Sexypink - A huge loss to Trinidad and Tobago. Thank you Geoffrey for your vision, kindness and love.
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Geoffrey's contribution to Art history. He was the definitive writer on Cazabon.
An image of one of Cazabon's paintings.
Finally, a beautiful tribute to Geoffrey MacLean from one of many friends.
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TRIBUTE TO GEOFFREY MACLEAN. In each island nation of the Eastern Caribbean, economies of scale make it so that there are only one or two (and if they are lucky, three or four) local experts in some field of study which has little to do with industry or clerical work but everything to do with the national character and its history. Because they are often without precedent, these experts often have had to travel abroad for their training or are otherwise self-trained in their chosen sector of the liberal arts/humanities/social sciences.
Trained architect and avocational art historian Geoffrey MacLean was one of these indispensable sages in the field of visual studies and the built environment. He was the world’s foremost specialist on nineteenth-century landscape and genre painter Michel Jean Cazabon. Cazabon was a partially unwitting member of a global late colonial/early post-colonial landscape painting tradition that encompassed artists such as Mexican José María Velasco, the Chartrand brothers of Cuba, Filipino painter Fernando Amorsolo, and the painters of the Hudson River School in the United States. What all of these artists had in common was their urgent need to capture and pay tribute for posterity to the natural beauty of their respective lands before that “Edenic” verdure was despoiled by then-already encroaching industrialization.
MacLean’s passion for Cazabon pressed him not only to hone further the scholastic abilities he had already developed at Presentation College in his native Trinidad and Bristol University in the U.K. but to travel back and forth between the Caribbean and Europe hunting down examples and collections of Cazabon’s work. He also assisted the government of the Republic of Trinidad & Tobago in the acquisition of some Cazabon works for display in its National Museum and Art Gallery.
MacLean was generous with his knowledge, his time, and with his published materials. Every time I visited him, I came home with an armful of books and catalogues (one of my favorites is an unassuming little pamphlet of a catalogue called Chinese Artists of Trinidad & Tobago which probably played some part in my decision to write the book about Sybil Atteck on which I am currently working with Sybil’s nephew Keith). In graduate school, I relied heavily on MacLean’s Cazabon books for the research I was doing on colonial Latin American and Caribbean painting. MacLean’s enthusiasm for Cazabon’s genre painting, especially his rapt verbal and written descriptions of the late 19th century painting Negress in Gala Dress (pictured here) revealed to me that Cazabon’s paintings of local “types” (e.g., “Negress” instead of named individual) was sometimes a form of real portraiture and thus departed the tipo de país-to-costumbrismo continuum that we sometimes use in Latin American art history. Cazabon loved his people too much and included too much implied biography and other narratives in those paintings, to reduce their subjects to mere “types.” His titles were thus deceptively taxonomic.
Architect, scholar, art gallery director Geoffrey MacLean’s contribution to the study and preservation of T&T’s architecture was legendary even before his passing. He has searched out original plans for fretwork houses and saved some of these architectural jewels from the bulldozers of “developers.” He has done the same for members of the Magnificent Seven around the Queen’s Park Savannah and taught workshops on both the civic and residential architecture of Trinidad & Tobago. As MacLean himself now passes into legend, we are left with the perennial question in these small and mid-sized islands of the Eastern Caribbean each with their two or three experts on local art and architecture – who will pick up the torch?
~ Lawrence Waldron
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just momentarily blacked out and read all of winterlude oh my god I’ve never felt so much joy seep through a story before I can’t wait to see the rest of regulus’ journey mwah your brain omg🥺
(also I think I’m ALSO in love with james like holy shit)
HI HELLO HI!!!
yayayayay so glad you like winterlude ahhh <3333 thank you so much !!!
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Dear friends, let's celebrate the unbreakable bond between humans and their beloved pets! Please share pictures of your furry companions showing off their unique personalities. Help us create a collection of joyful moments that reflect the love and connection shared by all animal lovers out there. 😍
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*sings* I was extremely disappointed to find out that most if not all of the art kids I thought would understand me were simply insecure bullies without much talent & their unwillingness to engage in transparency or lift each other up was reflective of that~~~~
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plotted starter for @theasteria
“No, it’s nice, it’s just-” Tisha covers her mouth with her glass, cutting herself off with a sip of champagne. The gallery is more than nice, it’s beautiful, but as she was trying to explain to her friend before she thought better of it, it just… didn’t fit. She’d wanted to scope it out, that’s what brought her to the showing she was at, hair sleek and straight and makeup done at the Sephora counter because she couldn’t be assed to figure it out herself, in what she calls her sexy messy sari (because it’s translucent and gauzy and pale purple and shows off everything she wants it to).
But it just doesn’t feel right. It’s too clean, too commercial, too well organized. Tisha is used to lugging her sculptures in a fucked up old pickup to a mouse filled warehouse, or getting offers from people who have seen her online and like the aesthetic of a mouse filled warehouse and a sexy messy artist but won’t deign to be seen there. She scans the crowd of well heeled collectors, and for a moment her eyes fall on the owner, the entire reason she’s there, elegant and put together and so unbelievably pretty. “Damn. Damn. I’m thinking about it now. Fuck.”
Her friend elbows her, and Tisha realizes she’s been staring at the other woman, so she turns back to him with a sheepish smile. “What? I’m here to look, what’s the big deal?”
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