A picture showing the progress will appear on this blog soon.
This new painting will make a pair to go with the now renowned “Trafalgar
dawn“, a view from among the crew onboard HMS Victory at 06.05, Monday the
21st of October 1805 and based on eye witness reports and research.

You may recall, “Trafalgar dawn” was painted some years ago as part of a
series commissioned for HMS Victory,
http://www.frickers.co.uk/marine-art/trafalgar_dawn.html ?

That series includes the now equally well known “I have urgent dispatches”
http://www.frickers.co.uk/marine-art/urgent_dispatches.html

Both are available as prestige quality signed limited editions.

The new painting is as yet is unsold unless someone makes Gordon Frickers an offer he
can’t refuse!

This new marine painting is intended to go next year for exhibition
following invitations to exhibit at the European Parliament (the first
marine artist ever invited) and in the City of Plymouth where much research
was carried out.

It is also being suggested “Trafalgar dawn, the French perspective“  is
shown at the Musee Maritime, Paris, also a venue of research, but as I am
not yet know there only time will tell!

This new original painting, 12″ x 48″  shows a scene onboard the French
flagship “Bucentaure” at about 06.20 on Monday the 21st of October 1805
because the French reported they sighted the British fleet  slightly later than
06.05 a.m.

We have not yet decided the final title of this new marine painting.

It took  ages to sort out the British fleet.

Much of the information was conflicting, new research was able to resolve
most of the issues.

Dozens of hours of research, reading, drawing diagrams and cross checking
was required aa well as additional visits principally to “Victory” and the
Musee Maritime..

There were quite a few surprises too including the Official report of the
Admiralty Committee of 1913 got several ships in the wrong place for 06.00.

They failed to notice the British were very roughly in 4 columns at dawn and wrongly placed several ships.
Thus some of the ships logs are wrong? What a bunch of navigators?

Not that they will worry about that, still it would have been a fun debate!

The moment when Gordon Frickers finally had the British fleet marked out as accurately as
possible and stood back was quite moving.

He realised he was the first person to see the sight since those who actually
witnessed the view.

~

The painting of “Nelson boarding Minerve at Gibraltar” is finished except for
some tidying up and the running rigging on Minerve.

This painting fits well our original brief, re the lesser know but
significant parts of Nelson’s career and as a bonus shows 2 of the ships in
which Nelson served.

This story was the prelude to Nelson becoming seriously famous.

This story of which this painting represents is likely surprise people when
they know the story which reads a bit like a “Boys Own” adventure.

Following diligent research, Gordon Frickers found  this part of the Nelson story is barely
mentioned and not at all in many of the books about Nelson.

In essentials, Nelson, then a commodore, was ordered by Admiral John Jervis to supervise
the British withdrawal from the Med which Nelson described to his wife as an
important but not dangerous service.

The frigate Minerve, within days of leaving Gibraltar, in company with another frigate Blanche,
was in a fierce night action against 2 Spanish frigates.

The story goes the ships paired off, when hailed by Minerve her opponent replied, this is a
Spanish frigate and you may begin when you wish!

The Spanish ship was gallantly defended during a fierce half hour action which left the victorious Minerve but quite damaged.

The Spanish commander turned out to be a direct descendant of bonnie Prince Charlie.

Nelson was very impressed by both the defence and the blod line so most irregularly, returned the vanquished Spaniards sword.

The next day the 2 prizes had to be abandoned to escape a superior Spanish
force which almost caught the 2 damaged British frigates.

The British frigates lost their prizes.

Abandoned  prize crews included one Lt Thomas Masterman Hardy.

Nelson completed the rest of his mission during and immediately after which
he showed some of his finest personal qualities.

On returning to Gibraltar he learned a large force of Spanish ships of the
line had just past Gibraltar sailing West.

He pursued; in turn pursued by 2 large Spanish war ships one of which almost
caught Minerve.

Through out this episode in Nelson’s story, an episode not even mentioned in  many ‘Nelson’ books, Horatio Nelson demonstrated many of the fascinating qualities which lead to his eternal fame.

An example being while pusued by the 2 Spaniards, both much stronger ships than the frigate Minerve, a man fell over board.

Upon hearing the dread cry “man over board”, Lt Thomas Hardy gallantly rushed up from below and jumped into the little ‘jolly’ boat which went to look for the lost sailor.

