Annunciation
Idea Fine Art takes great pleasure in presenting a major new cycle of pictures by the Canadian artist Andrť Durand, featuring Holy Land events set in the verdant Sussex countryside. Durandís WHOLLY PICTURES will be shown in ten Sussex churches, culminating in an exhibition at Petworth House in September, 2006. The exhibition will be launched at Saint George, West Grinstead, West Sussex on Saint Georgeís Day, 23 April 2006, with Durandís allegory, Saint George, the Lady and the Dragon. The feast of one of the patron saints of Arundel Cathedral, Saint Philip Neri, 26 May, marks the second unveiling of one of Durandís WHOLLY PICTURES, With Christ in the Next, a Sacred Conversation dedicated to Our Lady and the other patron saint of the cathedral, the 16th century courtier and Earl of Arundel, Saint Philip How The exhibition continues in early June at Chichester Cathedral with the presentation of Durandís Annunciation, at Saint Andrew, Didling. In the same month the other Durand pictures in the cycle will be hung in each host church, in conjunction with services, concerts and readings. The Sussex landscape has provided the context and the inspiration for the Christian message of the pictures and will provide a focus for reflection and discussion within the parishes. The project will employ internet cameras at each church so that the public worldwide can see Durandís WHOLLY PICTURES in situ, even during services, at the same time as the local community. During the summer months Durand will paint a special picture, Saint Hubert, for the exhibition at Petworth. The artist will set the scene of St Hubert's conversion in Petworth Park. Reflections on Durand's WHOLLY PICTURES by David Elkington WHOLLY PICTURES are Durand's first artistic explorations of the English countryside. Working in and around Alfriston, Didling, Bosham and Petworth, the artist, amazed by the ancient and unearthly beauty of the South Downs, adapted his palette to the light-filled blues of sky and water, the greens of grass and woodland, and white clouds of an ethereal English sky; keeping Christian myths alive by placing Holy Land events in the context of the numinous Sussex landscape. Viewing the progress of Durand's WHOLLY PICTURES is an excess of delight; one feels as a long departed yet graceful spirit, gliding gently over these paintings' lithe glazes, subtle impasto and Gnostic sense of being; one views Bosham, one discovers Didling, yet it is more; we see the light of holiness. Durand, ever the poet within the painter, has rebuilt Jerusalem upon our shores and conveyed its innocence in the hues of the true painter's spectrum. He gives us truth, with which to open our mind's eye. Durand's recent discovery of the eternal Sussex downlands encapsulates in these pictures that quality of symbolism to be found in the early Celtic Church. Durand's WHOLLY PICTURES, like the Sussex landscape, display the innocent hope of that bygone era. They are redolent of that special quality of the Celtic rite: its openness, its purity, but most of all Ė its uncomplicated virginity. It is with a gladdened heart that one pauses before commenting on Annunciation, Saint Andrew, Didling. It is a meditation that does justice to the miracle at hand. To spend at least thirty minutes, letting the eyes brush over its beauty before going onwards is to have fulfilled a pilgrimage to every vista of the scene in front of the eyes, its emotion, its subtle languidity and its integrity. The colour balance, specifically in the distant rolling downs, is restrained and well modulated. The muted tones draw the eye to the imperative foreground action. Here, there is a sense of urgency Ė an immediacy that reminds us that the erasure of Christianity is going on all too smoothly, all too stealthily. There could never be a more important time in history for these paintings, wholly pictures in every respect that demand to be looked at on a regular basis, to arrest a movement: these pictures are like the swell before a tide. The gracious and graceful Gabriel, incorruptibly naked in his blue streak and with tousled hair, has an important message, not just for the exquisite Blessed Virgin, but also for all of us. The confirmation of Gabriel's blue-fire voltage message