In History (of the arts, but we are rapidly approaching the point of painting only a few), some of the most famous painters or originals of which were characterized by a disturbance or a deep psychic pain. Anyone who has experienced this condition is often found in reality through the filter even more personal visions, or to reveal a situation that is completely 'other' through his works. If
, already in general, the function of art is to filter the reality through its interpretation, and return it into art in a new way, in these other cases also
the world of psychic suffering is transfigured in the works themselves, and in turn produces forms and meanings. In addition, a more intimate aspect comes into play in the works of these artists tormented existence.
The cases are numerous: F. Goya , R. Dadd, J. Ensor, E. Munch, V. Van Gogh, L. Wain, F. Bacon , or as in our bet Charles Sims, to name a few.
Trauma in Art, therefore, as the wound that you can pour in a work of art has become an integral part of art as the genesis of the wound. But Art of the trauma, stigma-sign, vent or impossible to repair, transfer or immersion in a particular condition.
Charles Sims was an English painter (1873-1928): his typical production in the first part of the activity ranged from portraits, landscapes, to the subjects of decorative painting in general, including if revisited in a very personal way, through the use of oil, tempera, watercolor. On the other hand it was also one of the artists against the long continued to treat symbolic themes and romantic until after the First World War.
son of a producer of textiles and costumes, she began to turn to work as part of the curtains, but soon he joined the South Kensington College of Art, then was in Paris at the ateliers and Julian Baschet to further his studies in painting and decorating. He moved back to London to join the Royal Academy School in 1893, but he was expelled in 1895.
In 1897 he married Agnes, daughter of the painter John MacWhirter .
Since 1896, his career got approvals rising, he exhibited with success "The Vine" at the Royal Academy in 1896, and "Childhood" at the Musée du Luxembourg.
The peculiarity of his painting in recent years is the adoption date a kind of magical realism, characterized by an intense strength and plastic Representative:
dreamy-Edenic idea of \u200b\u200breality is the foundation of his visions,
reveals a particular skill in showing the chiaroscuro portraits in direct sunlight to 'open, giving new life to British neo-classical and classical themes with the transfiguration hours exuberant hour-vitalistic dream of some people with the representation of childhood, fairies, the choice of backgrounds bright and unreal in his personal plein air, the intrusion of fabulous and mythical element in everyday life. E 'was considered for these stylistic choices-one of the last Romantic themes.
In 1906 again a critical and financial success of its staff following the Leicester Gallery. In 1910 he was elected a Fellow of the Royal Watercolour Society and the Royal Academy in 1915, his painting is now well established and received official licenses.
The First World War will instead be a traumatic experience for Sims and his entire family in 1914, a son he is killed, Sims has since worked for a time as an artist of war from the front until 1918.
After the war and its deadly events, around 20 years of his painting style changed completely, and also the character traits of the painter developed mystical così come manifestò la progressiva tendenza a condurre una vita sempre più isolata e solitaria. La sua pittura divenne meno schematica, più libera, violenta, tipica dell'improvvisazione, più emozionale; le figure mostrano adesso un'aura, o sembrano immerse in una luce spettrale.
In questa fase rimase letteralmente sconvolto dalle critiche ricevute per il suo ritratto di George V. Nonostante ricevette nuove cariche di rango alla Royal Academy nel 1920, si dimise e preferì recarsi negli Stati Uniti a dipingere, ma ben presto avvertì incompatibilità anche con quel mondo.
In uno dei ultimi dipinti, denominato "I am the Abyss and I am the Light" presentava figure nude contro fondali astratti particolarmente drammatici. Gli ultimi lavori non sono stati accolti dall'approvazione del mondo dell'arte, per il loro contenuto sconcertante e per lo stile considerato troppo moderno e apocalittico.
Nel 1928, l'artista tormentato da allucinazioni, paranoia e insonnia, causate principalmente dalle scene orribili cui aveva dovuto assistere come artista di guerra ufficiale, e dal dolore per la morte del figlio, si tolse la vita nei pressi della sua casa a St. Boswells, in Scozia.
Poco dopo la sua morte, la Royal Academy espose alcune delle sue opere finali. Il Presidente Sir Frank Dicksee ha descritto the latest works of Sims as "in stark contrast to all his previous work, with a violent change of mindset." A review of the Times for other pictures of the last period of Sims, compares him to the works of Greek speaking of El 'use of forms for torn emotional', but the impression
more persistent in the face of his last works, together with the above is that Sims, following the tragic events of his private, he wanted to mean that the reality was instead dominated by a kind of order that was left uncovered as dissonant and menacing, together with the indelible marks of the experience of war.
(the chronological and biographical Sims follows up on the card is from Painter UK Wikipedia, the scarcity of news about him was key)
the link: the work of Sims kept the Tate Gallery
and another collection.
remarkable iconographic still here.
Josh
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