The poor fellow was not found, worse, when the jolly boat tried to pull back to Minerve it was soon apparent the jolly boat was dropping further astern.

Despite the oncoming Spaniard, Nelson exclaimed “by God I’ll not loose Hardy” and ordered the mizzen topsail of Minerve backed to slow her down.

The Spaniard, suspecting a trap, also slowed to allow her consort to catch up.

The jolly boat and her people were recovered, little wonder the men loved Nelson, Minerve escaped.

One of Nelson’s dictum’s was “often the boldest course is the best“.

Not sure if the Spanish fleet were going to head North or West Nelson  was
prepared contrary to orders to abandon his post and sail West to warn the
British in the Caribbean or North to join John Jervis’ fleet on watch off Cadiz.

As luck would have it Minerve sailed right into the middle of the Spanish fleet – in thick fog.

Skillfully extracting herself, the following day Minerve found the British Fleet, Nelson reported to Jervis then rejoined HMS Captain (also shown in this painting).

Very soon after there followed the battle now known to the British as “The battle of Cape St Vincent” during which Nelson disobeyed orders and created “Nelson’s patent  bridge for boarding first rates”; but that is another story and maybe another painting…

The next marine painting Gordon Frickers will be preparing will be a scene from the voyage of the French explorer Laperouse showing the day he met with ‘The first fleet‘ at Botany Bay and that painting to be followed by a new version of the ubiquitous HM schooner Pickle.

This is only a brief account of an adventure in the story of Horatio Nelson.
The full account is even more remarkable.

Gordon has agreed to write more about these two historic paintings soon, discussing the details of the paintings, outlining the finer points of his research, much of it previously unpublished , giving us greater insights into a facinating period of naval history.

If you think I can help you in any other way, don’t hesitate to ask.

Email with your phone number and I’ll give you a call.

I’ve been asked, I would paint the BI ship “Chintala”. ~ Chantala ~ I have a phone call coming in later today asking ?

I have painted quite a few BI ships including one for Robin Knox-Johnston who started his amazing career and adventures on Dumra.

You can see examples of my merchant ship marine paintings on web page

http://www.frickers.co.uk/marine-art/shipping.html

This page includes Dumra painted for Robin Knox-Johnston who said after commissioning the now famous painting Roaring Forties, “I’d love another Frickers painting ” and bless him was true to his word hence Dumra and The Clipper Way.

Do you think this enquirer means the BI ship Chantala or Chintala?

This gentleman wrote that his father sailed with the British India Steam Navigation Company Ltd.

I have 2 good books on BI, one book  book lists:

1. Chantala 1920 – 1941 – P.26, 149

2. Chantala, 0950 – 1971 P. 26, 190 ~ carried 31 cadets ands deck crew, 12 passengers,

Built Barclay Curle, launched Sept 49, delivered as a cadet ship with her sister Chandpara, she was intended to vary her routes so had only had 13,000 c f of refrigerated space.

Chantala introduced the Company Britannia badge on her soft stem which became traditional to the last BI  ships.

There was great rivalry between the 2 cadet ships so the company took care that they never berthed in the same port together.. Stories and anecdotes of the cadets are legion, mostly growing with time and watering.

Chantala was in her early years employed Britain – Australia

In ‘59 both ships were altered to carry 52 cadets.

And employed on the East and South Africa and Indian routes

Both sister ships were sold Apr ‘71 to Pacific International Lines Ltd of Singapore Chantala became Kota Sentosa, scrapped 1974 by China National Metals.

Related web sites include:

http://www.theshipslist.com/ships/lines/bisn.html

http://www.biship.com/

http://www.shipspotting.com/modules/myalbum/photo.php?lid=1071623

http://www.merchantnavyofficers.com/allbi.html

http://www.rakaia.co.uk/downloads/chantala-data.pdf

If you know any other good related sites kindly let me know, thanks, Gordon.

The new marine painting “Racing Yachts” featuring Swan Nautor type yachts is almost complete.

Based on my experiences producing the Yachting World Prize for previous Swan European Regattas the new painting will be offered for a modest £1,000.00

The Gordon Frickers Yachting World prize caused quite a stire and was much admired by the competitors.

http://www.frickers.co.uk/marine-art/alvine_xii.html

One recipient was kind enough to say (and allow me to quote him) “I have won a few prizes in my racing career but I can assure you this will be one I treasure most“, M.J. Leadbetter.

