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Nancy Patterson
Folk Art Painting, Female Canadian artist, Morocco Desert Blue Dogs Cats Moon

2015

About the Item

This evocative Folk Art painting on board is by the fabulous British Canadian artist Nancy Patterson. It comes from her series ‘Days in the Desert Sun, Nights Under the Magical Moon’ , a compelling set of paintings in the Folk idiom made by Nancy about her life on the edge of the Desert in Southern Morocco. The paintings tell the narratives, the tales of the community that over the past eighteen years has become her home. Artwork details: Nancy Patterson, 'Pied Piper of Bounou', acrylic on board, unframed 27cm x 35cm, 2015. initialed on the front. Provenance, directly from the artist studio. Condition: in excellent condition. There is something very comforting about the term Folk Art, derived from the idea that a work of art is firmly rooted in the community it depicts. Folk Art can initiate feelings of splendid joy. It is often misjudged as holding less regard that some of its fine-art cousins but we need look no further than the fabulous British artist Alfred Wallis or the captivating Canadian painter Maud Lewis to understand that Folk Art can be just as complex in its formal arrangements, compositions and choice of colour palette. Another myth, possibly by those who could not explain the beauty in the Folk Art form, is that this type of art is the sole premise of artists who have had no formal training. Nancy narrates the painting, 'Daoud, the Piper, is a relaxed, charismatic character, children as well as animals tend to gravitate to him. Here he is surrounded by Desert Dogs, Rex (left) the reticent one, Rimpo (behind) the youngest, Cambo (front) the pushy one, and Dick, the oldest, all watched by Black Cat, the grandmother, Grey Cat, her daughter and Shadow, the granddaughter as well as his own young daughter, Rahma and some other desert residents'. Please feel free to contact us if you would like more details or images. Artist Biography Nancy Patterson (1936-) Born in Canada in the 1930’s, following a bohemian childhood, Nancy Patterson was instilled with a passion for exploration and places afar, particularly the ancient culture of the world beyond the West. Graduating with an Art Degree from Vancouver College of Art, in 1957 Nancy travelled to the renown artist colony in the UK, St Ives in Cornwall. She wanted to combine her wanderlust with her love of making things. Friends were working with renown potters Janet and Bernard Leech. Life was full of parties and artist led. Nancy moved into the studio at Patrick Heron’s Eagles Nest, Francis Bacon arrived with his friend Ron and Ben Nicholson was down the road. Other guests were not just artists like Terry Frost, Bryan Wynter, Roger Hilton and many more, but also people in the Art business like Bertha Schafer from New York,Theo Waddington from London and Critic Clement Greenberg from the USA. Nancy met Rothko at Peter Lanyon’s place in Carbis Bay. It was at one of these party’s that she met artist Anthony Benjamin, ‘a delightful Puckish Peter Pan character who had recently returned from several months on a French Government Bourse in Paris, studying printmaking at William Hayter’s famously innovative Atelier 17. Ant and I were good at jiving and often met at parties, then one night we danced out the door to Peggy Lee's Fever and spent the greater part of the next forty-plus years together, usually having a good time and always involved in something to do with Art’. Connected with the centre of the London art world from the Sixties to the Eighties, Nancy subsequently worked on sculptures with Benjamin, hung out with Brian Eno, made props and models for the Dr Who TV series and taught at Ealing College of Art. She ran an Art Gallery, curated exhibitions, and was involved in projects at prestigious institutions such as the Institute of Contemporary Art in London. She always found a particular pleasure in associations with non-western art and artists. Following trips to Marrakesh with Anthony and his untimely death in 2002, a couple of years later Nancy returned to Marrakesh where she met Daoud, a trader in Berber goods. He spoke English well and had a sense of fun. She shared a telling meal with Daoud and his friends, ‘a meal cooked to perfection with aromatic spices and lots of black olives, probably better than what you would get in a fancy restaurant’. At the end of the meal, Daoud said, 'this is our last day in Marrakesh, we are leaving tomorrow, Do you want to go to the Desert?' Nancy replied, 'Okay'. Days in the Desert Sun, Nights Under the Magical Moon is a compelling set of paintings in the Folk idiom, made by Nancy about her life on the edge of the Desert in Southern Morocco. The paintings tell the narratives of the tales of the community that over the past eighteen years she has become part of.
  • Creator:
    Nancy Patterson (1936, Canadian)
