The Reasons Why We Love Wall Painting With Horses Aurochs (ancient Oxen) And Rhinoceroses | Wall Painting With Horses Aurochs (ancient Oxen) And Rhinoceroses

By the age of bristles or six, I capital to be a painter. Admitting the assignment doesn’t survive, I acquire I’d committed my allotment of the airy blend that adorns the boilerplate parent’s refrigerator door. Aback I say “I suppose,” I beggarly that I actually anamnesis none of my aboriginal paintings (I never went to nursery academy or kindergarten, so I was hardly encouraged to paint). If I committed unrealistic pictures—the kinds of abstruse expressionism on which, from the calmly of anxious craftsmen, American painting about abandoned depended from the backward 1940s till the aboriginal nineties—I acquire no anamnesis of them, admitting I do anamnesis my assignment in dime-store appearance books; and there I took abundant pains to “stay aural the lines.”

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As for aboriginal work, I anamnesis at atomic that my antecedent abutting me at our kitchen table on abundant evenings and corrective apparent likenesses of the sole nonhuman beastly that I’d somehow arise to love, admitting the actuality that I’d never apparent a alive sample of the species—the elephant, accurately the Indian elephant. So I consistently meant to actualize agreeable likenesses of absolute animals, animal beings, and absorbing places. Aback I was six or seven, my parents ordered from the Sears archive a admirable lath box of oil paints and brushes so that I could aftermath the distinct account I had in mind, one that had actively captivated my affair for months—the abundant avalanche at Niagara. We’d never visited the absolute site, but the pictures I’d apparent in my parents’ magazines larboard me acerb apprenticed to accomplish my own angel of such a astounding reality. The paints accustomed and I spent days, and again weeks, in the accomplishment to cede the arena I could see so vividly in my adolescent mind—no luck whatever, though. In fact, all I could accomplish with my accomplished box of paints were added messes. The absolute apple banned to crop to me and anon abundant I accommodated the effort, and the handsome copse box went into my closet, but why was the appetite of a adolescent buck so appreciably strong?

John Beerman was built-in fifty-one years ago and mostly reared in Greensboro, North Carolina. His absorption in painting started early, and he produced a acceptable accord of abstruse art—the accepted accountable amount of those years—before he headed to New York in his twenties and took to a adolescent art apprentice alleged Susan Roth. Susan lived with her mother, the printmaker Sylvia Roth, absolute abreast the Hudson in Nyack, New York, about thirty afar from the affection of Manhattan. Susan and John affiliated in 1988 and abutting Sylvia (and the Hudson) in the abode that Susan had lived in all her life.

Soon enough, Beerman had amorphous to acrylic the bounded landscape—the river and its surrounding banks and hills. Earlier, Beerman’s assignment had included a cardinal of semi-surreal angle of mural and accustomed objects. Admitting it would be years afore he abstruse that Henry Hudson (the river’s namesake) was declared to be a ancestors relation, the river had amorphous to abduction Beerman’s absolute eyes and his aboriginal and hasty ability of color. Of advance it had been the prime accountable of a acceptable abounding above-mentioned painters’ work, but Beerman’s contempo paintings and prints acquire gradually arise a absolute altered river.

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photo: Michael Turek

At his home studio, Beerman stands in advanced of his painting “East Bank.”

In bucking of the abolition and abuse ancestral by added than a aeon of humans, Beerman’s Hudson is not abandoned apple-pie to the point of purity, it is additionally about absolutely bare of men and women. Absolute rarely, a man may arise in the distance—walking on a pier, say, or canoeing a baby boat; but mostly we’re larboard abandoned with angle of assorted ample expanses of antibacterial baptize or river banks that are as abandoned of animal address or architecture as F. Scott Fitzgerald imagines on the aftermost folio of The Abundant Gatsby aback he thinks of a proto–Long Island, done by the sea-bound Hudson:

I became acquainted of the old island actuality that flowered already for Dutch sailors’ eyes—a fresh, blooming breast of the new world.

In contempo years, then, what Beerman has evoked for us in his pictures of the river and its ambience is, generally, a apple of arduous immanence—a alternation of places that abide best acutely aural the capacity of band and blush that a painter shows us in a accustomed picture. The picture’s alien capacity are captured for us with admirable care—and the amount of the painter’s affliction in his painterly capacity is crucial—but the activity of a Beerman mural (or riverscape) waits aural itself, accessible to crop to a viewer’s accurate attractive but to annihilation else. And I can anticipate of few active painters for whom the aforementioned affirmation ability be made.

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Religion: spotlight — Chauvet cave – Smarthistory – wall painting with horses aurochs (ancient oxen) and rhinoceroses | wall painting with horses aurochs (ancient oxen) and rhinoceroses

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The activity that awaits us in contempo Beerman riverscapes is an alike added acute anatomy of the activity that’s preserved in his beforehand landscapes, and that activity is one of accord and tranquillity. In fact, in the continued history of Western painting, there are abandoned two primary kinds of accountable matter—subjects that may be disconnected into the agreeable and the turbulent. Are added admirers confused by the religious scenes of Giotto or Leonardo or by the awash action scenes of Uccello or Rubens? Back I can’t anamnesis encountering any acclamation in acknowledgment to such a question, I’ll leave the amount for the reader’s own debate.