More about Mike Leadbetter’s marine painting on page ~ http://www.frickers.co.uk/marine-art/k_6888.html

Anyone know the name of Mike Ledbetter’s yacht, I have mislaid my record of her?

(UK) 01865 522435 (International: +44 1865 522435)

I made good progress today on the Gibraltar and the small Cattewater marine paintings, both are historical port scenes.

The Gibraltar painting now has most of Minerve’s crew painted Horatio Nelson is now recognisable (just!) and the beginnings of the back ground details.

The Cattewater, Plymouth (small version) today had the final paint applied to the sky and further work completed on the sea hills and buildings.

Further work was also carried out on the hull of the large sailing ship lying off Phoenix Wharf, the ship will become the famous clipper “Samuel Plimsoll“  which in turn was named for and launched by the very remarkable Mr. Samuel Plimsoll.

Both these new marine paintings, shown in earlier blogs this year will re appear ion this blog soon in almost finished mode.

It will be interesting to see if the follow Talthybius and sell in less than a month, see blog entries 07.02.10 and 03.03.10 ~ anyone taking bets?

On the subject of which here is in the best Blue Peter tradition, one I made earlier, a pic of a Swan painting I finished last year and which I intend to sell ~

Make me an offer I can’t refuse and it is yours?

You can pay for any unsold picture on the web site securely online using PayPal on page

http://www.frickers.co.uk/blog/making-a-payment/

enjoy!

I am yet to find a camera or film that always makes a good job of this even under ideal conditions and worse, some paintings are more difficult to copy than others, why?

I have just re photographed two of the largest major marine paintings in my collection, “Ice Maiden” ( see page http://www.frickers.co.uk/prints.html for a limited edition copy) and “Yamaha“, also the new painting “Racing Yachts“.

So where is the problem?The problem is accurate colour, cameras, Photoshop version nine billon or what ever it is up to can’t hack it.

More of this issue and bit of a giggle below.

~

First the new painting Racing Yachts is nearing completion, based on no particular event, rather memories of the times I worked with the Rolex Nautor Swan European Regatta Fleets to provuide a painting of the winner for presentation that evening.

There are several examples from those days on the web site, pages http://www.frickers.co.uk/marine-art/alvine_xii.html and http://www.frickers.co.uk/marine-art/k_6888.html will give you a taste.

If you taste is for cool art, have a good look at Ice Maiden.

Now, here is a fabulous large painting 762 x 1016mm (30″ x 40″) and an ideal gift, inspiration the for  professional woman.

You may recall, the Maiden Team were the first all women team to race round the world?

They effectively broke a “glass ceiling” by winning two legs of the race.

This painting was requested by the National Maritime Museum, Greenwich for their racing yacht collection but as it is such a stunner I have managed to keep it thus far for special exhibitions.

The photograph on the web site was taken probably 18 or more years ago and was digitalised 11 years ago hence time for an update!

That said, make me an offer I can’t refuse and I’ll think about selling “Ice Maiden“.

Yamaha, this painting also has special story.

It is one of a pair I produced when Yamaha won the Whitbread Round the World Race.

The pictures were painted because of a commission from Mitusi Machinery (who were the Yamaha importer).

The (Japanese) directors wished to give the painting to the President in Japan as a token of success, they called the painting “One Race One Victory”.

I interviewed the crew and inspected the boat the day they finished at Southampton then prepared two paintings.

The Company duly bought one for their President but refused to be tempted by the other for the UK offices.

Consequently I loaned this powerful marine painting first to the Royal Southampton Yacht Club and later to the Mount Batten Water Sport Centre from which I recovered the painting last November and at last we have had a day on which I can photograph this fine marine painting.

I intend to keep this fine example in reserve for significant exhibitions where I wish to show the full force of my work, unless some one makes me an offer I can’t refuse?

I hope not it is hard work producing paintings like this!

~

On the subject of photography…

Speaking with a local, Great you cry, ask him! Err yess…

Not so simple.

This part of the problem is my friend is expert with photoshop which has effectively replaced  the role a darkroom used to fulfill.

I was taught at Uni, best to do the work infront of the camera not behind it.

Does this rule still stand firm?