that arcs thorugh us is in the Mystic Lamb, who looks straight at us. Is the message one of joy or of despair? Do we hear echoes of the greatest of mysteries: the Resurrection? Detail, Christ Walking on the Floodtide, Bosham, 2004 Is a picture like Christ Walking on the Floodtide, Bosham or the Mystic Lamb proof of a rebuilt Jerusalem in Sussex, or indeed, are all Durandís WHOLLY PICTURES miracles Ė a rebirth of painting of religious painting in our post-secular age? It is clear that these pictures are acts of devotion, replete with memories and appealing to our higher selves. These are holistic pictures to be sure. David Elkington, historian and author DAVID MICHELANGELO Vatican, official portrait of H H JOHN PAUL II Commissioned by the Sovereign Military Order of Malta. H H THE DALAI LAMA AT THE CONVENT OF SAN ANSELMO THE COMMUNION OF MOTHER THERESA GRAND MASTER ANGELO DE MOJANA DI COLOGNA Palazzo Malta Rome ELIZABETH BOWEN ELIZABETH RITCHIE ANDREW CIECHANOWIECKI EMMA SARGEANT OLYMPIAD SYMPOSIUM LOGGIA Allegorical portrait of Craig Funke with Durand, Rubens, Titian and Michelangelo. DAME VERA LYNN ISABELL KRISTENSEN ISABELL KRISTENSEN WITH HER DAUGHTER MARSYAS FLAYED PALESTRA AFTERNOON OF APOLLO VULCAN'S NET THE BIRTH OF THE DIOSCURI HERMES & HECATE MAESTRO (Craig Funke) THE TRIUMPH OF BEAUTY OVER TRUTH AND TIME (Josephine Cooke, Lady Rumbold, Jane Cook) ELEANOR ROBINSON IN ROME MARCHESE EMILIO PUCCI DI BARSENTO AL CAVALLO DONATELLA GRILLI MARIA VICTORIA CORTI GRAZZI EMANNUELLE CORTI GRAZZI GUILIO & FRANCESCA MILLONIEPIPHANY THE CHOICE OF BROTHER MICHAEL GOOD FRIDAY SUN INITIATION ORDINATION THREE MONKS CONTEMPLATING A STATUE OF APOLLO ROUND ART H H DALAI LAMA WITH A SARUS CRANE H H DALAI LAMA, THE JEWEL IN THE LOTUS STEPHEN BEAGLEY SVETLANA BERIOSOVA PETRUS BOSMAN ANTHONY DOWELL WAYNE EAGLING MONICA MASON CARL MAYERS MERLE PARK JENNY PENNY MARQUERITE PORTER ANTOINETTE SIBLEY DIANA VERE DAVID WALL ALEX BAUMANN SEBASTIAN COE LIBERACE GREG LOUGANIS VOTIVE OFFERING SACRED CONVERSATION 2000 FORTUNA and PEGASUS ANNUNICATION, DIDLING THE DEPARTURE OF THE QUEEN OF SHEBA, POLESDON LACEY MYSTIC LAMB, DIDLING SOLOMON, SHEBA & MENLIK, POLESDON LACEY INCARNATION AT BOSHAM ALICE, CAMILLA, ISABELLE, LOUISA and ROSEANNA CURREY CHRISTOPHER, RAURI AND ISABEL EDWARDS ALBERT O'ROURKE KRONOS HOODWINKERS, three allegorical portraits LA VITTORIA Eric Hebborn, forger; Anthony Blunt as a cardinal BACON'S SELF-PORTRAIT AS INNOCENT X WITH JOHN PAUL II IN THE STYLE OF DURAND Francis Bacon, painter SALIERI'S DREAM Brian Sewell, critic STEPHANIE BEACHAM ARIA THE DIVE INTERMEZZO LUTEMAKER'S DAUGHTER MEZZOGIORNO SAINTS COSMOS & DAMIAN TIME & ART THE ADORATION OF THE MAGI CHRIST APPEARING TO MARY CHRIST AND THE WOMAN OF SAMARIA CHRIST ON THE MOUNT OF OLIVES THE DENIAL OF CHRIST THE MIRACULOUS DRAUGHT OF FISHES ST. FRANCIS ST. JEROME ST. JOHN THE BAPTIST ST. LUKE ST. SEBASTIAN BARBARA BERHNS JULIAN HOSKING THE MARQUESS OF LONDONDERRY AND FREDERICK, VISCOUNT CASTLEREAGH GILLIAN REID-WALKER ANTHONY DOWELL AND ANTOINETTE SIBLEY LADY SOPHIA VANE-TEMPEST STEWART FREDERICK, VISCOUNT CASTLEREAGH AND HIS BROTHER SIR REGINALD VANE-TEMPEST STEWART ST GEORGE DE LA RUE AS THE SPARTAN BOY LUDMILLA TEMERTY JO WEBSTER AFTER THE RAPE OF GANYMEDE ARIADNE & THE MINOTAUR BIRTH OF APHRODITE BIRTH OF PEGASUS CASTOR & POLLUX TRIUMPH OF PERSEPHONE Michael Courdin Natasha Emmett Ralph Galley Guy Huot Robert La Palme Bill Lawson John Lawson Robert MacCarron Elizabeth Ritchie Judith Robertson Joan Sutherland John Swain Louise Temerty Ludmilla Temerty Kostia Temerty Sandy Turner LORD GOSFORD MANUEL AUGUSTO MICHAEL COURDIN PETER AND CARMELLA ELLISTON CHARLES RITCHIE LUDMILLA TEMERTY Montreal André Durand graduated from L'Ecole des Beaux Arts - teachers: Suzanne Rivard, Albert Dumouchel and Jacques de Tonnancour Wins first prizes in painting, engraving, perspective, art history, music theory and French literature. One of the prizes, André Malraux's The Voices of Silence, was to make an enduring impression upon the artist.The artist looks at the world through the hole left by the unfinished section of his jigsaw puzzle. For the classical ideal of beauty we may substitute some other value - but it is always through this hole that, the artist looks, much as a man