{"id":14209,"date":"2013-08-26T02:57:56","date_gmt":"2013-08-26T01:57:56","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14209"},"modified":"2013-08-26T02:57:56","modified_gmt":"2013-08-26T01:57:56","slug":"the-art-of-james-gleeson-1915-2008","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/08\/26\/the-art-of-james-gleeson-1915-2008\/","title":{"rendered":"The art of James Gleeson, 1915\u20132008"},"content":{"rendered":"<p><img decoding=\"async\" alt=\"gleeson1.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/08\/gleeson1.jpg\" \/><\/p>\n<p><em>Funeral Procession in a Wounded Landscape (1945).<\/em><\/p>\n<p><a href=\"http:\/\/fantasticvisions.net\/artists\/james-gleeson\/\" target=\"_blank\">James Gleeson<\/a> was an Australian Surrealist painter whose work I don&#8217;t think I&#8217;d seen before. The early pictures tend towards the post-Dal\u00ed school that crowds the second and third generation of Surrealist painting. More interesting for me are the later landscapes (if they can be labelled such) produced by a combination of collage and painting techniques. Some of HR Giger&#8217;s work in the 1970s explored <a href=\"http:\/\/art.vniz.net\/giger\/Giger-Landscape_X_%28Tell_%2773%29.jpg\" target=\"_blank\">similar organic terrain<\/a> but this period didn&#8217;t last very long before he was into his biomechanical territory.<\/p>\n<p><img decoding=\"async\" alt=\"gleeson3.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/08\/gleeson3.jpg\" \/><\/p>\n<p><em>Locus Ganesa (1985).<\/em><\/p>\n<p><img decoding=\"async\" alt=\"gleeson2.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/08\/gleeson2.jpg\" \/><\/p>\n<p><em>Sky Techtonics (2002).<\/em><\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/the-fantastic-art-archive\/\">The fantastic art archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Funeral Procession in a Wounded Landscape (1945). James Gleeson was an Australian Surrealist painter whose work I don&#8217;t think I&#8217;d seen before. The early pictures tend towards the post-Dal\u00ed school that crowds the second and third generation of Surrealist painting. More interesting for me are the later landscapes (if they can be labelled such) produced &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/08\/26\/the-art-of-james-gleeson-1915-2008\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of James Gleeson, 1915\u20132008&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_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}},"categories":[2,1029,44,18],"tags":[720,5111],"class_list":["post-14209","post","type-post","status-publish","format-standard","hentry","category-art","category-collage","category-painting","category-surrealism","tag-hr-giger","tag-james-gleeson"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Hb","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14209","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=14209"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14209\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}