My original training included photograph to museum qualities (yes I have City & Guilds 344 and a degree) so you can guess I know more about this than your average happy snapper.

Photographing marine paintings, any paintings, can be difficult for many reasons.

Anyone who says differently does not fully understand the issues and is in my view likely to be settling for second best or is copying paintings which copy very easily…

Some colour combinations are very difficult for cameras to copy.

This is not important for 90 % of photography.

As long as the result is pleasing it is acceptable.

This is reflected in the experience we have all had, the photo looks good but it is not as we remember the colours.

Of course usually the result is not critical, not compared with the original scene.

However in subjects such as still life (I worked on many including in advertising studios in Central London) and paintings the colour, contrast  and tonal  balance is critical, food clothing are obvious examples.

You can probably think of more examples?

Light direction, balance, colour temperature, the lens, the colours of the picture and proportions of those colours, any cast in the camera or film (most are not balanced) any back ground (which some people later crop out thinking wrongly it has had no effect); all plus other factors can and usually do affect a critical copy.

We used to test film  batches then filter to compensate, this with the full co operation of Kodak Professional Department.

This time I with my paintings was able to get quite close to the original colours having very carefully chosen my day light and the spot to photograph the paintings, a place with very bright shade, lots of reflected light and a slightly warm colour to the light.

One of the reasons I paint is because one can “do” more with colour, painting, than is possible with photography.

It is also possible to paint, anticipating how the picture will reproduce, allowing for the colour shifts so the final prints look superb.

Unfortunaely the converse is possible and we have found a number of paintings simply would not print well.

There was one exception where the colours are wildly wrong, a super yachts at dusk scene.

The result is highly miss leading when compared with the original unfinished painting.

My painting “Red Bales” is another example, http://www.frickers.co.uk/landscape/red_bales_5.html.

in that case the camera using a Kodak  100 ASA print film has failed to pick out the subtle orange colours, turning them red, or picked out the oranges at the expense of the browns and Khaki colours.

Re photographing with different film failed to solve the issue.

While most camera and printer  manufactures publicity assure us the results  the results from their equipment will be marvelous they also when producing new equipment tell us the new is even better, why?

I could write a lot on this subject, the problems cameras and camera lenses encounter,  why cameras can’t record true colour and what the manufactures are doing about that … but now is not the time, later maybe.

Anyway I tried to discuss this with our local expert.

He absolutely insisted an accurate exposure is not important because ~ you can do everything in Photoshop!

Better, he offered to set up my monitor for a mear 100 Euros, what a nice chap.

He also assured me that I know nothing about reproducing paintings for web sites and printing;  that he does not know plus he knows heaps and heaps that I don’t know and I can buy this info from him: I’m so lucky,  wonderful!

He also assures me absolutely that he can make perfect prints from any good desktop printer, wow , brilliant so all that time and money I spent on giclee and developing Prestige prints  is now obsolete as is my printer’s life time printing and 250,000 investment in printing equipment, fabulous.

Over the years besides photographic printing, I have worked with several excellent and one bad printer including national names like De Montfort and Solomon and Whitehead so have some experience to contribute.

Or have we missed some thing here?

Slight problem… if the original exposure is “wrong” you will never have a fully processed image so how can you hope to produce a better image on photoshop?

Maybe he knows some thing I don’t?

Maybe one of us is wrong?

Maybe the truth is some where in the middle ground?

Unfortunately with a very adamant person a discussion is impossible.

So with whom can this be discussed rationally with both parties contributing their experience, maybe my excellent printer at Adaptgraphics of Plymouth also having a say?

He has after all, 45 years experience of printing.

I simply don’t see how photoshop can be more than a damage limitation exercise in this case where as close to the original image is required.

I think there is here a fundamental miss understanding of how cameras work and how accurate image reproduction can be.

I’d like to be proven wrong.

To expect to make a perfect image from a poor exposure which inevitably means  poor colour, saturation, sharpness etc.

Sure Photoshop works well when copying is not critical but surely it must work better given a “best possible” exposure.

My friend has a good eye for these issues however having seen work he accepts as perfect, I disagree and say it is at best no more accuarte than my results.

Possibly a physiological is included problem here, I remain open minded and open for further discussion.

Ideally I’d like to talk with specialists of a major camera manufacturer as their role has largely superseded that of film emulsion manufactures.