who has lost his key looks for some implement to break open his door.André Malraux, The Voices of Silence, Chapter 3, The Creative Process. trans. Stuart Gilbert, 1956. Awarded a Canada Council travel grant to study the works of Titian, Michelangelo, Rubens and other European painters and sculptors, in Edinburgh, Glasgow, London, Antwerp, Brussels, Paris, Munich, Vienna, Venice, Florence, and Rome.Durand's PIETÀ is the centrepiece of an exhibition of religious paintings at St. Regis College. André Durand was born in Ottawa in 1947 and his work has already shown the metaphysical quality of an authentic imagination plastique. He is a figure painter for whom the arrangement of nudes in space, their relations to it, and to one another, provide an inexhaustible subject for exploration. Durand is more interested in the enigma involved in our ordinary ways of feeling than in the exploitation or defiance of our ordinary ways of seeing. He is a figurative painter out of love for and committment to man's emotional and moral nature. It is the sort of involvement which is for him unavoidable at a period of history where the root paradox of human nature is more clearly manifest than ever before, and even threatens to overwhelms us entirely. Durand believes that the creative person strives to restore to man the whole of his nature in a contradictory world where, while the possibilities for its development are perhaps greater than ever before, the disintegrating forces working against it are proportionately greater. E. S. Ritchie 1967. portrait: Michael Courdin Natasha Emmett Ralph Galley Guy Huot Robert La Palme Bill Lawson John Lawson Robert MacCarron Elizabeth Ritchie Judith Robertson Joan Sutherland John Swain Louise Temerty Ludmilla Temerty Kostia Temerty Sandy Turner. Exhibition, Galerie l'Art Vivant Greece From his base in Athens established at the Canadian Consulate under the auspices of Angelina Waterman, Durand draws extensively at the National Museum of Antiquites and travels to classical sites throughout Greece. Like the three incarnations of Durand’s inspiration, Michelangelo, Rubens and Titian, the artist gathers his sources from Ancient Greece and the antique. A Classical education and his introduction as a boy to the culture and mythology of Ancient Greece have far outweighed any other influences on his work, and throughout his career to date they have remained the constants amongst great variation. Although Durand’s roots are in the antique the possibilities of interpretation with regard to his pictures are unbounded. Myths are hinted at, stories which we know well are mysteriously suggested, but we are more or less free to decide upon our own narrative. Brian Balfour Oatts, CLASSICAL FRAGMENTS. 1969 London Establishes a studio under the patronage of the Canadian High Commissioner the Hon. Charles Ritchie CBE who introduces Durand to TS Eliot, Kenneth Clark, Kenneth Tynan, Elizabeth Bowen, and Elizabeth Frink. Petrus Bosman and Brian Masters commission Durand to paint the principal dancers of the Royal Ballet, including Anthony Dowell, Wayne Eagling and Julian Hosking. Major works sold to British and European collectors. Mythology THE TROJANS Sponsored by Elizabeth Ritchie, Durand paints fifteen pictures inspired by Homer's Iliad. The series is completed in 1972. Lord Gosford. Manuel Augusto, portrait, Durand. Charles Ritchie, portrait, Durand. portrait LORD GOSFORD MANUEL AUGUSTO MICHAEL COURDIN PETER AND CARMELLA ELLISTON CHARLES RITCHIE LUDMILLA TEMERTY ELIZABETH BOWEN ELIZABETH RITCHIE Durand's portrait of the Irish novelist Elizabeth Bowen was commissioned by the Hon. Charles Ritchie CBE and featured in the National Portrait Gallery RECENT ACQUISITIONS exhibition. It was was acquired for the permanent collection and remains one of the most popular pictures. Elizabeth Ritchie as Sarah Baigneuse, Durand. Marguerite Porter. 1973 London Exhibition TERPSICHORE, St Paul's Church, Covent Garden,sponsored by the soloist dancer Petrus Bosman. The first exhibition of paintings to be held at the Actors' Church, TERPSIN AID IN AIIN AID OF CHRISTIAN CARE ASSOCIATION WWW.STONEPILLOW.ORG.UK life-size portraits of Royal Ballet danincers including Manuel Augusto, Anthony Dowell, Jenny Penny and Merle Park. Monica Mason with Durand. Portrait Royal Ballet principals: STEPHEN BEAGLEY SVETLANA BERIOSOVA PETRUS BOSMAN ANTHONY DOWELL WAYNE EAGLING MONICA MASON CARL MAYERS MERLE PARK JENNY PENNY MARQUERITE PORTER ANTOINETTE SIBLEY DIANA VERE DAVID WALL Exhibition ANGELS, Helicon Gallery, Conduit Street, London. Portugal First visit to the Algarve. André Durand, Florence. 