvas

Side-View
Sadness Strikes Again- Tribute to Heinrich Anton Müller
Linda Cleary 2014
Acrylic, chalk and pencil on canvas

Close-Up 1 Sadness Strikes Again- Tribute to Heinrich Anton Müller Linda Cleary 2014 Acrylic, chalk and pencil on canvas

Close-Up 1
Sadness Strikes Again- Tribute to Heinrich Anton Müller
Linda Cleary 2014
Acrylic, chalk and pencil on canvas

Close-Up 2 Sadness Strikes Again- Tribute to Heinrich Anton Müller Linda Cleary 2014 Acrylic, chalk and pencil on canvas

Close-Up 2
Sadness Strikes Again- Tribute to Heinrich Anton Müller
Linda Cleary 2014
Acrylic, chalk and pencil on canvas

Close-Up 3 Sadness Strikes Again- Tribute to Heinrich Anton Müller Linda Cleary 2014 Acrylic, chalk and pencil on canvas

Close-Up 3
Sadness Strikes Again- Tribute to Heinrich Anton Müller
Linda Cleary 2014
Acrylic, chalk and pencil on canvas

Day 308- Aloïse Corbaz- Perpetual Ecstasy

It’s Day 308 and I am so excited about today’s artist.  I wish my arm (tennis elbow) wasn’t hurting me so badly today because I think I could’ve done a little better with the coloring.  I also liked the article that I found about her.  It makes a good argument regarding drugs vs. creativity.  I wonder how many artists anti-psychotic drugs are affecting today.  I am a very anxious person and I like to contribute a lot of that energy to being creative.  It’s also why I am very anti-drug…I think it’s good for some people, but I also think we live in a very over-medicated society.  Well, moving on.  I don’t really want to make this post about that, but it did make me think.  🙂  Please join me in honoring Aloïse Corbaz today.

Aloise

Aloise

Marie Christine- Aloise

Marie Christine- Aloise

Aloïse Corbaz (1886-1964) was born in Lausanne. She dreamt of becoming an opera singer, but was sent off to Germany as a children’s governess, where she worked in Potsdam, at the court of Emperor William II. Upon returning to Switzerland in 1913, she began her anti-military ranting and adopted delusional behaviour. She was interned for schizophrenia in 1918 and remained interned for the rest of her life.

Aloise drew with coloured pencils, reinforcing the contours of the drawings with graphite pencils. She used geranium petals to add rich reds hues and frequently added toothpaste to her drawings. Towards the end of the 1950s, she switched to wax crayons when her eyesight began to decline.

There are 834 known drawings by Aloïse containing 2,000 compositions. Many of the works are

Aloise Drawings

Aloise Drawings

two-sided and 20 are on large rolls of paper. The exhibitions in Lausanne showcase about 300 works, including sketchbooks.

Her drawings depict exotic flowers and animals and often include illustrious figures such as Napoleon, the pope, Abraham Lincoln, the empress Elizabeth or Lucretia Borgia, or heroines of opera (Tosca, La Traviata, Manon Lescaut, Mary Stuart, Ann Boleyn).

Waterloo- Aloïse

Waterloo- Aloïse

Aloïse, a major figure of art brut, also known as outsider or raw art, produced all her phantasmagoric drawings during her long internment for schizophrenia. Had the Swiss artist been medicated, she might not have produced anything at all.
On the occasion of two key exhibitions dedicated to Aloïse this summer in Lausanne, the question of whether her creativity would have survived modern medication has surfaced.

Antipsychotic drugs and antidepressants relieve the distress of innumerable individuals, but they can also switch off creative drive.

The debate has taken on new relevance since the publication of a scientific study that establishes

Aloïse

Aloïse

a correlation between schizophrenics and highly creative individuals. Low levels of dopamine receptors allow more uncommon associations to take place in their brains.

Antipsychotics regulate the dopamine, thereby reducing the ability to make unexpected (creative) connections.

Interned for schizophrenia at the age of 32, Aloïse for the next 46 years exorcised her torment by dreaming up a world of her own that she transcribed in notebooks and drew on sheets of paper.

“It is unlikely that Aloïse would be institutionalised today,” Pascale Marini, curator of the exhibition taking place at the Collection de l’Art brut told swissinfo.ch. She would have been medicated instead and therefore deprived of the protected environment that ultimately allowed her art to flourish.

