{"id":1926,"date":"2022-09-08T20:42:22","date_gmt":"2022-09-08T18:42:22","guid":{"rendered":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1926"},"modified":"2022-09-10T18:19:56","modified_gmt":"2022-09-10T16:19:56","slug":"background-et-processus-dedward-povey-fr-uk","status":"publish","type":"post","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1926","title":{"rendered":"BACKGROUND ET PROCESSUS d’Edward Povey fr\/uk"},"content":{"rendered":"\n

L’artiste anglais Edward Povey a eu la chance d\u2019attirer l’attention de la BBC et du New York Times au d\u00e9but de sa carri\u00e8re. Il avait auparavant \u00e9tudi\u00e9 l\u2019art et la psychologie en Grande-Bretagne, s\u2019\u00e9tait form\u00e9 dans des mus\u00e9es et avait entretenu des relations avec des artistes \u00e9tablis et des marchands d’art chevronn\u00e9s \u00e0 New York, Bruxelles, Paris et Londres.<\/p>\n\n\n\n

Les peintures de Povey sont le reflet d’une vie somptueuse mais pleine de d\u00e9fis : un p\u00e8re marin marchand \u00e0 Londres, des commandes publiques de fresques murales au Pays de Galles, en Angleterre et en Isra\u00ebl, et une assignation \u00e0 r\u00e9sidence pendant les bombardements lors d’une guerre sous les tropiques. Ses souvenirs ne constituent cependant qu\u2019un cadre pour inventer des organisations de formes et de couleurs. Si l’on se retrouvait face \u00e0 ses peintures la t\u00eate en bas, il se pourrait bien que leurs minces d\u00e9guisements narratifs ne disparaissent d\u00e9voilant alors des qualit\u00e9s fondamentalement abstraites.<\/p>\n\n\n\n

Povey est captiv\u00e9 par les probl\u00e8mes li\u00e9s \u00e0 la r\u00e9alisation d’une image, et on le prend parfois pour un r\u00e9aliste, mais il met vraiment l’accent sur la vuln\u00e9rabilit\u00e9 poignante qui sous-tend nos vies de mortels.<\/p>\n\n\n\n

Il con\u00e7oit ses tableaux durant des mois, en utilisant les perspectives mixtes des premiers retables de la Renaissance, choisis pour leur authenticit\u00e9. Ainsi, les tables et les sols sont comme mis \u00e0 plat par rapport \u00e0 la surface de la toile, au profit du point de fuite de la perspective \u00ab cyclop\u00e9enne \u00bb de Brunelleschi. Cette approche de l’espace, facilement confondue avec l’attitude cubiste, n\u00e9cessite un processus dans lequel chaque personnage et objet invent\u00e9 doit appartenir au monde r\u00e9el puis \u00eatre photographi\u00e9 sous plusieurs angles. Cela facilite la reconstruction du dessin \u00e0 partir de la confrontation de points de vue, imitant habilement l’exp\u00e9rience humaine du monde.<\/p>\n\n\n\n

Pour les mod\u00e8les de ses tableaux, il utilise exclusivement des femmes hant\u00e9es qui portent en elles des \u00e9motions complexes. Il trouve en elles la vuln\u00e9rabilit\u00e9 qui inspire ses cr\u00e9ations. <\/p>\n\n\n\n

Sa fa\u00e7on d’utiliser la couleur et sa valeur tonale est tout aussi intentionnelle. Il travaille avec  les valeurs et les tonalit\u00e9s utilis\u00e9es par Rapha\u00ebl dans son retable de la Madone Ansidei de 1505-1507. Ce qui semble \u00eatre du noir, dans les peintures de Povey, est en r\u00e9alit\u00e9 un brun riche et mi-violet, et ses blancs sont fait d’un d\u00e9licat gris-menthe. Cela situe l’ensemble de sa peinture dans un champ de tons moyens qui rappelle les premiers coloristes, dont les tableaux prennent vie par incr\u00e9ments et sont r\u00e9alis\u00e9s dans la dur\u00e9e. Cela confirme l’adage selon lequel une \u0153uvre d’art digne de ce nom ne se livre pas ais\u00e9ment, en une seule fois, mais se r\u00e9v\u00e8le au fil du temps, \u00e0 travers l’histoire. <\/p>\n\n\n\n

Il peint quotidiennement et m\u00eame avec sa grande exp\u00e9rience, il conserve l’\u00e9tat d’esprit d’un novice d\u00e9pourvu \u00e0 la fois de la garantie des certitudes et des formules. En tant qu’artiste, il peut \u00eatre d\u00e9crit \u00e0 juste titre comme un r\u00e9aliste \u00e9motionnel.<\/p>\n\n\n\n

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BLESSURE 2022 Oil on Belgian linen 140.3 X 120.0 cm<\/figcaption><\/figure>\n<\/div>\n\n\n
<\/div>\n\n\n\n

Edward Povey\u2019s BACKGROUND AND PROCESS<\/h1>\n\n\n\n

By Jean-Fran\u00e7ois Ferbos<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

The English artist Edward Povey was fortunate to capture the attention of the BBC and The New York Times early in his career. He had previously gained an education in art and psychology in Britain,  studied in museums, and cherished relationships with established artists and veteran art dealers in New York, Brussels, Paris and London.<\/p>\n\n\n\n

Povey\u2019s paintings are redolent of a sumptuous yet challenging life involving a merchant seaman father in London; public mural commissions in Wales, England and Israel; and a house arrest through the bombing raids of a war in the tropics. His memories are nonetheless only frameworks for inventing organisations of form and colour. Viewing his paintings in person and upside-down might well remove their thin narrative disguises to reveal fundamentally abstract qualities.<\/p>\n\n\n\n