1976 Venice, Florence and Rome. Studying 15th, 16th and 17th century Italian pictures and sculpture with Julian Hosking. The Miraculous Draught of Fishes, Durand. St Sebastien, Durand. St. Francis & Bishop Guido, sketch, Durand. Exhibition FIGURES IN A LANDSCAPE, St Paul's Church, Covent Garden. Sacred Fourteen paintings inspired by the Synoptic Gospels and Christian legends. THE ADORATION OF THE MAGI CHRIST APPEARING TO MARY CHRIST AND THE WOMAN OF SAMARIA CHRIST ON THE MOUNT OF OLIVES THE DENIAL OF CHRIST THE MIRACULOUS DRAUGHT OF FISHES ST. FRANCIS ST. JEROME ST. JOHN THE BAPTIST ST. LUKE ST. SEBASTIAN Stephanie Beacham posing Durand with Stephanie Beacham. Alistair, Lord Londonderry and his son Frederick, portrait, Durand. Gillian Reid-Walker, portrait, Durand. St George de la Rue as the Spartan Boy detail, Durand. Jo Webster, Expectant Arch, Durand. Lady Sophia Vane-Tempest Stewart, portrait detail, Durand. Vane-Tempest Stewart. 1978 London Exhibition A DECADE OF PORTRAITS, Aberbach Fine Art, Saville Row. California Exhibition LONDON PAINTINGS, Geona Gallery, Santa Barbara. Portrait BARBARA BERHNS JULIAN HOSKING THE MARQUESS OF LONDONDERRY AND FREDERICK, VISCOUNT CASTLEREAGH GILLIAN REID-WALKER ANTHONY DOWELL AND ANTOINETTE SIBLEY LADY SOPHIA VANE-TEMPEST STEWART FREDERICK, VISCOUNT CASTLEREAGH AND HIS BROTHER SIR REGINALD VANE-TEMPEST STEWART ST GEORGE DE LA RUE AS THE SPARTAN BOY LUDMILLA TEMERTY JO WEBSTER Few things appal Durand more than a portrait which consciously seeks to delve. All that can be conveyed by the sitter in life can be shown in an expression or a penetrating gaze and all that can be hidden by a face can be given away in the look of an eye or a half stopped smile. That portraits could have a further, deeper level not indicated by any symbolism or implied by any careless facial gesture is not a preoccupation for Durand. It is his candid acceptance of portraiture as a two-dimensional science which intrigues when faced with an example of one of Durand’s romantic likenesses, because it could be sworn that below the stillest surface rages a torrent of opinion and emotion. Brian Balfour Oatts. Pisces: Christ and St. Peter on the Sea of Galilee, Durand. Pisces: Christ and St. Peter on the Sea of Galilee Gemini: Castor & Pollux, Durand. 1981 Edinburgh Exhibition MIRACLES AND METAMORPHOSES, Adam House, Edinburgh Festival 1981. Mythological pictures based on the zodiac. AFTER THE RAPE OF GANYMEDE ARIADNE & THE MINOTAUR BIRTH OF APHRODITE BIRTH OF PEGASUS CASTOR & POLLUX TRIUMPH OF PERSEPHONE Unlike any other contemporary artist, Durand seems to be immersed in the antique. Today he stands alone in the creation of heroic images and grand narratives - the transient taste in art rests elsewhere - and for this reason alone, his paintings have not been fully understood. Durand’s compositions are triggered by myth but involve a search for purity and that elusive concept of ideal beauty. In ancient times Greek sculptors created an idealised beauty by combining individual parts of the bodies of different models to create the perfect type. It is worth remembering that every time we criticise a figure because the legs are too long, or the shoulders too wide, we admit that an ideal beauty exists. Durand varies this idealization by creating a particular feeling of elegance in his pictures, partly through careful choice of surroundings, and partly by posing his subjects in complex attitudes not unlike Italian Mannerist painters tend to do. Portugal Nazare and the Algarve Durand absorbs new inspiration, developing a vibrant palette and working with new, broader brushwork. Mystic Marriage, detail, Durand. allegory. MYSTIC MARRIAGE is Durand's first allegorical picture, a genre of visual image popular in the renaissance invested with philosophical connotations. The artist has restaged the Royal wedding on a beach in Nazare, Portugal and conjures a