FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 2 “A look at how modern art was born by discussing Monet, Renoir, Pissaro, Sisley, Degas,Cezanne, Van Gogh, Gauguin, Seurat, and Picasso” (Feature on artist Peter Howson)

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프란시스 쉐퍼 – 그러면 우리는 어떻게 살 것인가 introduction (Episode 1)

How Should We then Live Episode 7 small (Age of Nonreason)

#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer

The clip above is from episode 9 THE AGE OF PERSONAL PEACE AND AFFLUENCE

10 Worldview and Truth

In above clip Schaeffer quotes Paul’s speech in Greece from Romans 1 (from Episode FINAL CHOICES)

Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100

A Christian Manifesto Francis Schaeffer

Today I am posting my second post in this series that includes over 50 modern artists that have made a splash. Last time it was Tracey Emin of England and today it is Peter Howson of Scotland. Howson has overcome alcoholism in order to continue his painting. Many times in the past great painters and writers have had their careers halted by the bottle in the past. William Faulkner, Ernest Heminingway, Scott  Fitzgerald and James Joyce are all in the  Woody Allen movie “Midnight in Paris” and they all were alcoholics.  However, there is deliverance from alcoholism through the power of Christ.
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Monet “Poplars on the River”

File:Monet Poplars on the River Epte.jpg

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Van Gogh Self-Portrait with Straw Hat 1887-Metropolitan.jpg

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Paul Cezanne

Edgar Degas – 

Alfred Sisley –

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Pierre-Auguste Renoir born 25th February 1841–1919 French artist painter Impressionist black & white portrait photo

Pierre-Auguste Renoir (1841–1919) French Impressionist painter

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Claude Monet

paul gauguin march 1891 ,

Georges Seurat

Camille Pissarro

How Should We Then Live – Episode 8 – The Age of Fragmentation

Published on Aug 6, 2015

Francis Shaeffer

Francis Schaeffer in the episode, “The Age of Fragmentation,” Episode 8 of HOW SHOULD WE THEN  LIVE? noted:

Monet, Renoir, Camille Pissarro, SisleyDegas were following nature as it has been called in their painting they were impressionists.They painted only what their eyes brought them. But was there reality behind the light waves reaching their eyes? After 1885 Monet carried this to its conclusion and reality tended to become a dream. With impressionism the door was open for art to become the vehicle for modern thought. As reality became a dream, impressionism began to fall apart. These men Cezanne, Van Gogh, Gauguin, Seurat, all great post Impressionists felt the problem, felt the loss of meaning. They set out to solve the problem, to find the way back to reality, to the absolute behind the individual things, behind the particulars, ultimately they failed.
I am not saying that these painters were always consciously painting their philosophy of life, but rather in their work as a whole their worldview was often reflected. Cezanne reduced nature to what he considered its basic geometric forms. In this he was searching for an universal which would tie all kinds of individual things in nature together, but this gave a broken fragmented appearance to his pictures.
File:Paul Cézanne 047.jpg
Les Grandes Baigneuses, 1898–1905: the triumph of Poussinesque stability and geometric balance.
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In his bathers there is much freshness, much vitality. An absolute wonder in the balance of the picture as a whole, but he portrayed not only nature but also man himself in fragmented form. 
I want to stress that I am not minimizing these men as men. To read van Gogh’s letters is to weep for the pain of this sensitive man. Nor do I minimize their talent as painters. Their work often has great beauty indeed. But their art did become the vehicle of modern man’s view of fractured truth and light. As philosophy had moved from unity to fragmentation so did painting. In 1912 Kaczynski wrote an article saying that in so far as the old harmony, that is an unity of knowledge have been lost, that only two possibilities remained: extreme abstraction or extreme naturalism, both he said were equal.
File:Les Demoiselles d'Avignon.jpg
With this painting modern art was born. Picasso painted it in 1907 and called it Les Demoiselles d’Avignon. It unites Cezzanne’s fragmentation with Gauguin’s concept of the noble savage using the form of the African mask which was popular with Parisian art circle of that time. In great art technique is united with worldview and the technique of fragmentation works well with the worldview of modern man. A view of a fragmented world and a fragmented man and a complete break with the art of the Renaissance which was founded on man’s humanist hopes.
Here man is made to be less than man. Humanity is lost. Speaking of a part of Picasso’s private collection of his own works David Douglas Duncan says “Of course, not one of these pictures  was actually a portrait, but his prophecy of a ruined world.”
But Picasso himself could not  live  with this loss of the human. When he was in love with Olga and later Jacqueline he did not consistently paint them in a fragmented way. At crucial  points of their relationship he painted them as they really were with all his genius, with all their humanity. When he was painting his own young children he did not use fragmented techniques and presentation. Picasso had many mistresses, but these were the two women he married. It is interesting that Jacqueline kept one of these paintings in her private sitting room. Duncan says of this lovely picture, “Hanging precariously on an old nail driven high on one of La Californie’s (Picasso and Jacqueline’s home) second floor sitting room walls, a portrait of Jacqueline Picasso reigns supreme. The room is her  domain…Painted in oil with charcoal, the picture has been at her side since shortly after she and the maestro met…She loves it and wants in nearby.” 
I want you to understand that I am not saying that gentleness and humanness is not present in modern art, but as the techniques of modern art advanced, humanity was increasingly fragmented–as we shall see, for example, with Marcel Duchamp….The opposite of fragmentation would be unity, and the old philosophic thinkers thought they could bring forth this unity from  the humanist base and then they gave this up.
The modern thinking has accepted fragmentation as a defeat really, a defeat that human mentality beginning from itself can’t bring forth an unity of thought and of life. By unity what we mean is that which would include all of thought and all of life. It can achieved if indeed God has spoken and has not been silent, and in giving us the facts that man could not find for himself, there is an unity inside of which all that marvelous diversity then man can study, has an unified place whether it is knowledge, or in values, and in life.
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Picasso and Olga Khokhlova