“Perpetual ecstasy”
Aloïse had begun to draw almost immediately after her internment in 1918, at first secretly on bits of salvaged papers, where she also consigned her unruly thoughts. She was gradually supplied with the colouring pencils and large sheets of paper that would allow her to make her hallmark drawings.

Aloïse

Aloïse

“She created a world for herself in which she was the demiurge, the total artisan. It was a perfect retreat,” Marini explained. By showcasing this world in the exhibition, the purpose is not to illustrate Aloise’s schizophrenia, she added, but to show the role of creativity in allowing people like her to deal with their torment.

Aloise herself qualified creativity as “miraculous”, “the only source of perpetual ecstasy.”

Jean Dubuffet, the French painter behind the concept of art brut, had been following her work for almost 20 years and often visited her in Switzerland. Upon her death in 1964, he expressed the opinion that her art had cured her (see sidebar).

It was Jacqueline Porret-Forel, a young general practitioner interested by Aloïse who had introduced her work to Dubuffet. He immediately recognised the singularity of her mental vision, an observation that was to inspire him when he later identified other art brut creators.

Porret-Forel was to become Aloïse’s window to the outside world from their meeting in 1941 onwards and may even have acted as a catalyst to her explosive creativity over the next ten years.

“She could feel my interest in her,” Porret-Forel told swissinfo.ch.

Living through drawings
Spearheading Aloise’s recognition, including as far as Japan, where several Aloïse exhibitions have already taken place, Porret-Forel is

Aloïse

Aloïse

also the author of the recently online-published catalogue raisonné. After all these years, at the age of 96, her enthusiasm for Aloïse remains as fresh as ever: “She keeps me going,” she observed with a smile.

“She wanted more than anything else to be incarnated in her drawings. It was a way for her to exist, to regain possession of the body from which she felt detached,” Porret-Forel recalled. “She was never happier than when the flower or animal that she had just drawn represented her.”

Aloïse

Aloïse

She too is convinced that Aloïse would have led a very different life had she been administered the antipsychotics that had been available from the 1950s onwards. “Antipsychotics completely transform inner worlds,” she said.

Aloïse would have drawn differently, if she would have drawn at all, elaborated Porret-Forel, although, as a doctor, she believes that there is little justification to deprive anguished individuals of relief through medication.

This opinion is not necessarily shared by all. Edvard Munch, painter of the “Scream” famously said “[My troubles] are part of me and my art.  They are indistinguishable from me, and it [treatment] would destroy my art.  I want to keep that suffering.”

The case of Aloïse is however somewhat different, Porrt-Forel suggested, because she believes, as Dubuffet did, that her exceptional gift helped heal her.
Not art therapy
On the other hand, she thinks it wise to set right a number of misconceptions: “Contrary to popular belief, there are no more artists

Aloïse

Aloïse

amongst the mentally disturbed than there are in the population at large,” she said, nor are art brut creators only to be found amongst the mentally unstable.

“What I have observed over the years, including by studying the writings of Jean Dubuffet, is that

art brut is made by individuals who have a mental – not visual – vision of the world.” These can include mediums.

Aloïse

Aloïse

They lay their mental images on whichever support is at hand. This one-way process is entirely different from that of traditional artists who work back and forth between what they see and what they have created. In this respect, art brut is not to be confused with art therapy either.

Asked whether modern medication would not sound the knell of art brut, she answered that because it is not a movement, but a concept: “There will always be people with personal mental visions that differ from ours.”

Above article, The Creative Schizophrenia of Aloise is from swissinfo.ch.

I also loved that my artist from yesterday, Edvard Munch was mentioned in this article!  I hope you enjoy my piece today.  It was hard to color on canvas with my arm in pain and now I’m thinking I should’ve done it on paper and then adhered it to the canvas, but oh well!  I think it definitely capture’s Aloïse’s spirit.  I will see you tomorrow on Day 309!  I can’t believe I’ve gotten this far and time is already running out!  Whew.

