Liber Veritatis

By John A B Lansdown

Ideally an artwork needs no explanation; the work resting on its own merits. Nonetheless, an account may reveal what the artist wanted to do, what social forces were at work, whether the artist wanted to change society’s perception of the world or if it was simply some hack work made on commission. When the public is confronted with unconventional new work using a Distilled Light mode, the artist should ‘stand in the dock’. Knowing the artist’s intentions lifts the veil of unfamiliarity so that a critic can assess the relevance of a work for themselves.
Artists are scolded for failing to mimic patterns of nature when our real task is to make nature echo the aberrations in ourselves. There are rhythms in the heart and soul not always present in landscapes of this world.

• Language: English
• Publisher: John A B Lansdown
• Release date: Jun 14, 2022
• ISBN: 9781005730031

John A B Lansdown

Formative years in the scenic Lakelands of North West England shaped John A B Lansdown into an outside landscape painter. Making violins at the prestigious Newark School in Nottinghamshire garnered a discipline that rubbed off onto his fine art. Watercolours, sketches and oil paintings interweave his poems and plays. Selling paintings internationally, he exhibits in Bulgaria, Austria, France and England. His prime displacement activity is playing a hand-made cigar box guitar accompanied by a voice allegedly resembling a tormented alley cat.

Book preview

Introduction

‘Blowing one’s own trumpet’ is difficult for some. A comprehensive Curriculum Vitae substitutes the onerous task of verbal self-promotion. This tome conveniently replaces a bulky portfolio of the artist’s work that is customarily presented to a reluctant art curator anxious not to cause offence upon refusal to exhibit kitsch paint daubs of pet poodle dogs with glistening eyes and other recurring insipid subjects. This book is not solely targeted at a gallerist on the verge of despair while deleting thirty emails from the local art society packed full of renditions of wilting chrysanthemums arranged in a jug. A discerning art lover could do worse than spend a couple of minutes browsing through this book written by the artist himself.

Best Regards,

The front cover features;

‘Balkan Tea’, Lansdown 2013, Oil on canvas (600 x 800mm)

Chapter One - British Isles Open-Air

Philosophers perceive reality with mind

Artists comprehend with paint

A continuing thread throughout my vocation, regardless of style or genre of current interest, is a passion for open-air landscape painting. An exact location is not always predetermined beforehand; sometimes I rely on providence, searching as a big game poacher would to nail a treasure from nature.

River Lee No.1 - Impressionist Version

Lansdown 1990, Oil on canvas (502 x 610mm)

Lost wallowing clouds

Posing before my easel

Depicted in oil

My first oil painting on canvas was ‘River Lee’ painted from location in county Cork, Ireland, which gained me admission to the Crawford College of Art and Design in the city of Cork. Roaming the banks of the Lee revealed a scenic pleasant shingle beach where I propped up a canvas using driftwood. Towards the finish of the work, there were countless flies in the oil. It was a nuisance to pull out insects without disturbing the paint film which was barely dry before an interview at the Crawford College. A light ground supported a palette of Flake White, Viridian Green, Yellow Ochre, Cadmium Yellow Medium, Raw Umber, Dioxazine Violet, Permanent Green and Burnt Sienna. Although painted in 1990, I dated the work as 2000 for expositional and commercial reasons. This painting served as a basis for a semi-abstract work called ‘River Lee No.2 - Perceptional Version’, (1990, Oil on canvas, 559 x 609mm) painted shortly after and discussed in Chapter Eight.

Avon Gorge in January Mist

Lansdown 1992, Oil on canvas (508 x 609mm)

From centuries past

Ephemeral in white mist

Bridge stretched across time

Avon Gorge Suspension Bridge is impressive not just for aesthetic value but as an engineering feat. Supporting thoroughfare for centuries including modern heavy traffic, this majestic span has stood the test of time. Upon arrival at the gorge to work at painting, I was frustrated by persistent morning mist. However, lingering haze became a blessing because it facilitated the production of a delicate effect that lent mystery to the painting. A lightly muted ground was prepared before to support Cerulean Blue, Flake White, Burnt Sienna, Raw Sienna and Raw Umber. This restricted classical palette provided an ideal colour harmony. All of the work was completed on location in the Avon Gorge in Bristol, England. I signed this work with my family name. For later works, I use the pseudonym of ‘Lansdown’ which is my mother’s maiden name. Shortly after display in the gallery of David Cross, Boyce’s Avenue, Clifton, Bristol, ‘Avon Gorge in January Mist’ was purchased by a woman from the city of Bath. It is the first painting I have sold.

