Polemics Forum

List of Categories:

Published contributions are listed under the corresponding appropriate category according to the artist's/author's decision. Click on your selection to go to that list of works, arranged alphabetically by contributors' name.

Written Work:

Essays

  1. Welstead G. - Lee Harvey Oswald is innocent, - FACT! [added: 19/12/2013]
    Perhaps now, more than ever before, in this information age we need to ask ourselves what, beyond personal experience, constitutes a basis for belief? Now, assailed from all sides, this is determined as much by how we are told as by what we are told.
    Click here to download this essay as a Word Document.
  2. Welstead G. - Light, Colour and Surface: A new commentary upon aspects of the compositional order and probable intention in Giovanni Bellini's 'St Francis' (Frick Collection, New York). [added: 14/04/2014]
    Since the publication of Berenson's 1916 essay on the Frick St Francis, a lot more has been written about Giovanni Bellini's wonderful picture. A significant number of essays and articles and at least one complete book have been devoted to the work and, in particular, to trying to give a reading which clarifies the painting's specific subject. In apparently deviating from some established traditions of depiction, though seemingly not representing an explicit alternative, the work has provoked some variation in analytical method and conclusion. Much of this is speculative and has little genuine basis in the picture and, as such, is indicative of the inherent problem of defining what is meant by pictorial content. In most accounts of the St Francis, this is consequently unsatisfactorily resolved by the use of certain aspects of the imagery merely because they appear to fit this or that interpretation, while ignoring others which may be just as relevant. Such shortcomings will become apparent when we examine some different approaches.
    But there is a credible and plausible reading of the picture which does not require speculation, which relies entirely on what is within the four sides of the painting and which establishes both a physical and poetically symbolic connection between the compositional order and the subject. If we seek a conclusion that considers what the artist actually did and does not rely on conjecture merely because it suits a purpose, the reading expounded in the following pages seems, to my mind, to be the one which most likely accords with Bellini's original intention.
    (N.B., This essay is also available as a lecture; for email enquiry please go to the 'Contact' page.)

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