bride in the form of Diana, princess of Wales to focus attention on the deeper meanings within the picture. Durand’s subsequent allegorical pictures the princess became an icon for the artist - a symbolic presence - which he used to stunning effect to reflect on issues as diverse as AIDS (VOTIVE OFFERING, 1987) and classical mythology (FORTUNA, 2000). Rome. Portrait. Vatican, official portrait of H H JOHN PAUL II. Commissioned by the Sovereign Military Order of Malta. Unveiled 1983 Heim Gallery, London. H H THE DALAI LAMA AT THE CONVENT OF SAN ANSELMO. THE COMMUNION OF MOTHER THERESA GRAND MASTER ANGELO DE MOJANA DI COLOGNA Palazzo Malta Rome Andrew Ciechanowiecki, portrait, Durand Andrew Ciechanowiecki 1984 Montreal and Toronto Exhibitions, Musèe Ramsay, Montreal, and City Hall, Toronto. H H JOHN PAUL II H H THE DALAI LAMA AT THE CONVENT OF SAN ANSELMO COMMUNION OF MOTHER THERESA AT THE HOLY DOOR MYSTIC MARRIAGE SECRET BETWEEN BROTHERS ANDREW CIECHANOWIECKI EMMA SARGEANT First of five portraits of Alex Baumann, Canadian swimmer and double Olympic gold medal. Olympiad Symposium, Durand Commissioned by Lord Ennals for the United Nations Association to inaugurate Peace Year 1986. Acquired by The Aquatic Hall of Fame and Museum of Canada, Winnipeg. Featured on the cover of Arts Review September 13th, 1985. Robert Smith, the Director of UNICEF, has had the perspicacity to discover Durand and Lord Ennals, in his capacity as Chairman of the United Nations Association of Great Britain and Ireland, commissioned the large narrative composition OLYMPIAD SYMPOSIUM, to inaugurate Year of Peace 1986. Durand has taken as his theme youthful, multi racial ideology and the picture he has painted is based on the Olympic ideal. Durand’s admiration for the sound mind, sound body ethic is defiantly bold, even aggressive. The five swimmers are posed in an empty Olympic pool in Rhodes. Clad only in their Speedos the five swimmers link hands symbolically, passing the Olympic flame, spirit of the Vestal Virgins and the Olympics, between themselves. A little boy, the spirit of hope for the future, poses winningly with his father, in the bottom left corner of the composition. Rather like the backdrop in a theatre the Acropolis at Lindos is set behind and above the empty pool. In this complex composition Durand’s considerable knowledge of the nude has resulted in harmony between the athletes: the classical cross composition is cleverly echoed by setting the athletes in size order with the tallest, black swimmer to the fore. The colour scheme is harsh and almost contemporary in the bottom half, with turquoise shadows; and the soft and ‘ancient’ colouring is reserved for the top half of the composition. This startling juxtaposition of colour schemes, united by the olive tree, traditional symbol of the Olympics, intergrates the Ancient and Modern Olympic ideal. ECCE EQUUS, four large compositions inspired by the Book of Revelation, to commemorate the fortieth anniversary of the United Nations Children's Fund in the Year of Children's Rights. Unveiled by Jeanne Sauvé, the Governor General of Canada at the National Arts Centre: The powerful message conveyed by these four major works cannot be ignored if we are to offer the children of a tomorrow a better world in which to live. Jeanne Sauvé Greg Louganis, sketch, Durand. Greg Louganis (study). portrait ALEX BAUMANN SEBASTIAN COE LIBERACE GREG LOUGANIS. Votive Offering, modello, Durand. Votive Offering. To commemorate the visit of Diana, Princess of Wales to the Broderip Ward, Middlesex Hospital. Unveiled at St James' Church, Piccadilly, London, November. Diana, Princess of Wales with Sunnye Shermann, study, Durand. Diana, Princess of Wales with Sunnye Sherman, the first American to die from AIDS related illness. As a depiction of salvation and sanctification through martyrdom, VOTIVE OFFERING implicitly protests the existential fatalism and dispiriting nihilism that have darkened much ‘modern art’ since the Second World War. It is a piece of defiantly un modern art, perhaps even anti modern art, in its enthusiastic homage to the Renaissance. But ‘homage’ is perhaps too weak a word for Durand’s bold appropriation of Renaissance imagery; so too is allusion. VOTIVE OFFERING not only alludes