Buttermere Wind

Lansdown 1995, Oil on paper (190 x 265mm)

Wind batters red ears

Clouds pounding wet grooves in crags

Weightless in fierce wind

Incessant wind in the English Lake District inspired ‘Buttermere Wind’ after hiking up Rannerdale Knotts which lies between Crummock Water and Buttermere. Rannerdale Knotts itself is depicted in another work called ‘Low Fell’ (1995, Oil on canvas, 560 x 740mm). Preferring the shelter of a studio, the artist painted ‘Buttermere Wind’ back in the studio from memory the following day. Though this classical work was not made from location, it is usefully included here as a way to compare with an open air painting from the same view point. Immediately after completing Buttermere Wind, I returned to the summit of Rannerdale Knotts to paint ‘Buttermere Clouds’ (1995, Oil on primed paper, 278 x 416mm) in the next illustration, directly from nature. ‘Buttermere Wind’ uses a basic restricted palette of Bone Black, Flake White, Yellow Ochre and Burnt Sienna spread over an Ochre ground. A small painting knife was used for much of the painting, allowing the ground to show through. Though I normally use a brush, this technique lent the painting vibrancy reminiscent of the fierce squall.

Buttermere Clouds

Lansdown 1995, Oil on primed paper (278 x 416mm)

Palette bumps on head

Shattered glass lights up grey sky

Painting like a child

A sturdy wooden palette being unavailable at short notice, I had the bright idea of using a sheet of glass while preparing to set off by bicycle from Cockermouth to Crummock Water. Upon arrival at Crummock Water, I hiked with painting gear and bicycle up Rannerdale Knotts to just below the summit. This was the same location from which I had made a painting from memory previously; called ‘Buttermere Wind’ (1995, Oil on paper, 190 x 265mm) While working on ‘Buttermere Clouds’, a sudden gust of wind whipped the painting from the ground. As I chased the painting down a gully, the glass palette caught the wind. This sheet of glass flew up briskly into the ether, smashing on impact against the back of my head. The artist was compensated for this ordeal by being privy to a kaleidoscope pattern of shattered glass. A multi-prismed cloud blew around me as I pursued a half complete oil painting. After recovering and collecting shards of crystal to not endanger sheep and wild life, I improvised a blood smeared palette from a plastic bag folded over and held down with some stones. I consoled myself with the thought of ‘suffering for my art’.

Sometime later, a family appeared from the other side of the mountain. A lad passed by informing me that I painted like his classmates. Before I found a clever retort to this barb, his parents intervened diplomatically; saying they were ‘sure the artist hasn’t finished painting yet, Michael.’ The truth was that I had, indeed, completed my effort, and was about to pack up. Unknowingly, their nipper had given me a great compliment because it is the aim of many artists to paint freely with the spirit of a child. It is difficult to unlearn the cannons of aesthetic regulations. Nonetheless the classical palette was used instinctively. Although a grey lighter ground than Buttermere Wind was used, the same basic palette was employed; Bone Black, Flake White, Yellow Ochre and Burnt Sienna.

Newark in Nottinghamshire

Lansdown 1999, Watercolour on paper (247 x 357mm)

Magnificent smoke

Painted as a souvenir

Of days in Newark

This skyline is iconic of the features of Newark; arches of the main approach road, sugar beet factory smoke and the spire of St Mary church. A restricted classical palette was used, consisting of Cobalt Blue Deep, English Red, Raw Umber, Burnt Umber, Burnt Sienna and Raw Sienna. Though the colour harmony was instinctively executed, the chosen hues synchronise with a Chord of Blue-blue violet which is Mode Three of the Distilled Light Hue Circuit used for ‘Roof of St Stephen’ (2011, Oil on canvas (1000 x 800mm) discussed in Chapter Six.

Low Fell

Lansdown 1995, Oil on canvas (560 x 740mm)

Crummock water shines

An inspiration for me

To compose a tune

After cycling from Cockermouth with a rucksack full of painting equipment, the artist explored the shoreline of Crummock Water until a vista was found. The hillock from which I daubed this scene lies along the foothills of Grasmere. With Low Fell behind the viewer, a pleasing vista is presented looking across Crummock Water with the Peaks of Fleetwith Pike and Great Gable in the background. The distinct fell in the centre of the canvas standing between Crummock Water and Buttermere is called Rannerdale Knotts from which I painted ‘Buttermere Clouds’ (1995, Oil on primed paper, 278 x 416mm) ‘Low Fell’ travelled all the way to the old town of Plovdiv in Bulgaria for a solo exposition at Balabanovata House. This work was submitted to Plovdiv municipality as is custom in exchange for hosting the exposition. Upon a ground of muted violet made from Black and Indian Red was laid a palette of Flake White, Bone Black, Yellow Ochre, Burnt Sienna, Ultramarine Blue and Viridian Green. The notation in the foreground was rendered from a spare tube of imitation metallic gold. Though the colour harmony was instinctive before aware of any theory, the chosen hues synchronise with a Chord of Green-green blue which is Mode Six of the Distilled Light Hue Circuit used for ‘Schönbrunn Schloss’ (2010, Oil on canvas, 700 x 500mm) discussed in Chapter Five.