Povey is captivated by the problems of picture-making, and is sometimes mistaken as a Realist, but his true emphasis is the thread of poignant vulnerability that underscores our mortal lives.<\/p>\n\n\n\n

He designs his paintings over several months, using the mixed perspectives of early Renaissance altarpieces, chosen for their honesty. Accordingly tables and floors are seen as flat to the surface of the canvas in favour of the fleeting viewpoint of Brunelleschi\u2019s cyclopean perspective. This approach to space, easily confused with the Cubist attitude, requires a process in which every invented figure and object has to be found in the real world and photographed from several angles. This facilitates the rebuilding of the design from opposing views, deftly mimicking the human experience of the world.<\/p>\n\n\n\n

For the figures in his paintings he exclusively uses female models who carry a haunted complexity of emotions. In these women he finds the vulnerability that speaks to the motivation in his designs.<\/p>\n\n\n\n

His way of using colour and tonal value is similarly intentional. It employs the values and temperatures formulated by Raphael in his Ansidei Madonna Altarpiece of 1505\u20131507. What appears to be black in Povey\u2019s paintings is cropped down to a rich mid-violet brown, and his whites are a delicate grey-peppermint. This lays his whole painting into a mid-tone valley reminiscent of the first Colourists, whose paintings deliberately wake up by increments and perform over the reach of time. This affirms the adage that a decent work of art does not tip all its treasures into your lap at once, but dispenses them across history.<\/p>\n\n\n\n

He paints daily, and despite his experience he maintains the mindset of a novice, stripped of both unwarranted certainty and formula. As an artist he could rightly be described as an Emotional Realist.<\/p>\n\n\n

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D\u00c9COUSUE 2022 Oil on Belgian linen 140.3 X 120.0 cm<\/figcaption><\/figure>\n<\/div>\n\n
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SOUS LE CERVEAU 2022 Oil on Belgian linen 140 X 120 cm <\/figcaption><\/figure>\n<\/div>\n\n
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CONG\u00c9DIEMENT, 2021. Edward Povey, Oil and Cont\u00e9 on Belgian linen 140.3 X 120.0 cm <\/em><\/figcaption><\/figure>\n<\/div>\n\n
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\"OSCILLATION
OSCILLATION, 2021. Edward Povey, Oil on Belgian linen 120.0 X 140.3 cm <\/em><\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"

Povey est captiv\u00e9 par les probl\u00e8mes li\u00e9s \u00e0 la r\u00e9alisation d’une image, et on le prend parfois pour un r\u00e9aliste, mais il met vraiment l’accent sur la vuln\u00e9rabilit\u00e9 poignante qui sous-tend nos vies de mortels.<\/p>\n","protected":false},"author":1,"featured_media":768,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[28,17,31],"tags":[],"class_list":["post-1926","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-creations","category-des-artistes","category-edward-povey"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=2560%2C1966&ssl=1","jetpack-related-posts":[{"id":1459,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1459","url_meta":{"origin":1926,"position":0},"title":"Edward Povey : Museum of Modern Art, wales","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"I have always had an image in my mind,like a stone in my shoe.Edward Povey, 1993 Essays byPaul Islwyn Thomas \u2013 BBC Head of Arts and Culture 2000-2005Huw Roberts \u2013 former Head of BBC Wales 2002-2006Cefin Roberts \u2013 Artistic Director of the National Theatre of Wales 2003 \u2013 2010Professor Anthony\u2026","rel":"","context":"Dans "Cr\u00e9ations"","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Povey-wales.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Povey-wales.jpg?resize=350%2C200&ssl=1 1x, 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"Cr\u00e9ations"","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":901,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=901","url_meta":{"origin":1926,"position":3},"title":"SEUILS N\u00b02 : Les fen\u00eatres d’Edward Povey 2020","author":"Cravan","date":"3 f\u00e9vrier 2022","format":false,"excerpt":"Huile sur toile - 114x146 cm Pour toute information sur l\u2019\u0153uvre; prix, livraison etc. Merci de vous adresser \u00e0 : jf.ferbos@wanadoo.fr https:\/\/dai.ly\/x8dd5fx Les fen\u00eatres d'Edward Povey de Pr\u00e8s Les fen\u00eatres d'Edward Povey est un hommage au travail de cet immense artiste qu'est Edward Povey. Faisant r\u00e9f\u00e9rence aux fen\u00eatres ouvertes sur\u2026","rel":"","context":"Dans "Jean-Fran\u00e7ois Ferbos"","block_context":{"text":"Jean-Fran\u00e7ois Ferbos","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=27"},"img":{"alt_text":"SEUILS n\u00b02 : Les fen\u00eatres d'Edward Povey - 2020","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=1200%2C922&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=1200%2C922&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=1200%2C922&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=1200%2C922&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/POVEY-NIKON2-WEOART-scaled.jpg?fit=1200%2C922&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1465,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1465","url_meta":{"origin":1926,"position":4},"title":"The CROOKED LUTE thought-process of Edward Povey","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"For those who have wondered what goes into the making of Edward Povey\u2019s paintings, particularly the \u201cLodger Paintings\u201d, or has been curious about how they work, what follows will be insightful.","rel":"","context":"Dans "Cr\u00e9ations"","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1479,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1479","url_meta":{"origin":1926,"position":5},"title":"EDWARD POVEY\u2019S Mnemonic Creatures","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"Interview - Long version Entretien EDWARD POVEY ANGLAIS-FRANCAIST\u00e9l\u00e9charger","rel":"","context":"Dans "Cr\u00e9ations"","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1926","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1926"}],"version-history":[{"count":4,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1926\/revisions"}],"predecessor-version":[{"id":1933,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1926\/revisions\/1933"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/media\/768"}],"wp:attachment":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1926"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1926"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1926"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}