Best,

Linda

Fantasy Land- Tribute to Aloïse Corbaz Linda Cleary 2014 Colored Pencil & Pastel on Canvas

Fantasy Land- Tribute to Aloïse Corbaz
Linda Cleary 2014
Colored Pencil & Pastel on Canvas

Side-View Fantasy Land- Tribute to Aloïse Corbaz Linda Cleary 2014 Colored Pencil & Pastel on Canvas

Side-View
Fantasy Land- Tribute to Aloïse Corbaz
Linda Cleary 2014
Colored Pencil & Pastel on Canvas

Close-Up 1 Fantasy Land- Tribute to Aloïse Corbaz Linda Cleary 2014 Colored Pencil & Pastel on Canvas

Close-Up 1
Fantasy Land- Tribute to Aloïse Corbaz
Linda Cleary 2014
Colored Pencil & Pastel on Canvas

Close-Up 2 Fantasy Land- Tribute to Aloïse Corbaz Linda Cleary 2014 Colored Pencil & Pastel on Canvas

Close-Up 2
Fantasy Land- Tribute to Aloïse Corbaz
Linda Cleary 2014
Colored Pencil & Pastel on Canvas

Close-Up 3 Fantasy Land- Tribute to Aloïse Corbaz Linda Cleary 2014 Colored Pencil & Pastel on Canvas

Close-Up 3
Fantasy Land- Tribute to Aloïse Corbaz
Linda Cleary 2014
Colored Pencil & Pastel on Canvas

Day 265- Gary John- Always a Street Artist

It’s Day 265…only 100 left to go!  Wow…Join me in honoring Gary John today.  I found this artist and fell in love with his story and artwork!  I hope you will too.  Below is an article about him from the Santa Monica Mirror that I liked .

From Santa Monica Mirror- Artist Gary John (center) has gone from living on the streets of Venice to becoming an emerging artist in the past eight months thanks to gallery owners Bruce (left) and Scot Lurie.

From Santa Monica Mirror- Artist Gary John (center) has gone from living on the streets of Venice to becoming an emerging artist in the past eight months thanks to gallery owners Bruce (left) and Scot Lurie.

Four Chairs- Gary John

Four Chairs- Gary John

Painting A New Life After Living On The Streets

POSTED NOV. 28, 2013, 8:59 AM JYNARRA BRINSON / MIRROR CONTRIBUTOR

Eight months ago, homeless street artist Gary John was up to his usual one day – painting for

Big Boy Act- Gary John

Big Boy Act- Gary John

nearly 10 hours non-stop on the Venice boardwalk – when something told him to put his brush down, pack his things, and check out Culver City’s art gallery loop.

“I never stop painting,” John says. “I don’t break my routine and more than that, I hem and haw for everything.”

But on that day, John listened to what he describes as nothing more than “divine intervention.”

During this journey to Culver City, he walked into the Bruce Lurie Gallery near the corner of La Cienega and Washington boulevards.

Gary John

Gary John

Perhaps it was the dried-up paint on John that tipped gallery owner Bruce Lurie off, or maybe the same “something” that spoke to John hours earlier, whatever it was compelled Lurie to address him, knowingly, when he said, “Hi artist.”

The salutation did not strike John as particularly significant. He walked about the gallery before heading toward the exit when he heard a voice behind him.

“What kind of art do you do?” John recalls being asked.

He told Lurie about his art – his abstract pop culture images on cardboard, newspaper,

Gary John

Gary John

canvas, and just about any low-cost material he could get his hands on.

For years John met several people, celebrities included, who filled his ears and heart with colorful hopes. They promised to help him find representation and to get his work on t-shirts, skateboards, and other commercial exposure – which never happened.

Hoax Man- Gary John

Hoax Man- Gary John

When Lurie expressed curiosity and asked him to bring his work in, John assumed the usual would transpire: He’d bring his things in, lay them out, be told his work wasn’t actually what they were looking for and sent on his way, with good wishes, of course.

However, this time was different. The decision was unanimous. All three Lurie brothers – Bruce, Evan, and Scot, all gallery owners themselves, happened to be in town that day – decided John was precisely who they were looking for.

“They said come back tomorrow and we’ll do some paperwork,” John says. “I think he took

Modern Art- Gary John

Modern Art- Gary John

everything I had. It was like a dream. They were telling me my stuff is fantastic, we’re going to promote you, not only that, represent you and take you all over the country and it was too much.”

