'The setting sun pulses, the motion in the waves and figures is slowly rhythmic and the mountains float on the horizon.'
Kim Wilkie chooses Two Figures and Setting Sun by John Craxton:
‘Landscape, for me, is more about light, sound and stories than appearance. You really can hear, smell and taste this painting. The vibrating patterns are mesmerising; they root a fleeting moment in a timeless place.
‘The setting sun pulses, the motion in the waves and figures is slowly rhythmic and the mountains float on the horizon. I have stared at the painting for hours and it draws you in deeper. It drifts into your imagination.’
John McEwen onTwo Figures and Setting Sun by John Craxton:
John Craxton first came to prominence in the early 1940s as a neo-Romantic painter in the pastoral tradition of the 19th-century Samuel Palmer. Craxton disliked being labelled, but, to his friend and collector Sir David Atten-borough, he ‘grudgingly admitted’ he would accept ‘Arcadian’ (John Craxton by Ian Collins, 2011).
John Leith Craxton was born into a musical family. His father was a pianist, musicologist and professor at the Royal College of Music and his mother, a descendant of Benjamin West, the second president of the Royal Academy, gave up a career as a violinist to mother her family of five sons (John was the fourth) and one daughter, the future oboist Janet Craxton. John was brought up in St John’s Wood, where his parents kept open house to young and old in an atmosphere of benign bohemian disorder. That spirit prevailed when, in old age, he presided over his parents’ later Hampstead home, the music room of which is still used by professional musicians.
For much of his life, Craxton lived and worked in Greece, latterly in Crete—suitably for an Arcadian, as Arcadia was originally a region of southern Greece. He was the artist counterpart of his friend, the Greek-based travel writer Patrick Leigh-Fermor, whose book jackets he illustrated.
Craxton took 15 years to paint this Arcadian homage to his adopted land, due to much revision, including the loss of a figure. A boy flings an octopus onto the quay: ‘The subject is Greek in its bones but what amuses me is the old romantic English love of mood coming out in me,’ he wrote.
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