to votive offerings and altarpieces by a host of Renaissance artists but also reflects aspects of their deeper, densely symbolic designs such as triptych structure and sacred symmetry. Perhaps return is the best word to describe Durand’s approach to his cinquecento sources. He has returned to them in a spiritual and philosophical as well as a visual sense in order to recreate something divinely powerful, something harmoniously healing in the pristine, yet archaic art of idealised forms. Prof. James Miller, Kingston University, London, Ontario. In combining two very real women, Diana, Princess of Wales and Sunnye Sherman, in a present-day hospital ward, with archetypal representations of saints and patients, Durand has set the modern scourge of Aids in an historic context creating an atmosphere of timelessness and healing. Rose Elliot. The power of Votive Offering is to evoke so many different responses: painful sympathy, warm compassion and ardent admiration. Baroness Jay. Votive Offering is the heir to five centuries of European figure painting. Cecil Gould. I have been studying your work for more than ten years now, and Votive Offering is the most important picture I have yet seen. I agree with Cecil Gould this masterpiece is the heir to five centuries of European figure painting. Bless you for the splendid work you have done and are doing. Alistair Cooke. 1988 London Canterbury Edinburgh Glasgow Liverpool Peterborough Wells Winchester Montreal. Exhibition, VOTIVE OFFERING, the subject of a lecture by art historian Cecil Gould at Canada House, London and the source of several essays exploring the ways in which artists respond to AIDS. The picture made a pilgrimage jouney to cathedrals in England and Scotland, and was shown at the International AIDS Conference in Montreal. Durand begins two life-size portraits of H H Dalai Lama. H H Dalai Lama with a Sarus Crane, portrait, Durand. H H the Dalai Lama with a Sarus Crane. 1989 Second sittings with the Dalai Lama in Strasbourg, resulting in two portraits posed at the behest of Labour peer Lord Ennals. H H DALAI LAMA WITH A SARUS CRANE H H DALAI LAMA, THE JEWEL IN THE LOTUS Durand attends the Council of Europe 'Colloquy on the Universality of Human Rights in a Pluralistic World'. San Miniato al Monte. Florence. As the guest of the Benedictine monks at San Miniato al Monte, Durand was the first artist since Michelangelo to have lived within the monastery. Durand began a series of paintings inspired by the life and miracles of St Benedict. Studies extensively the archaeological site at Paestum. 1990 Arezzo, San Sepulchro, and Florence. Continued work on sacred pictures started at San Miniato and made exhaustive studies of the pictures of Piero della Francesca. EPIPHANY THE CHOICE OF BROTHER MICHAEL GOOD FRIDAY SUN INITIATION ORDINATION THREE MONKS CONTEMPLATING A STATUE OF APOLLO ROUND ART Marchese Emilio Pucci di Barsento al Cavallo, portrait, Durand. MARCHESE EMILIO PUCCI DI BARSENTO AL CAVALLO DONATELLA GRILLI MARIA VICTORIA CORTI GRAZZI EMANNUELLE CORTI GRAZZI GUILIO & FRANCESCA MILLONI On 7 October 1991 there was a fire at the warehouse of James Bourlet & Sons Limited. At the warehouse, but within a strong room, a number of valuable works of art were stored; these included some of Durand pictures as well as works by Hockney, Frink, a pastel painted by Degas and bronzes by Rodin. Durand's works in progress, his library, archive and studio equipment, as well as his entire personal collection of pictures by other artists are destroyed. Among the pictures lost was Durand's VOTIVE OFFERING of 1987. By October 1992 Durand began to paint again following the fire. Working with the pictures blocked in at San Miniato, Durand introduces new elements, in particular the symbol of the male nude, juxtaposing pagan and Christian iconography. Sebastiano del Piombo Death of Adonis, 1513 Uffizi Florence. Exhibition of DEATH OF ADONIS, after Sebastiano del Piombo's painting of the same title, unveiled by Cecil Gould at Academia Italiana, London. Dame Vera Lynn unveils her portrait by Durand at the Imperial War Museum. DAME VERA LYNN ISABELL KRISTENSEN ISABELL KRISTENSEN WITH HER DAUGHTER MIRANDA TWISS MAESTRO (Craig Funke) THE TRIUMPH OF BEAUTY OVER TRUTH AND TIME (Josephine Cooke, Lady Rumbold, Jane Cook) ELEANOR ROBINSON IN ROME Three Princes, allegorical portrait Prince of Wales with Harry and William Three Princes THREE PRINCES Allegorical portrait of the Prince of Wales with his sons, William and Harry. Commissioned by George Elrick of Amphion Art for the Grand Order of the Water Rats; unveiled at the Café Royal, November. Loggia, allegorical portrait Crag Funke with Durand, Rubens, Michelangelo, Rubens. Pegasus, detail, allegorical portrait, Durand. Re-explores classical sites, Corinth, Olympia, Epidauros and Delphi in preparation for CLASSICAL FRAGMENTS. London PEGASUS The prototype for the fair-haired hero on the winged stallion and hence the nimble pose, was the spirit of the classical dancer Julian Hosking, a muse for Durand not just as a subject for his painting, but in life. Hosking’s career with the Royal Ballet was distinguished but brief – he died in 1989 at the age of thirty-four – but not before he combined his dancing with studies of Egyptology, astrology and Italian painting. Hosking worked with Durand for over a decade and was often to be found researching subject matter for the artist as well as embodying for Durand the ideal male nude. A pivotal partnership, Durand pays homage to his dancer in PEGASUS. Exhibition, CLASSICAL FRAGMENTS, Archeus Fine Art, Bond Street, London. Durand continues to explore classical subject matter through the vision of Michelangelo. MARSYAS FLAYED PALESTRA AFTERNOON OF APOLLO VULCAN'S NET THE BIRTH OF THE DIOSCURI HERMES & HECATE Durand, like Winckelmann (1717-1768) believes that There is but one way for the moderns to become great, and perhaps unequalled; I mean, by imitating the ancients. Classical mythology has been a source of inspiration for the Canadian born Durand since he began painting as a boy. Today, as one the foremost painters in the world, Durand’s passion for Greek myth is evident in every picture he paints but is a view of classical mythology in the post Christian era. The advent of Christ requires a decisive change in representation and understanding of Greek mythology. Durand mythological pictures demonstrate a new, Neomodern approach to the ancient Greek myths. Megakles Rogakos, art historian and curator. London, HOODWINKERS, three allegorical portraits LA VITTORIA Eric Hebborn, forger; Anthony Blunt as a cardinal BACON'S SELF-PORTRAIT AS INNOCENT X WITH JOHN PAUL II IN THE STYLE OF DURAND Francis Bacon, painter SALIERI'S DREAM Brian Sewell. Diana Princess of Wales as the Roman goddess Fortuna, unveiled at the Belvedere in Holland Park, London. BBC OMNIBUS, September The Art Of Diana Durand appears first on the program and the prophetic nature of his allegorical portraits of Diana Princess of Wales is discussed.Exhibition ITALIANATE SUBJECTS, Albemarle Gallery Dedicated to Durand's friend, teacher and colleague Craig Funke. Sixteen pictures painted in Florence and London demonstrating the persistent influence of Italian renaissance art and neo-platonic philosophy on Durand's work. ARIA THE DIVE INTERMEZZO LUTEMAKER'S DAUGHTER MEZZOGIORNO SAINTS COSMOS DAMIAN TIME ART SACRED CONVERSATION 2000 A sacra conversazione commemorating the beatification of Padre Pio, the Vatican, 2 May 1999. Exhibited at the Jesuit Church, Farm Street, Mayfair, June - December. Official portrait of H H JOHN PAUL II on temporary loan to the Brompton Oratory, courtesy of the Sovereign Military Order of Malta. ART'S CONTENT - ELITISM - THE PUBLIC Artist's Residency and Exhibition Stanley Picker Gallery , Kingston University FORTUNA and PEGASUS are both mythological pictures but there is an obvious difference. Durand seeks to involve a wider audience with Fortuna for the goddess has the face of the 'people princess'. The few square inches that render Diana, Princess of Wales profile, are what makes this essentially mythological picture accessible to the public in a way that the unknown face of the hero mounted on Pegasus can never do. The media is the surrogate patron of FORTUNA. An earlier, similar composition by Durand, ECLIPSE, was unveiled in 1996 and was reproduced worldwide, even on the front page of The Times of India. Some of Durand doubts about the accessibility of mythological subject matter must have been answered