Post by ronprice on Aug 10, 2005 10:22:26 GMT -5
BEGINNINGS 
Vincent van Gogh wrote that “in the late spring the landscape of Arles gets tones of gold of various tints: green-gold, yellow-gold, pink-gold, and in the same way bronze, copper, in short starting from citron yellow all the way to a dull, dark yellow colour like a heap of threshed corn. And this combined with the blue-from the deepest royal blue of the water to the blue of the forget-me-nots, cobalt.”1 Van Gogh’s correspondence was unique; no painter has ever taken his readers through the processes of his art so thoroughly, so modestly, or with such descriptive power. Van Gogh was inventing a landscape as it invented him; in his incessant letters he catelogued and categorized his work. Much of his work, especially his work at Arles, was a rhapsodic outpouring of creative energy. Work and seriousness is the real image of Van Gogh. It is here that the critic could see the beginnings of modern art.2-Robert Hughes, Nothing If Not Critical: Selected Essays on Art and Artists, Harvill, London, 1990, 1pp. 143-144; and 2p.132.
Ron Price describes the colours of a different landscape in the darkest hours of declining western civilization and an emerging global civilization; the colours of the centuries that saw the emergence of both these civilizations; and the tones and tints that he saw in the emergence of the first truely global religion. Price describes the colours of his own life from his deepest, blackest depressions to his golden, his blue, his amethyst and yellow joys; and the play of these colours, his personal subjectivity, on other sets of colours he saw reflected in his society, his culture, his religion and his world. Everyone tells their story in a different way. Here is a story, taken over three epochs: 1944 to 2000; here is a religion. Price provides his readers with a thorough account of the processes by which he works. The detail is descriptive; the tone, he likes to think, is modest. There is work, seriousness, rhapsody here in Price’s poetry and another beginning: several decades of emergence from obscurity of the newest of the world’s religions. -Ron Price, Pioneering Over Three Epochs, Unpublished Manuscript, 2000.
This is a moral act;
it expresses my whole
sense of being in the world.
Striving for accuracy I must
be indifferent to the errors
of this poetic fecundity,1
for I am not writing the history
of my age, but telling of the
uniqueness of my time with
an engine for describing a world
in metamorphosis,with an immediacy
that creates poetry.
It is unlikely that this poetry
a theatre of characters and events,
will find a home of popularity
in this familiar and not-so familiar; world of burgeoning cultural forms,
this world of divergence & heterogeneity. ;D
1 Robert Hughes describing August Rodin in Hughes, op.cit., p.132.
Ron Price
15 January 2000
Vincent van Gogh wrote that “in the late spring the landscape of Arles gets tones of gold of various tints: green-gold, yellow-gold, pink-gold, and in the same way bronze, copper, in short starting from citron yellow all the way to a dull, dark yellow colour like a heap of threshed corn. And this combined with the blue-from the deepest royal blue of the water to the blue of the forget-me-nots, cobalt.”1 Van Gogh’s correspondence was unique; no painter has ever taken his readers through the processes of his art so thoroughly, so modestly, or with such descriptive power. Van Gogh was inventing a landscape as it invented him; in his incessant letters he catelogued and categorized his work. Much of his work, especially his work at Arles, was a rhapsodic outpouring of creative energy. Work and seriousness is the real image of Van Gogh. It is here that the critic could see the beginnings of modern art.2-Robert Hughes, Nothing If Not Critical: Selected Essays on Art and Artists, Harvill, London, 1990, 1pp. 143-144; and 2p.132.
Ron Price describes the colours of a different landscape in the darkest hours of declining western civilization and an emerging global civilization; the colours of the centuries that saw the emergence of both these civilizations; and the tones and tints that he saw in the emergence of the first truely global religion. Price describes the colours of his own life from his deepest, blackest depressions to his golden, his blue, his amethyst and yellow joys; and the play of these colours, his personal subjectivity, on other sets of colours he saw reflected in his society, his culture, his religion and his world. Everyone tells their story in a different way. Here is a story, taken over three epochs: 1944 to 2000; here is a religion. Price provides his readers with a thorough account of the processes by which he works. The detail is descriptive; the tone, he likes to think, is modest. There is work, seriousness, rhapsody here in Price’s poetry and another beginning: several decades of emergence from obscurity of the newest of the world’s religions. -Ron Price, Pioneering Over Three Epochs, Unpublished Manuscript, 2000.
This is a moral act;
it expresses my whole
sense of being in the world.
Striving for accuracy I must
be indifferent to the errors
of this poetic fecundity,1
for I am not writing the history
of my age, but telling of the
uniqueness of my time with
an engine for describing a world
in metamorphosis,with an immediacy
that creates poetry.
It is unlikely that this poetry
a theatre of characters and events,
will find a home of popularity
in this familiar and not-so familiar; world of burgeoning cultural forms,
this world of divergence & heterogeneity. ;D
1 Robert Hughes describing August Rodin in Hughes, op.cit., p.132.
Ron Price
15 January 2000