Having written some fiddle tunes to play primitive rants on a rudimentary violin made from plywood and a beech wood chair leg, I thought to bring together the two art forms of music and painting. One of these violin melodies was ‘Low Fell’ placed in the foreground of the painting - hence the name of the painting (not to be confused with the small fell depicted in the centre named Rannerdale Knotts)

Melbreak

Lansdown 1996, Oil on canvas mounted on board (453 x 1013mm)

Cycling in frost

To paint this Ying-yang mountain

Of pure harmony

Melbreak is the distinct mountain on the right with a shadow that reaches Crummock Water. The artist cycled with all his art equipment from Cockermouth to reach Low Fell at the west end of Crummock Water in the English Lake District. For two cold days the canvas was propped up against an icy rock to paint this vista. After regularly losing all sense of feeling in hands and feet, I was relieved to warm up on my bicycle.

The mountain is illuminated on one side and dark on the other, thus casting Melbreak into tonal balance. Melbreak embodies the pictogram of harmonious Tao that is denoted by the distinct Ying-yang symbol which literally means ‘dark side of the mountain - light side of the mountain’. ‘Melbreak’ uses a restricted low-key palette of Bone Black, Flake White, Burnt Sienna and Yellow Ochre. The format of the canvas conforms to a classical golden ratio of (0.618 x 2) + 1 = 2.236. In layman’s terms, such a format can be visualised as two squares sharing the same golden proportion between them in the same manner as the Parthenon in Athens was designed.

Upstream from Newark

Lansdown 1999, Watercolour on paper (252 x 356mm)

Grazing cows to right

Modern industry to left

Trent River splits time

A wander beside the Trent upstream from Newark took me along a dyke on the other side of the river to which I am accustomed. Climbing over a wooden fence offered unrestricted views of a pleasant curve in the river featuring a fence entering into the Trent against calming reflections of poplar trees and the Sugar Beet Factory. The theme of ‘Upstream from Newark’ is the Trent dividing present from the past. A flowing river splits modern industry epitomised by the Sugar Factory, from a rural past personified as a pastoral arcadia of grazing cows at the right bank of the river. A restricted classical palette was ideal to emulate the colour harmony of nature in the Newark region; Cobalt Blue Deep, English Red, Raw Umber, Burnt Umber, Burnt Sienna and Raw Sienna.

Newark Castle and St Mary

Lansdown 1997, Oil on canvas (604 x 910mm)

Rendered at Newark

Afore slick car park was built

Now autos block view

The artist wanted to do a painting of the impressive Newark Castle from a location earmarked for building that would later hinder the view. A bulldozer was shifting the mounds of earth seen in the foreground as preparation for a car park completed in 2000. Newark locals may realise this painting is topographically incorrect; from this viewpoint, the pinnacle of St Mary is directly in the centre of the painting. Offensive symmetry was thwarted by shifting the spire to the left along a golden proportion of the canvas. ‘Newark Castle and St Mary’ is composed upon a ground of muted green followed by a palette of Yellow Ochre, Bone Black, Burnt Sienna, Raw Umber, Flake White, Ultramarine Blue and Cerulean Blue, with highlights of Indian Red and Cadmium Yellow Medium. Colour harmony is instinctive but close to a Chord of Yellow which is Mode Ten of Distilled Light Hue Circuit as described for for ‘St Stephen’s Cathedral’ (2010, Oil on canvas, 460 x 380mm) in Chapter Five.

Winthorpe Harbour

Lansdown 1999, Watercolour on paper (239 x 370mm)

A huge concrete barge

Trees emerge from ancient keel

Slumped working no more

Trent River hosts an artificial fresh water harbour at Winthorpe in the county of Nottinghamshire. Meeting the same fate as the harbour, a colossal concrete barge was abandoned to the elements allowing trees to root from the bilge. ‘Winthorpe Harbour’ relies on a restricted palette of Raw Umber, Raw Sienna and Cobalt Blue.

Newark Sugar Beet Factory - Slurry Pond

Lansdown 1998, Oil on canvas (247 x 348mm)

Monstrous white fumes

High flying angels cry out

Such unholy smell

Newark sugar beet factory served as a reliable motif for many of my landscape paintings of the Nottinghamshire region in the east midlands of England. This work was done open-air on the outskirts of Newark. Acclimatising to festering stench took a while since the pond in the foreground serves as a slurry pit for sugar beet waste product. Dark lines in the foreground represent the remains of trees that have succumbed to the sugar swamp. ‘Newark Sugar Beet Factory - Slurry Pond’ was painted upon a lightly muted Ochre ground prepared for a palette of Viridian Green, Ultramarine Blue, Burnt Sienna and Yellow Ochre. While I was working, I chose two complimentary systems to work together; Blue with orange and Bluish green with reddish purple. I was not strict with my method and the purple tends towards blue. Though painted with a different formula, the work resembles the harmony previously used for ‘Low Fell’, (1995, Oil on canvas, 560 x 740mm). The chosen hues synchronise with a chord of Green-green blue which is Mode Six of the Distilled Light Hue Circuit used for ‘Schönbrunn Schloss’ (2010, Oil on canvas,