by the broadsheets and redtops, which reported that it was not just any sea nymph or princess of the waves they had identified in ECLIPSE. No. Even without her cornucopia and rudder obscure symbols to be sure, but customary to this deity, they had recognised the heraldic apparition dancing on a crystal ball in mid ocean with or without, her entourage of tritons, dolphins and hippocamps as Fortuna herself: She has played the blushing bride, the dutiful wife and the patron saint of a thousand good causes. Yesterday the cartoon life of Diana, Princess of Wales, took a classical turn when a new portrait cast her in an altogether new role: the Roman goddess Fortuna (The Guardian 2nd October 1996). Armando Bayraktari, painter and curator London, Syros, Athens, Milan, Sussex and Suffolk Durand's first artistic explorations of the English countryside. Working in and around Aldeburgh, Didling, Bosham and Polesdon Lacy, he begins his WHOLLY PICTURES series, still in progress. Impressed by the ancient beauty of the South Downs, Durand adapts his palette to the light-filled blues of sky and water, the greens of grass and woodland, and white clouds of England, keeping Christian myths alive by placing Holy Land events in rural England. ANNUNICATION, DIDLING THE DEPARTURE OF THE QUEEN OF SHEBA, POLESDON LACEY MYSTIC LAMB, DIDLING SOLOMON, SHEBA MENLIK, POLESDON LACEY INCARNATION AT BOSHAM Viewing the progress of Durand WHOLLY PICTURES is an apotheosis of delight; I feel as a long departed yet graceful spirit, gliding gently over these paintings' lithesome glazes and impasto with their crisp blue skies and Gnostic sense of being; I see Bosham, I see Didling, but also I see the light of holiness - yet it is more; for I use the term apotheosis guardedly. Durand, ever the poet within the painter, has seen Jerusalem upon our shores and encapsulated its innocence in the hues of the true painter;rsquo;s music. He gives us truth, with which to open our mind eye. I had little noticed some time ago that Durand;rsquo;s recent discovery of the eternal Sussex downlands so profoundly encapsulates in these pictures that quality of symbolism to be found in the early Celtic Church; for Durand WHOLLY PICTURES, like the Sussex landscape, display the innocent hope of that bygone era: they are redolent of that special quality of the Celtic rite: its openness, its purity, but most of all its nigh unblemished virginity. Am I glad that I waited before commenting on ANNUNCIATION AT DIDLING? I've spent the past 30 minutes letting my eyes, yet again, brush over its beauty before writing this. The colour balance, specifically in the distant rolling downs, is restrained and well modulated. The muted tones draw the eye to the imperative foreground action. Here, there is a sense of urgency - an immediacy that reminds us that the erasing of Christianity is going on all too smoothly, all too stealthily. There could never be a more important time in history for these paintings, wholly pictures in every respect that demand to be looked at on a regular basis, to arrest a movement: these pictures are like the swell before a tide. The young and graceful Gabriel, nude and with tousled, hip hair - carried within that time sensitive 'blue streak' - has an important message not just for the exquisite prepubescent Blessed Virgin, but for all of us. The confirmation of Gabriel's message is in the eyes of the Mystic Lamb, who looks directly at us objectively. Is the message one of joy or of despair? The foreground colour scheme is calculated to emphasize the modern predicament we are in. The blue of the peacock and the blue current rushing about Gabriel are echoes of the greatest of mysteries: the Resurrection. In this 21st century ANNUNCIATION AT DIDLING as in the haunting interpretation of INCARNATION AT BOSHAM, or in PASIPHAE, we are privy to a mirage ; or is it a miracle? Is it a rebirth of painting? These pictures are acts of devotion, replete with memories and appealing to our higher selves. They are holistic pictures to be sure. David Elkington, historian and author. SUSSEX CHILDREN AND LANDSCAPES for the benefit of St. Richards Hospital, Chichester ALICE, CAMILLA, ISABELLE, LOUISA and ROSEANNA CURREY CHRISTOPHER, RAURI AND ISABEL EDWARDS ALBERT O'ROURKE