So, sweet dreams…

I’d like to discuss the copy issue  with Canon Camerashoi’s cameras I have mostly used for soem 40 years, but with whom?

There is a selection of books we can highly recommend because

A. they feature Gordon Frickers marine painting and

B. they are excellent book (not that we are biased, much), see page

http://www.frickers.co.uk/marine-art/trafalgar.html

The books can be ordered via that page from Amazon.

The original of Trafalgar Dawn was sold about 15 years ago to a private collection however the owner has indicated he is now open to offers.

Offers can be made via Mr. 10% on this web site!

More affordable, Trafalgar Dawn is available as a superb quality numbered, signed, Prestige edition on printed canvas, from page
http://www.frickers.co.uk/prints.html
where it can be ordered 100%  securely using Paypal or by a direct bank to bank transfer.

The new Trafalgar Dawn is in an advanced stage of research and pre sketching following visits to research at Portsmouth and in Paris last December (as mentioned in this blog, early December).
As for

Nelson at Gibraltar, you can follow the development of this painting on this blog.

The painting has evolved from a drawing Gordon Frickers  made one evening in 1998 while in the member’s lounge of the Royal Plymouth Corinthian Yacht Club.

Gordon was a very active member of the Royal Plymouth Corinthian Yacht Club for many years and the club has 2 magnificent marine paintings of his in it’s collection.

One features the Royal Yacht Britannia HRH Queen Elizabeth disembarking, to visit Plymouth, the other shows a typical Spring Series race of the period and is very rich in details.

That original sketch was intended as an idea for a painting of the French navigator and discoverer Laperouse entering Botany Bay.

The Laperouse painting is an other currently under development after a long interval.

Gordon was researching for the Laperouse painting and Nelson at Gibraltar last November at H.M. Hydrographic Office, Taunton,  and another reason he was in Paris and at the Muse de Laperouse, Albi (Laperouse home town).

A friend of his, Chris Boddington former very successful lawyer and a skilled painter in his own right, saw the sketch last summer and suggested it would work well as a painting of Nelson transferring from HMS Captain to HMS Minerve at Gibraltar so guess what?

Since the attached pic was taken, the composition and colouring have advanced significantly.

There will be a new blog entry on this painting of Nelson and Gibraltar  in the next few days.

~

Also currently for re sale, given an offer they can’t refuse,  by clients of Gordon Frickers are the following Marine Paintings, several quite famous,  (by the way we should mention, prices often with paintings are the reverse of most cars so re sale prices are likely to be considerably more than the vendors paid or the current price of new paintings direct from the artist):

“H.M. Schooner “Pickle”, carrying the news of the Battle of Trafalgar”

“Nelson’s Column”

“Trafalgar Dawn”

“First Shots, Trafalgar”

“Nelson’s Pickle, first with the news”

“Ferriera” ex “Cutty Sark”, “Last Departure” (mentioned on this blog, 27.01.10)

~

Another  email was an invitation to go on a Dutch gallery web site ( for a fee).
The site seems to feature mostly Russian artists, some quite good.
It has no marine artist.
It did have an interesting link to a gallery in California, that set Gordon thinking…
He does not  have a list of galleries which might be worth approaching, should he have one?
Can you recommend any galleries?