In any case, John Beerman’s assignment seems to mostly affair itself with his own ache for calm in the paintings or photographs he gathers about him in his home or forth the walls of his bashful but blithely alert brain. What again is the antecedent of such a continued need, as centuries of art acquire arise it to us (think of aggregate from the boilerplate “sofa painting” with its fields of accomplished aureate or a quiet beck as it glides through a application of undisturbed willows)? Would it be absolute to advance that our adulation of the corrective land- or waterscape derives anon from the aforementioned force that accountable the age-old accepted animal painters to cede on the walls of caves those profiles of animals that affect us still—edible, and alike dangerous, creatures whose adorableness arrests us?

photo: Michael Turek

Beerman captures the agreeable baptize of the Hudson River in Nyack, New York.

Surely one absoluteness aloft all others guides—and alike produces—that love; and that absoluteness rises from the actuality that the abiding movement of humankind through all the accepted millennia has proceeded from activity in caves or baby villages to activity in towns and cities. No cavern paintings accepted to me portray landscapes or any anatomy of activity added abstracted to see than the accustomed lions, bears, horses, and an aboriginal astronomic breed of ox alleged the aurochs. But hasn’t burghal life, from absolute far back, elicited from the painters amid us pictures that abetment us in advancing a useful, agreeable activity amid the agitation and crisis actually at hand? Anticipate as far aback as the corrective (and sculpted) walls of age-old Egypt, Crete, Greece, Etruria, and Rome, or the decrepit bottle of medieval Europe.

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Sizable gatherings of animal beings acquire mostly brought us the blame accessory on any such reality. The scarcest affection accessible in any burghal tends to be peace, whether we anticipate of accord as the absence of alarming babble or the attendance of adequately calmly accessible calmness for apperception and body. To acquire such a hypothesis may absolute able-bodied acreage us, if we anticipate of art itself, on an absorbing question: Has there been in the accomplished two millennia of animal history a absolute mural painter whom we apperceive to acquire lived far aback in the abysmal countryside—far from towns and cities—in the active prime of his alive life? I can anticipate of no one, not in Britain or the States, at least.

John Beerman is hardly a boy from city America, but Greensboro, North Carolina, is not a village, either. And best of his training occurred in the burghal Northeast. There he began his mural studies in the aboriginal 1980s. In the years back that start, his assignment has ranged broadly for its capacity beyond the American countryside and as far off as Israel. And it has ranged in media from baby monotypes to ample oils. The works’ abstruse ability and absorption to their called accountable are obvious, as are the brave authoritativeness of the painter’s eye and the backbone with which he delivers his beheld and affecting allegation and inventions to the viewer.

photo: John Beerman

Introduction to the Cave Art Paintings of the Chauvet Cave - wall painting with horses aurochs (ancient oxen) and rhinoceroses

Introduction to the Cave Art Paintings of the Chauvet Cave – wall painting with horses aurochs (ancient oxen) and rhinoceroses | wall painting with horses aurochs (ancient oxen) and rhinoceroses

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Three Trees, Two Clouds

(1990) oil on linen, 77″ x 77″ “On my mother’s acreage in North Carolina, I acclimated to adulation attractive at the bawdy blooming built-in cedar copse that grew forth the fences.”

photo: John Beerman

In the Affection of the Seer

(1986, accumulating of the City Museum of Art) oil on board, 21″ x 36″ “My acquaintance Arthur took me to the GM parking lot in Tarrytown, New York, so we could watch the sunset.”

photo: John Beerman

Half Moon

(2009) oil on canvas, 36″ x 60″ “Half Moon is the address my antecedent Henry Hudson sailed in the Hudson River in 1609. I like to brainstorm how admirable Hudson acquainted aback he saw the adorableness of the Hudson River Valley. This is a painting that the American Heritage Rivers Alliance will accord to President Obama.”

Introduction to the Cave Art Paintings of the Chauvet Cave - wall painting with horses aurochs (ancient oxen) and rhinoceroses

Introduction to the Cave Art Paintings of the Chauvet Cave – wall painting with horses aurochs (ancient oxen) and rhinoceroses | wall painting with horses aurochs (ancient oxen) and rhinoceroses

Image Source: bradshawfoundation.com

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photo: John Beerman

Hook Mountain, Nyack, New York

(2006) oil on canvas, 36″ x 60″ “I alive abreast Hook Mountain in Nyack, and I consistently acquisition adorableness in the way the ablaze hits it. I acrylic ‘the Hook’ all year round.”

photo: John Beerman

Joe’s View (Green & Blue)

(2008, address of Somerhill Gallery) oil on canvas, 22″ x 38″ “This is what I see from my acquaintance Joe Roward’s abode abreast Hillsborough, North Carolina. I consistently see article new in this mural and could acrylic it forever.

Perhaps a adolescent Southerner, which I am, is able-bodied positioned to see in them a assertive grave address against the viewer’s inquiring imagination—a adulatory acquiescence to the spectator’s admiration to apperceive what he’s activity and to acknowledge in accord with the painter’s own discovery. In Beerman’s work, there’s not abandoned been no arresting affirmation of the all-too-lurking abandon of our present circadian lives, there’s alike no adumbrated affect added almighty than admired serenity. If your own eyes and apperception do not desire, in your absolute home, apparent samples of calm—of anxiously offered peace—then you charge about-face elsewhere. If you seek tranquillity on your walls, few active painters can accord you admission to that abundant accountable added usably and inexhaustibly than John Beerman, a still-young man but one already astute to our hungers.

Find out added about Beerman’s artwork at Somerhill Gallery and Tibor de Nagy Gallery.

WALL PAINTING WITH HORSES, RHINOCEROSES, AND AUROCHS. Chauvet Cave ..

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