Their son Paulo (Paul) was born in 1921 (and died in 1975), influencing Picasso’s imagery to turn to mother and child themes.  Paul’s three children are Pablito (1949-1973), Marina (born in 1951), and Bernard (1959).  Some of the Picassos in this Saper Galleries exhibition are from Marina and Bernard’s  personal Picasso collection.

Pablo Picasso. Portrait of Paul Picasso as a Child.

Portrait of Paul Picasso as a Child. 1923. Oil on canvas.
Collection of Paul Picasso, Paris, France.

In 1917 ballerina Olga Khokhlova (1891-1955) met Picasso while the artist was designing the ballet “Parade” in Rome, to be performed by the Ballet Russe.  They married in the Russian Orthodox church in Paris in 1918 and lived a life of conflict.  She was of high society and enjoyed formal events while Picasso was more bohemian in his interests and pursuits.  Their son Paulo (Paul) was born in 1921 (and died in 1975), influencing Picasso’s imagery to turn to mother and child themes.  Paul’s three children are Pablito (1949-1973), Marina (born in 1951), and Bernard (1959).  Some of the Picassos in this Saper Galleries exhibition are from Marina and Bernard’s  personal Picasso collection.

https://i0.wp.com/www.sapergalleries.com/PicassoOlga.jpg

https://i1.wp.com/www.sapergalleries.com/PicassoOlgaPhoto.jpg

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Photo taken in 1944 after a reading of Picasso’s play El deseo pillado por la cola: Standing from left to right: Jacques Lacan, Cécile  Éluard, Pierre Reverdy, Louise Leiris, Pablo Picasso, Zanie de Campan, Valentine Hugo, Simone de Beauvoir, Brassaï. Sitting, from left to right: Jean-Paul Sartre, Albert Camus, Michel Leiris, Jean Aubier. Photo by Brassaï. –

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Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” episode 9 “The Age of Personal Peace and Affluence”episode 8 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age” episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about thembecause they show how people’s worldviews affect their lives!!!!)

There is evidence that points to the fact that the Bible is historically true asSchaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMANRACEThere is a basis then for faith in Christ alone for our eternal hope. This linkshows how to do that.

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Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.

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In Confidence : Peter Howson – Artist who turned to God after struggling with autism and alcoholism

Uploaded on Aug 12, 2010

Lorna Grady meets Peter Howson, whose struggles with alcoholism and autism have led him to God in search of an inner peace. He has been described as one of the darkest and most controversial of Scottish painters and was an official war artist for the Bosnian Civil War.

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Peter Howson and Frank Mcfadden

Uploaded on May 11, 2008

a view of leading scottish painters, Peter Howson and Frank Mcfadden at The lloyd jerome gallery, music by departure lounge

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Contemporary Christian Art – The Rt Revd Lord Harries of Pentregarth

Published on Apr 10, 2012

Contrary to much opinion, the current scene of faith-related art is very much alive. There are new commissions for churches and cathedrals, a number of artists pursue their work on the basis of a deeply convinced faith, and other artists often resonate with traditional Christian themes, albeit in a highly untraditional way. The challenge for the artist, stated in the introduction to the course of lectures above, is still very much there: how to retain artistic integrity whilst doing justice to received themes.

This lecture is part of Lord Harries’ series on ‘Christian Faith and Modern Art’. The last century has seen changes in artistic style that have been both rapid and radical. This has presented a particular problem to artists who have wished to express Christian themes.