Overwhelmed nearly to hysteria, John asked them to stop talking, said it was too much for one day and left. He walked halfway down the block, found a front porch and sat. He recalls bawling like a baby but more like someone whose wildest dreams had just come true.

Gary John

Gary John

Nearly a decade ago, John visited Los Angeles to seek a brighter backdrop than the grey and rain from his native Seattle. At the insistence of his friend Dan Corley, he said he visited LA for what he intended to be a two-week trial.

“I owe everything to Dan Corley,” John says. “He encouraged me when I wanted to give up. If it weren’t for him I would not be where I am today. No one could ask for a better friend.”

When he arrived, he says, he knew LA would be his new home. The sole earnings from his art sales on the boardwalk sustained him to a minor degree. John struggled with homelessness, finding himself in and out of motels and living on the streets of Venice.

“I was able to pull myself in and out,” John says. “After 10 years of gutting it out on

Queen in a Balloon- Gary John

Queen in a Balloon- Gary John

Venice Beach, I had all but given up. Things really improved when Bruce took me on.”

Today, John lives in an apartment in Culver City.

His art is reminiscent of Haring and Basquiat, and it’s with comparable abandon that vivid hues take shape (or not) on his canvas.

John says he’ll never forget the first time he saw his paintings on the wall.

“It was beautiful,” he says from under a dark green baseball cap and sunglasses, his hands tucked deep into his pockets. “Here were my paintings on this beautiful wall and Bruce came up to me and said, you’re where you belong – he said that to me.”

John himself won’t be at Art Basel Miami Beach 2013 next month, but his art will. The highly selective annual international show attracted 50,000 international visitors last year. Artists, collectors, gallerists, curators, art enthusiasts, and the like descend on Miami Beach for four days to celebrate work from masters of Modern and contemporary art as well as pieces by emerging stars.

Paris Shoe- Gary John

Paris Shoe- Gary John

Art Basel is not John’s first show appearance, but it is the most high profile. His acceptance to the show is something not many established artists can’t boast. Past show appearances include the Affordable Art Fair in New York, Houston Art Fair, as well as shows in the Hamptons and Palm Springs.

Bruce Lurie says he always sells out John’s artwork each show.

“His art is something that reminds us of the purity of our childhood,” Lurie says. “The iconic images, drawn spontaneously yet perfectly have a deeper psychological meaning, and connect today with yesteryears. You might initially think the images are innocent, but they can be provocative and erotic – the fine art collector is attracted to those.”

In the past few weeks John’s work appeared in an auction hosted by The Skirball Museum; Children’s Hospital Los Angeles recently purchased a few of his works; and a curator from the Gothenburg Museum of Art in Sweden expressed interest in showing his work.

John wants his story to serve as encouragement for artists who remain steadfast as well as for those who struggle with persevering through the odds.

“If you hang in there long enough, you keep pushing, your dreams can come true. I never believed it because I went through so many hardships,” John says.

Even though his art is receiving attention he never thought possible, John still paints and sells 8×10 inch pieces along the Venice boardwalk.

“People say you have success now, why are you still on Venice beach,” John says. “I always tell them – because I was a street artist, I am a street artist and I’ll always be a street artist.”

Visit Gary John’s website at streetartgaryjohn.com. Alternatively, you can find him in person most days along the Venice boardwalk across from Figtree’s Café.

Above is article from the Santa Monica Mirror website.

Isn’t his story lovely?  I love it.  I really enjoyed painting this piece today and I hope you like it!  Only a hundred paintings to go for this project!  I can’t believe it.  Well, I’ll see you tomorrow on Day 266.

Best,
Linda

Love is Love- Tribute to Gary John Linda Cleary 2014 Mixed-Media on Canvas

Love is Love- Tribute to Gary John
Linda Cleary 2014
Mixed-Media on Canvas

Side-View Love is Love- Tribute to Gary John Linda Cleary 2014 Mixed-Media on Canvas

Side-View
Love is Love- Tribute to Gary John
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 1 Love is Love- Tribute to Gary John Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 1
Love is Love- Tribute to Gary John
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 2 Love is Love- Tribute to Gary John Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 2
Love is Love- Tribute to Gary John
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 3 Love is Love- Tribute to Gary John Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 3
Love is Love- Tribute to Gary John
Linda Cleary 2014
Mixed-Media on Canvas