Exhibiting in Paris? Ecomonic Recession?

cartoon of old french man with their hands in pockets
‘Mains dans les Poches’
A4 sketch pencil
©adam cope
(To have one’s hands in one’s pockets in colloquial french means to be NOT spending…)

Exhibiting in Paris?

I’m off to Paris for a week or so , so no blogging , no computers for a bit.

Intend to speak to the gallery close to the Pompidou Centre which is interested in exhibiting my work. (though I suspect that maybe I’ve gone to ‘traditional’ / ‘rural’ for the owner’s taste?)

Exhibiting in the big towns again? Maybe I can’t be bothered to leave my wilderness here in the Dordogne? Big towns often equals big headaches as far as getting a show up is concerned.

Maybe it is not the time to go for me to go back into the big town galleries? Ecomonic recession… Anyway, any show won’t be for this year & probably not 2009 either, so maybe the bust will be edging back to boom by then.

Must confess to having much enjoyed NOT exhibiting in London these last five years, where I used to show at the Richmond Hill Gallery & the Studio Gallery. Haven’t put in for any national competitions either these last five years either, either in France or UK. Deep rural isolation ( & it feels good).

Anyway, Paris is lovely. Nice to have a walk about. Despite the recession… so here’s a cartoon to lightened up dark thoughts of recession. To have one’s hands in one’s pockets in colloquial french means to be NOT spending…nor throwing one’s ‘boules’ away carelessly 😉


post script 2013 : the hands are even further buried in the pockets now, the recession rolls on, people are spending less on art

Four paintings by Adam Cope starring the Moon


‘Le Noyer’
87 x 70 cm
Oil on Canvas
© The Artist.


73 x 54 cm
Oil on Canvas
© The Artist
‘La Lune Rousse’
30 x 40 cm
oil on panel
© the artist

‘Landorre, Quercy’
6 figure (41 x 33 cm)
oil on panel
© the artist


Coleridge talking about the looking at moon & symbolic language

In looking at objects of Nature while I am thinking, as at yonder moon dim-glimmering through the dewy window-pane, I seem rather to be seeking, as it were asking for, a symbolical language for something within me that already and for ever exists, than observing anything new. – Samuel Taylor Coleridge . April14 1805.



Morning, Vines

‘Morning, Vines’
Oil on Canvas
36 x 48cm
© The Artist.

Wet, rainy here in the Dordogne these last two weeks. Been doing all those jobs that free up time in the summer for teaching, exhibiting & painting. Most importantly, my tax returns.

‘slower paintings’

And finishing off ‘slower paintings’ in the studio such as the above ‘Morning, Vines’ from 2006. How does one date this type of painting? They need a long, slow ‘fermentation’, where they are not looked at & are out of sight for a year or two before their finishing stages become apparent. Should I date it from 2006 or 2008? Their start or their finish? Which cycle of work do they belong to? Now or then?

Plum Blossom _ Ruskin on Imagination

‘Plum Blossom’

Oil on Canvas
61 X 31 cm
© The Artist.

Ruskin on Imagination :

Wholly in proportion to the intensity of feeling which you bring to the subject you have chosen, will be the depth and justice of your perception of its character (16.370) Modern PaintersThere is reciprocal action between the intensity of moral feeling and the power of imagination; for, on the one hand, those who have keenest sympathy are those who look closest and pierce deepest, and hold securest; and on the other, those who have so pierced and seen the melancholy deeps of things are filled with the most intense passion and gentleness of sympathy”(4.257). Modern Painters

The virtue of the Imagination is its reaching, by intuition and intensity of gaze (not by reasoning, but by its authoritative opening and revealing power), a more essential truth than is seen at the surface of things (4.284). Modern Painters


Caves in art – Ruskin

‘Inside Looking Out’
Watercolour & Ink.
25 x 32cm
© The Artist.
Actually it’s not a cave but an overhang.

RUSKIN on Landscape painting


The landscape painter must always have two great and distinct ends: the first to induce in the spectator’s mind the faithful conception of any natural objects whatsoever; the second, to guide the spectator’s mind to those objects most worthy of contemplation, and to inform him of the thoughts and feelings with which these were regarded by the artist himself” (3.132).


…Although Ruskin begins by speaking as though the painter must always work toward two ends — to present the facts and the emotion caused by the facts — he quickly makes it apparent that all art follows, primarily, one end or the other:

‘ In attaining the first end the painter only places the spectator where he stands himself; he sets him before the landscape and leaves him…. But in attaining the second end, the artist not only places the spectator, but talks to him; makes him a sharer in his own strong feelings and quick thoughts. . . and leaves him more than delighted, — ennobled and instructed, under the sense of having held communion with a new mind, and having been endowed for a time with the keen perception and the impetuous emotions of a nobler and more penetrating.  RUSKIN – Modern Painters