Motion and Glory! The Quixote of the Cowboy Prince

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Motion and Glory! The Quixote of the Cowboy Prince

I am a folk artist creating and living what I call “atmospheric, time travel art”, a folk art living history revival in which I put into the action the words of Thoreau when he beautifully proclaimed ….

““We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us even in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavour. It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.”
― Henry David Thoreau

I swear, Isnt that incredible? I shook when I first read it, and then smiled realizing exactly what living art would look like. For me I want my art to be something that isnt turned off or on; put simply just on a canvas or stitched into a shirt- No I want to live my art. When I walk down the street, or grocery shop, tailor, communicate with fellows, everything, all aspects of my life… From my 19th century everyday influenced dressing style, to my dirty wild hair, to my rustic Cracker Barrel aesthetic house, to my individual art projects and yet even more importantly from my everyday interactions with people, my choices, my handshakes, my sense of morality, and overall and most signficantly my intentionality.

Moreover I want to live well.

My faith as a Transcendentalist and artist has unfurled a whole new world before my eyes, in which I am invited and inspired and cant help but live outloud, engaged, wildly, boldly, intentionally and very colorfully.

Nicknamed the “Cowboy Prince” , my childhood was spent in coonskin caps and cowboy boots, getting into all sorts of adventures climbing trees and hiding in bushes, baking cookies, and making costumes out of my sisters clothing. I always wanted to live in a different time period, and dappled with a ten year addiction to Civil War reenacting, excessive book reading, tap dancing and yet still cannot shake my passion for all things past. I figured I might as well embrace it fully.

The greatest thing that happened to me as I got older was learning how to sew, and with that initial introduction to art, it later led to other gateway mediums such as painting, quilting and sculpture. I am now embarking on a most glorious journey in search of my own El Dorado. I am currently an apprentice costume designer, pattern maker, and tailor and am working hard to become a designer for films and eventually open my own tailor shop “Custer’s Last Waistband”.

This online periodical I have set up is an attempt at categorizing and most importantly sharing the nostalgic yearnings of my heart with a larger audience. These grainy images and artifacts are what truly turn me on. It is a way for me as an adult to maintain my sense of childhood wonder- which I feel is truly important for successful contentment- and furthermore cultivate it into the very atmosphere in which I dwell.

Well welcome y’all, set yourself down and rest a while- Lord knows! I got biscuits in the oven, while we remember and re-envision our world.

Welcome to the Cowboy Prince Castille

Ride Boldly Ride,

-Charlie C. Umhau

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  • welovepaintings:

Alex Colville
Horse And Train
1954
___
Can destiny be altered? The viewer is a helpless witness of an impending disaster, and will never know the outcome because the painter has not painted it. In Horse and Train, the artist portrays a choice between the horse and the engineer in the train. The observer witnesses the confrontation between two freedoms.
Colville has created a sad environment by using dark grey colours. The horse and the train are painted the same dark colour against a gray, cloudy sky. The brightest fundamentals of the picture are; the bright light located on the front of the train and the railwaytracks reflecting the bright light. These two elements draw the viewer’s eyes toward the oncoming train and the horse galloping away from the viewer. The scale of the horse having a small head and large backside makes it appear to be more realistic to the viewer. The railroad lines seem to meet at the horizon creating a feeling of depth, as though the train is a great distance away. 
Canadianarthistory.wikispaces.com

    welovepaintings:

    Alex Colville

    Horse And Train

    1954

    ___

    Can destiny be altered? The viewer is a helpless witness of an impending disaster, and will never know the outcome because the painter has not painted it. In Horse and Train, the artist portrays a choice between the horse and the engineer in the train. The observer witnesses the confrontation between two freedoms.

    Colville has created a sad environment by using dark grey colours. The horse and the train are painted the same dark colour against a gray, cloudy sky. The brightest fundamentals of the picture are; the bright light located on the front of the train and the railwaytracks reflecting the bright light. These two elements draw the viewer’s eyes toward the oncoming train and the horse galloping away from the viewer. The scale of the horse having a small head and large backside makes it appear to be more realistic to the viewer. The railroad lines seem to meet at the horizon creating a feeling of depth, as though the train is a great distance away. 

    Canadianarthistory.wikispaces.com

    (via kenhatter)

    Posted on January 23, 2012 via We Love Paintings with 462 notes

    Source: welovepaintings

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      Horse And Train 1954 This 1954 work was inspired by two lines from the poet Roy Campbell: “Against a regiment I oppose a...
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      Alex Colville, Horse And Train, 1954
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