The transcript and downloadable versions of the lecture are available from the Gresham College website:
http://www.gresham.ac.uk/lectures-and…

Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website.
http://www.gresham.ac.uk

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Artist destroys his own painting – The Madness of Peter Howson – BBC Four

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Howson, Peter – VM – James McCullough

Peter Howson: Plum Grove
Finding God amid Decadence and Decay
by James McCullough
The image is disturbing. Framed in close proximity in a lateral viewpoint, one is immediately struck by its vividness of colour and staccato brushwork reminiscent of Max Beckmann. As the eye focuses, the subject matter becomes increasingly apparent. It is a man hung upon a tree limb, his arms tied behind his back and his lifeless body hanging downward. A single rope has been used to tie him to the limb, traversing his chest, catching his right leg and suspending it painfully upward, while the rope continues around and holds his left arm onto a branch.
The result is a grotesque contortion of the body. The victim’s head hangs down, leading the viewer’s eye towards his torso, where it becomes apparent that his trousers have been pulled down and he has been castrated and dismembered. Above the up-raised left hand a crow is beginning to feast, and at the right and left of the victim two children gawk at the spectacle. Greens of surrounding vegetation, whites of houses in the background, and pale blues of the children’s clothes and of the sky dominate the colour scheme.
Peter Howson’s very public career as an artist began in the early 1980’s as one of the ‘New Glasgow Boys,’ a group of artists committed to bold figurative painting and strong narrative content. His work is generally labeled as social realism and throughout the eighties and early nineties Howson produced canvases filled with the human detritus of the Glasgow underclass: homeless transients, pub crawlers, footballers and fanatics, pugilists and prostitutes. The images he produced and the stories he told were always hard but rarely hopeless. Even as Howson’s own life took a downward spiral of addiction and abuse, a strange light accompanies almost all of his paintings.
A major turn-around occurred for him in the commission he received to serve as a war artist covering the Bosnian war that was then raging. In the course of two trips into the war zone between 1993 and 1994 Howson made a record of the atrocities that characterized the conflict. Many of the paintings, sketches and pastels that Howson produced are exhibited in the British Imperial War Museum. Several caused scandal and were purchased by private collectors. The experience both shattered and re-made Howson and contributed to his re-commitment to Christian faith in 2000.
Plum Grove is one of the major paintings that emerged from Howson’s time in Bosnia. It reflects several important influences on his art. Mention has been made of Beckmann, one of the German Expressionists of the early twentieth century, whose disturbing images of post-war Germany and virtuosic use of colour and intensified brushwork haunted Howson’s imagination. But another influence that profoundly shapes Howson’s entire career, more explicit now in his recent work, is that of Christ and his sufferings. Look carefully again at the painting. What image begins to emerge for you? Of what does it begin to remind you? What does it mean to insinuate this kind of image in the midst of a series on a contemporary circumstance?
Part of the spiritual power of Howson’s art is his ability to implicate Christ’s presence in the midst of human disorientation and dissolution. He once said that he found God amid ‘decadence and decay’ or, in this case, the atrocious. Can we? Or have we become so accustomed to associating the divine with the pretty and the consoling that we miss the Man of Sorrows, whose appearance was ‘marred beyond human semblance’ and from whom ‘men hide their faces’ where he manifests himself today?
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Peter Howson: Plum Grove, 1994, oil on canvas, 213 x 152.5 cm, ©Peter Howson, courtesy Flowers London.
Peter Howson (b. 1958) was born in London, England, but has lived in Glasgow, Scotland, for most of his life. His most recent work includes several series of the Stations of the Cross as well as a portrait of St. John Ogilvie for St Andrews Cathedral, Glasgow.
James McCullough acquired a PhD from St Andrews University in Scotland, having done his work at the Institute for Theology, Imagination and the Arts. Currently he is an adjunct faculty at Lindenwood University in St Charles, Missouri and on staff with InterVarsity Christian Fellowship (USA) at Washington University.
ArtWay Visual Meditation July 22, 2012

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Peter Howson, 1958

The Tempest

Howson was born in London but moved to Scotland at the age of 4. He began as an infantry soldier in the Scottish Fusileers but left to study at Glasgow College of Art. He has concentrated on tough, working class figures and those on the edge of society. As well as being in major galleries his work has been collected by celebrities. In 1993 he was an official war artist in Bosnia. After a long battle against abuse and addiction, as well as being diagnosed with Asperger’s Syndrome, he converted to Christianity in 2000, his faith now being reflected in some of his paintings. They reflect both violence as in JesusFalls for a Second Time, and compassion, as we see in Jesus meets Mary, two of his painting in a series of Stations of the Cross. Judas, 2002 shows him entering into the mind of the great betrayer. Ecce Homo has something disturbing about it and Legionreferring to the man in the Gospels who had the devils expelled from him, something of his own mental fragility and torment.