—– Original Message —–

From: AP

To: Gordon Frickers

Sent: Thursday, January 28, 2010 6:23 PM

Subject: For and against the face-veil

By Indlieb Farazi

A French parliamentary panel has recommended that face-covering veils such as the burqa or the niqab be banned in public insitutions such as hospitals and schools. The decision is the result of a six-month inquiry into full veils, after Nicolas Sarkozy, the French president, said they were “not welcome” in the country. Here the issue is debated by Hadiah Ahmed, a niqab-wearing Muslim, and Shaaz Mahboob, vice chair of British Muslims for Secular Democracy. ‘THE NIQAB IS PART OF MY IDENTITY’ Hadiah Ahmed, 30, is a full-time mother of two in Manchester. She previously worked as an interior designer in London.“I am a Muslim woman, born and bred in Yorkshire. I studied in English schools, furthered my education to degree level and have worked with celebrity faces. I changed my whole lifestyle for my religion as it was the way I wanted to live. I started wearing the khimaar (head scarf) and jilbab (a long dress-type cloak). A good few years ago as I started to practise Islam more, and it states in the Quran: ‘And say to the believing women that they should lower their gaze and guard their modesty.’ (24. 31). “Targeting the niqab is just an excuse to target Islam, afterall why is it that Christian nuns are not pinpointed for the way they dress?” Hadia Ahmed It was solely my decision, and after all, we live in Britain, a place where we have freedom of speech, freedom to live how we want to live!!I can remember when I first went out in my hijab (Islamic dress), how people were staring at me and calling out things like, “You bomber!” It was quite funny how, before I started wearing my hijab, men would whistle and make comments and now it was the total opposite.  It’s so strange how people perceive you just by what you wear even though you’re the same person from within. I found that people were rude, talking to me as if I wasn’t familiar with the English language and as if I was stupid. Sometimes it use to annoy me so much as I was educated in Britain, paid my taxes and yet I was being told to go back to my own country!! Hello, I was born here!! But now I just laugh and think that it’s so ironic. Three years ago I went for pilgrimage to Mecca for Hajj and there it was when I decided to wear the niqab (a veil which leaves only the eyes uncovered). When I came back to England I kept on my niqab and the comments just escalated. Years on, I still get the looks and the comments. However, things are becoming increasing harder for a Muslim woman wanting to practise her religion. In my opinion targeting the niqab is just an excuse to target Islam. After all, why is it that Christian nuns are not pinpointed for the way they dress? Or that it’s OK to wear less and for women to be degraded and seen as sex symbols, but if someone wants to cover up and protect their modesty, then there’s a big uproar? I, as a Muslim woman, should have the right to wear what I want without any question as to why I want to wear it. It’s my identity, it’s who I am. We are a hard-working family trying to practise our religion whilst living in a Western society. In my opinion governments should use their efforts wisely to try and promote unity so that religion and society can go hand in hand, so that we can live in peace.” This choice of garment is not perceived as modest, rather as deceptive and suppressive. Imam’s who point out it is not directly required by the Koran are some times threatened. One in Paris was recently threatened with death while in his own mosque by a gang of 80 and called a Jewish Imam. There is no place in any civilized society for death threats to people who you don’t agree with. Such actions belittle Islam and proclaim it as dangerous and suppressive to liberty, enlightenment and progress. If that is what Islam is, then yes there is going to be trouble, like nothing you have see. As Islam sows, so it shall reap. In the words of a Dutchman I spoke with recently “we will resist”. The fundalamentalist would earn more respect if they devoted their energies to helping their less fortunate poor and sick, to honest education and personal improvement. But that does not suit the Imam’s who’s power they misguidedly think rests on control of other people. These clothes are used by terrorists and prevents honest people identifying the wearer and seeing their facial reactions a very important part of communication. Christian Nuns… ~ no comparison. I don’t like the Chatholic Church however I appreciate nuns do not cover their faces and perform much useful and charitable work. We have some other dotty religious orthodox in Britain and France of various religions, who wear quaint cloths. Differences are they don’t hide their faces or wish to convert all Britain, France and Europe to their religion by any means possible. This latter point is exactly what many Islamist are working towards, Islamic extreemists are simply the least patient of them. It is no secret, see for yourself by searching the Internet or living as I have with Muslims in France. She previously worked as an interior designer in London. ~ and now? Does she sponge off the state, the British people? Expecting them to subsidies her life style, most of these “religious” women do… It has an adverse effect on Their fellow Britain’s and they know this. The British also are increasingly aware it is no secret that the aim of Islam is to convert all Europe to their ways. “I, as a Muslim woman, should have the right to wear what I want without any question as to why I want to wear it. It’s my identity, it’s who I am. ~ yes, until it becomes anti social. We do not permit nudity or breast or penis exposure either, there are limits and rules in our generally liberal and tolerant society. We are a hard-working family trying to practice our religion whilst living in a Western society. ~ OK, good luck but as you have just said, this is Western Society and heartland of it at that! You must respect our rules, laws and ancient culture which have taken us over a thousand years to win and develop or forfeit our hospitality and friendship. In my opinion governments should use their efforts wisely to try and promote unity so that religion and society can go hand in hand, so that we can live in peace.” ~ I completely agree. However, this is a Western Society, more, it is Britain, Old England and it too has a right to have it’s institutions and traditions respected so start showing some respect and appreciation…. ‘THE NIQAB HAS NO PLACE IN ISLAM’ Shaaz Mahboob is the vice-chair of British Muslims for Secular Democracy, a charity which promotes religious understanding and addresses prejudice against Muslims. “Discrimination of any form is considered unacceptable is all civilised societies. Shaaz Mahboob believes the niqab should not have a place in civilised Western societies The burqa or the niqab does just that. It allows one person to remain anonymous during face-to-face communication, thus depriving the right of the other to reciprocate whilst registering the changes in facial expressions, which is vital in such communication, in conjunction to voice that is used for everyday communication.Whether in public offices, educational institutions or out on the streets, the disadvantage to those who are required to deal with women covered under a niqab or burqa is immense. Furthermore, to all the men out there, it is insulting since it implies that every man on the street would somehow get aroused by the sight of a woman’s face and in therefore to protect these women, they must be put behind a suffocating layer of thick clothing. This might be true for certain societies where men rarely get a glimpse of women’s faces or skin altogether, and any such sight might awaken their natural instincts. Whereas in Western societies, especially within the French society, this rationale does not hold much weight since members of the public are exposed to significant display of the skin of the opposite sex, which perhaps renders them immune to any such mental state where they would readily pounce on a woman upon seeing her uncovered face. “Not knowing whether an individual amongst them is a man or a woman due to their attire is deeply unsettlig“ Shaaz Mahboob The argument put forward by individuals and groups that somehow covering of women’s face is a religious obligation for the reason of their safety from the lewdness of men, falls flat on its face when recalling the etiquettes during Hajj.It should be remembered that during this holiest of pilgrimages, worldly pleasures and distractions have been removed by the Almighty, thereby allowing the pilgrims to concentrate on their prayers and associated rituals. During the Hajj, Islam forbids women from covering their faces, whilst at the same time removes segregation on the basis of sex during the days that men and women, who are otherwise strangers to each other, spend many days in close proximity to each other. No wonder even amongst the vast majority of women who do choose to cover themselves, only a fringe element finds the niqab or burqa a religious obligation, while the rest are content only with a hijab. Whether it’s security at airports, identification in banks or during job or dole (income support) interviews, it is the right of the authorities and businesses to be certain of who they are dealing with on the basis of identity and communication. Furthermore, it is perfectly reasonable that the general public feel reasonably secure about the persons sharing the same public sphere. Not knowing whether an individual amongst them is a man or a woman due to their attire is deeply unsettling and any such anxieties must be addressed by the relevant changes to law. Burqa or niqab neither has a place in Islam nor should it obtain a place in civilised Western societies where women are equal to men and public safety of all is paramount.