  • Creation Year:
    2015
  • Dimensions:
    Height: 10.63 in (27 cm)Width: 13.78 in (35 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Norfolk, GB
  • Reference Number:
    Seller: NP0091stDibs: LU167029616562
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    This captivating Folk Art painting on on board is by the fabulous British Canadian artist Nancy Patterson. It comes from her series ‘Days in the Desert Sun, Nights Under the Magical Moon’ , a compelling set of paintings in the Folk idiom made by Nancy about her life on the edge of the Desert in Southern Morocco. The paintings tell the narratives, the tales of the community that over the past eighteen years has become her home. Artwork details: Nancy Patterson, 'The tale of Bouderbala of Bounou, Part 3', acrylic on board, with frame 29.5cm x 38cm, 2014. Signed on the front. Professionally framed in a painted wooden shadow boxed. Ready to hang. Provenance, directly from the artist studio. Condition: in excellent condition. There is something very comforting about the term Folk Art, derived from the idea that a work of art is firmly rooted in the community it depicts. Folk Art can initiate feelings of splendid joy. It is often misjudged as holding less regard that some of its fine-art cousins but we need look no further than the fabulous British artist Alfred Wallis or the captivating Canadian painter Maud Lewis to understand that Folk Art can be just as complex in its formal arrangements, compositions and choice of colour palette. Another myth, possibly by those who could not explain the beauty in the Folk Art form, is that this type of art is the sole premise of artists who have had no formal training. This painting is an excellent example of a lyrical tale. It is as if with our gaze we traverse the painting, joining in the energy and movement of those in the painting. Nancy explains the tale, 'Bouderbala is the Happy Wanderer, a Pied Piper in Rags and Patches who travels carefree, alone or with his companions. He is one of the seven main Spirits in a Gnawa Leila Ceremony; he dances in a clownish loose-limbed way, but sometimes adds surprising acrobatic moves. Daoud is always cheerful like Bouderbala, as well as rather unpredictable. In his younger days his family wanted him to study Law, but he opted for Gymnastics. One day when we were out in the dunes and came across three Nomad kids playing Spin the Hoop with an old bicycle...
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  • Folk Art Painting Moonlight Morocco Desert Dunes Palms Under the Moon
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  • Folk Art Painting, Female Canadian artist, Morocco Desert Fox, Moonlight Palms
    By Nancy Patterson
    Located in Norfolk, GB
    This atmospheric Folk Art painting on board is by the fabulous British Canadian artist Nancy Patterson. It comes from her series ‘Days in the Desert Sun, Nights Under the Magical Moon’ , a compelling set of paintings in the Folk idiom, made by Nancy about her life on the edge of the Desert in Southern Morocco. The paintings tell the narratives, the tales of the community that over the past eighteen years has become her home. Artwork details: Nancy Patterson, 'The Desert Fox', acrylics on mahogany plywood, unframed 24cm x 25cm, 2005. Initialed on the front. Provenance, directly from the artist studio. Condition: in excellent condition. There is something very comforting about the term Folk Art, derived from the idea that a work of art is firmly rooted in the community it depicts. Folk Art can initiate feelings of splendid joy. It is often misjudged as holding less regard that some of its fine-art cousins but we need look no further than the fabulous British artist Alfred Wallis or the captivating Canadian painter Maud Lewis to understand that Folk Art can be just as complex in its formal arrangements, compositions and choice of colour palette. Another myth, possibly by those who could not explain the beauty in the Folk Art form, is that this type of art is the sole premise of artists who have had no formal training. There is something intriguing about paintings by the moonlight. Nancy uses the effect to emphasis the three main characters, herself, Daoud and the fox! Nancy narrates the painting, 'Daoud on his way to meet a local Elder, known as the Desert Fox, while a four legged Fox lurks about the background. Most men in the desert area around Mhamid wear traditional garments- a Gandoura (on Daoud) or a Djellaba (on the Fox) which look elegant when the wearer is just standing around or sitting on a camel, but a little strange on a bicycle or motorbike with a Shesh (turban) flowing in the breeze. A Shesh makes any man look good, and provides protection from sun and wind; almost all Moroccan men wear a Shesh most of the time, except when donning an unsuitable for the climate, western suit...
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