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Earlier I noted, many times in the past  great painters and writers have had their careers halted by the bottle in the past. William Faulkner, Ernest Heminingway, Scott  Fitzgerald and James Joyce are all in the  Woody Allen movie “Midnight in Paris” and they all were alcoholics.  However, there is deliverance from alcoholism through the power of Christ.

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Peter Howson

From Wikipedia, the free encyclopedia
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For the politician, see Peter Howson (Australian politician).
Peter Howson
Born 1958
LondonEngland
Nationality ScottishBritish
Field Painting
Training Glasgow School of Art

Cleansed, 1994, Oil on canvas, 183 x 244 cm, Imperial War Museums Collection

Plum Grove 1994, Oil on canvas, 213 x 152 cm, Tate Collection

Blind Leading the Blind III (Orange Parade), 1991.

Judas, 2002.

Peter Howson OBE (born LondonEngland, 27 March 1958[1]) is a Scottish painter. He was the British official war artist in the 1993 Bosnian Civil War.

Early life

Peter Howson was born in London of Scottish parents and moved with his family to Prestwick, Ayrshire, when was aged four. He spent a short time as an infantry soldier in the Royal Highland Fusiliers but left to study at the Glasgow School of Art, from 1975 to 1977, and from 1979 to 1981. Here he worked alongside contemporaries such as Adrian WiszniewskiSteven Campbell and Ken Currie, who also worked in figurative art.

Career

His work has encompassed a number of themes. His early works are typified by very masculine working class men, most famously in The Heroic Dosser (1987). Later he was commissioned by the Imperial War Museum of London, to be the official war artist for the Bosnian Civil War in 1993. Here he produced some of his most shocking and controversial work detailing the atrocities which were taking place at the time, like Plum Grove (1994). One painting in particular Croatian and Muslim, detailing a rape created controversy partly because of its explicit subject matter but also because Howson had painted it from the accounts of its victims. He was also the official war painter at the Kosovo War for the London Times.[2]

Much of his work cast stereotypes on the lower social groups; he portrayed brawls including drunken, even physically deformed men and women.

In more recent years his work has exhibited strong religious themes which some say is linked to the treatment of his alcoholism and drug addiction at the Castle Craig Hospital in Peebles in 2000, after which he converted to Christianity.[3] Howson also has Asperger syndrome.[3]

His work has appeared in other media, with his widest exposure arguably for a British postage stamp he did in 1998 to celebrate engineering achievements for the millennium. In addition his work has been used on album covers by Live (Throwing Copper), The Beautiful South (Quench) and Jackie Leven (Fairytales for Hardmen).

His work is exhibited in many major collections and is in the private collection of celebrities such as David BowieMick Jagger and Madonna who inspired a number of paintings in 202.

Howson was appointed Officer of the Order of the British Empire (OBE) in the 2009 Birthday Honours.[4] In November 2010, BBC Scotland aired a documentary named “The Madness of Peter Howson” which followed the final stages of the completion of a grand commission for show in the renovated St Andrew’s Cathedral and also dealt with Howson’s struggle against bouts of insanity.[5]

References

Bibliography

Monographs

  • Berkoff, Stephen, Peter Howson, Flowers (2005)
  • Heller, Robert, Peter Howson, Momentum (2003)
  • Jackson, Allan, A Different Man, Mainstream Publishing (1997)
  • Heller, Robert, Peter Howson, Mainstream Publishing (1993)

Exhibition Catalogues

  • Harrowing of Hell, 24 October – 22 November 2008, Flowers East
  • Christos Aneste, 18 March – 7 May 2005, Flowers East
  • Inspired by the Bible, 6–20 August 2004, New College, Edinburgh
  • The Stations of the Cross, 11 April – 18 May 2003, Flowers East
  • The Third Step, 13 April – 4 June 2002, Flowers East
  • The Rake’s Progress, 12 January – 11 February 1996, Flowers East
  • Blind Leading the Blind, 9 November- 8 December 1991, Flowers East

External links

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A review of the movie “Whatever Works” by an Evangelical. Woody Allen’s nihilist liberalism goes activist Echoing a remark by Malcolm Muggeridge, Mark Richardson at Oz Conservative writes that liberalism is the last surviving extreme ideology, and he gives several example of what he means by this extremism. I added to the thread my own […]

“Woody Wednesday” A review of the Woody Allen movie “Another Woman”

A very interesting review. Eileen A. Joy Southern Illinois University Edwardsville Dept. of English Language and Literature ejoy@siue.edu College of Arts & Sciences Spring Colloquium “Thinking About the University” 9 – 11 April, 2007 Session 2 (Friday, Apr. 11): Staring Back in the Mirror: Professors Consider Their Depiction in Literature and Film “You Must Change […]

By Everette Hatcher III | Posted in Woody Allen | Edit | Comments (0)

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