The offer came about thanks to MEP Brian Simpson with out who’s appreciation of my work this probably would never have happened.

As far as I know I am the first marine painter to be invited, the first artist from Plymouth to be invited, the first artist from Midi Pyrenees, the first from the Tarn, and certainly the first from little Itzac!

As per in my December email, I finally sent a  list as requested of pictures and of course I had to work out sizes and which frames I have that are usable thus what needs to be ordered.
It has been quite an effort to sort through the paintings and frames here, catalogue, label and re store all.
At the risk of stating the obvious, I am very pleased this task is done.
This will also be helpful given future exhibition offers.
I am slightly surprised to find how many fine marine paintings and French landscapes I have here.

It is unfortunate that The European Parliament has so little space, only 31 1 x 2 metre boards.
I could easily be sending the European Parliament another 25 medium sizes pictures to make a very fine display into a truly exceptional showing.
Dates
You may think the following  sounds like a good opportunity to be topical?
I have recommend we show my work during either European Sea Week (main day 20th May) or
IMO World Maritime Day, end of September,
If possible, I’d prefer May as September will be a busy month for big classic yacht regattas and yacht shows on the Cote d’azure all of which this year I’d like to see and paint.

In any event, I remain delighted to have the offer, a very big thank you to Brian Simpson for getting me this far.

I hope and will work for a showing, the very best I can to give, a memorable, popular and prestigious exhibition which people can be proud of.

On the subject of which today started with a message from a fellow painter.

Of his painting he wrote: “Work not going too well. I suppose I am trying to be too clever“,  ~

In my view, nothing wrong in trying to be to clever.

It is pushing the limits and I think thus were new concepts and formulae are found.

Some times I do see some painters being overly academic or over complicated but there again the balance is sooooooooooo difficult to find…

I am reminded of Francis Pratt saying “good painting takes time, great painting takes longer“.
I find from experience and as I look ahead, this is a useful though tough mantra.
I find other visual references including visits to similar scenes, books and photo help stimulate the progress with new work.

What does it take to produce great paintings?

One of the benefits of working at Itzac is we artists here some times discuss each other’s work.

Not so helpful when one did not ask for an opinion but a small price to pay!!!
Alternatively, displacement activity can relief stress and clear the mind, a great reason (in my opinion!) to have a “petite Amie”.

I am all to aware how quickly the years are passing and I have entered the region of maybe tomorrow I die.
Of course I might live to be 90 plus but with so many people saying “it will be worth  more when you are dead” I wonder if the negative vibes might affect my health!?
I find this adds a new sense of urgency.
Thus more and more I wish to produce my best work and not muck about with more experiments, tourist painting and more “learning”, rather to apply what we know is already in me.
Happily I have produced a few famous paintings, “Roaring Forties“, “I have urgent dispatches“,  “Last departure” among them and many others meaningful to some people.

The first 2 mentioned,”Roaring Forties“, “I have urgent dispatches“, are available as time limited, numbered, signed Prestige editions from this web site ~ ask for details?

“Roaring Forties” is co signed by Sir Robin Knox -Johnston so doubly rare and collectibles.

~

The Cattewater sketch one of a group of marine paintings on the go at present subjects including a new Trafalgar Dawn, Laperouse and super yachts (more of the others during this month) is slowly turning into what I hope will be marine art.

It is a new painting journey ~ The basic design is now complete.

Many details remain to be worked out in particular the people who will inhabit the painting.

Next is to begin to put down the colours I envisage and find how to make them best work together.
The moon rise will be based on those I have witnessed many times over the Cattewater and the most beautiful moon rise I have ever seen, last year from the beach at Hossigur.
“Take longer” ~ The idea began to register as a possible painting some 15 years ago and gained real momentum over the past 3 years.

The final art work is still a long way off in terms of hours applied and days that slide by partly filled with distractions.
I begin to regard even important things like “getting organized” as displacement activity”…
Communicating with friends and prospective clients remains as ever one of my top priorities, very important, people first.
However my aim is to try to produce paintings of enduring worth.

What makes a painting, of enduring worth?

~

My mate asked about the Paris trip?

It is on this blog (December2009) including photos which if given a click, thanks to my brilliant web master Dr. Michael Baker and Wordpress, magically enlarge, enjoy.

Press on mates, the days, hours, minutes are precious.

Wishing you all the best for the new decade, health, prosperity, friendship and love,

Paix, Joie, Santé… bonne année 2010 !

Gordon Frickers, marine artist, January 2010

By the way have you spotted if you click on a photo here it shows larger? I had a quiet evening last night, a candle lite dinner with a friend who is not to well, vertigo problems,  so politely declining several kind offers, we restricted ourselves to what turned out to be a very pleasant evening “in”.

Our excellent candle lite dinner commenced to soft music with  frois gras on some sort of French toast, followed by pieces of rather more solid duck in a special sauce  and rather special sauteed potatoes, (it was going to be beef but I left the beef in the shop inb Albi  (twit), 1.5 bottles of Champagne and .5 of Chateauneuf du Pape and no worries about the Gendarmes.

Our New Year started with a bang  or more (so to speak…)

Come mid night, we disturbed the tranquility of peaceful Itzac, no balloons survived in our dinning room, not here!

Less exciting, this morning I bought my accounts up to date.

More exciting, this evening I will mark out 2 marine paintings, Plymouth Cattewater by moonlight (with the ship Samuel Plimsoll), the loss of the Frigate Mercedes and Superyachts at Porto Fino.

Wishing you all a speedy recovery, health success and happiness in 2010 and long after.

Some of these new paintings are already featured on the blog so here is today’s update. 

Subjects for this new marine art include Emigration from Plymouth, the ship Samuel Plimsoll, Nelson at Gibraltar, and Porto Fino at dusk, super yachts.

There is more to come and you can follow the progress of these paintings here over the next few months.

All MUST be complete by April…