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Geo

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Landscape-with-mill-1860

Bath near alpen mill by Geo oil sept 2011

Completion Date: 1860

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Dimensions: 23 x 31 cm

Gallery: Private Collection

Paul Cézanne

Born: 19 January 1839; Aix-en-Provence, France

Died: 22 October 1906; Aix-en-Provence, France

Periods: Dark period, Impressionist period, Mature period, Final period

Field: painting

Nationality: French

Art Movement: Post-Impressionism

Series: The Four Seasons

Still-life-with-bread-and-eggs-1865 by Cézanne

Veillée hongroise by Geo oil sept 2011

Artist: Paul CezanneCompletion Date: 1865

Style: Romanticism

Period: Dark period

Genre: still life

Technique: oil

Material: canvas

Dimensions: 59 x 76 cm

Gallery: Cincinnati Art Museum, United States

Paul Cezanne was a post-impressionist painter who created the bridge between impressionism and cubism, and is said to be the artistic father of both Matisse and Picasso. Although he was dissuaded by his father at an early age to pursue his passions in painting, he left his hometown of Provence for Paris, in 1861. It was there that he met Camille Pisarro, a popular impressionist painter, who served as his mentor and guide. He began painting in the impressionistic style, but later began to structurally order what he saw and painted into simple forms and planes of color. He also began to simplify the forms he painted into shapes, such as a tree into a column. Unlike many of the painters of his day, who focused on one or maybe two subject styles, Cezanne concentrated on still lifes, portraits, landscapes, and nude studies.

He began slowly in Paris, as all of his submissions to the Paris Salon between the years of 1864 and 1869 went rejected.

Click to view slideshow.

 

Cézanne till1870 (Dark Periode) –

 

Artist: Paul Cezanne

Completion Date: 1863

Style: Romanticism

Period: Dark period

Genre: nude painting (nu)

Artist: Paul Cezanne

Completion Date: 1864

Style: Romanticism

Period: Dark period

Genre: marina

Artist: Paul Cezanne

Completion Date: 1866

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Dimensions: 36.6 x 40.5 cm

The Lion and the Basin at Jas de Bouffan

Artist: Paul Cezanne

Completion Date: 1866

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Gallery: Musee d’Orsay, Paris, France

Clearing

Artist: Paul Cezanne

Completion Date: 1867

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Landscape

Artist: Paul Cezanne

Completion Date: 1867

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Mont Sainte-Victoire

Artist: Paul Cezanne

Completion Date: 1867

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

The Negro Scipio

Artist: Paul Cezanne

Completion Date: 1867

Style: Romanticism

Period: Dark period

Genre: portrait

Technique: oil

Material: canvas

Dimensions: 107 x 103 cm

Gallery: Sao Paulo Museum of Art, Sao Paulo, Brazil

Bend in the River

Artist: Paul Cezanne

Completion Date: c.1868

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Gallery: Private Collection

Rock in the Forest of Fontainbleau

Artist: Paul Cezanne

Completion Date: 1868

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Dimensions: 41 x 33 cm

Gallery: Private Collection

Road in Provence

Artist: Paul Cezanne

Completion Date: c.1868

Style: Romanticism

Period: Dark period

Genre: landscape

Technique: oil

Material: canvas

Gallery: Museum of Fine Arts, Montreal, Canada

 

Bathers

 

       

Cézanne

Cézanne

        

Cézanne

                

The Rest of Vincent by Geo

Wndmils-at-Dordrecht-1881

One of the most famous painters in history, Vincent van Gogh was a Dutch neo-impressionist painter, who produced a vast number of the most recognizable artworks of all time. Van Gogh was a serious, silent, and thoughtful child, who did not attend art classes until he was secondary school. With a natural talent for art, he was contracted quickly out of school to work with an art dealer in The Hague, and later transferred to a dealer in Brixton, in England, where at age twenty he was making more money than his own father. According to his sister in law, this was the happiest time of his life.

He was fired from a job in France, after which he had to return to England for unpaid work. He worked many small jobs until he realized that his calling was in the ministry, and he traveled to Amsterdam in 1877 to study theology. Unfortunately for Van Gogh, he failed his entrance exams to the university, as well as several missionary posts. His tribulations in the missionary field came to an end when he returned home to his parents. During this time, after a particularly bad argument, Van Gogh’s father made inquiries about having his son committed to a lunatic asylum.

He returned to Cuesmes, Belgium, in 1880, and resigned himself to the life of an artist, enrolling at the Academy of Fine Art in Brussels, studying art in earnest. His years as an art student were rocky at best. During the time period between 1880 and 1886, Van Gogh had unsuccessfully proposed marriage a number of times, impregnated and abandoned at least one woman, suffered the death of his father, and was in ill-health due to a diet of bread, tobacco, and coffee…

La-bretonnerie-in-the-department-of-indre-1856

Ruisseau par Geo Octobre 2011

Valley-of-the-loue-1836

Acrobat in Sunset by Geo September 2011

Born: 10 June 1819; Ornans, Doubs, France

Died: 31 December 1877; La Tour-de-Peilz, Switzerland

Active years: 1838 – 1877

Field: painting, sculpture

Nationality: French

Art Movement: Realism

Courbet grew up in a family with anti-monarchical sentiments, as his grandfather was a member of the French Revolution, and thus used his popularity as a platform to write essays and dissertations on political anarchism, democratic and socialist ideas. ..

Born: 15 February 1817; Paris, France

Died: 19 February 1878; Paris, France

Field: painting

Nationality: French

Art Movement: Realism

School or Group: Barbizon school

Genre: landscape

Charles-François Daubigny (15 February 1817 – 19 February 1878) was one of the painters of the Barbizon school, and is considered an important precursor ofImpressionism.

                                                                                  In Nature by Geo September 2011

Charles-François Daubigny – The River Seine at Mantes - Brooklyn Museum

Daubigny was born in Paris, into a family of painters and was taught the art by his father Edmond François Daubigny and his uncle, miniaturist Pierre Daubigny.

Initially Daubigny painted in a traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Isère). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, often in the region around Auvers. From 1852 onward he came under the influence of Gustave Courbet.

…

Daubigny’s finest pictures were painted between 1864 and 1874, and these for the most part consist of carefully completed landscapes with trees, river and a few ducks. It has been said that when Daubigny liked his pictures he added another duck or two, so that the number of ducks often indicates greater or less artistic quality in his pictures.^{[citation needed]} One of his sayings was, “The best pictures do not sell”, as he frequently found his finest achievements little understood. Daubigny is chiefly preferred for his riverside pictures, of which he painted a great number, but although there are two large landscapes by Daubigny in the Louvre, neither is a river view. They are for that reason not so typical as many of his smaller Oise and Seine pictures.

His most ambitious canvases are Springtime (1857), in the Louvre; Borde de la Cure, Morvan (1864); Villerville sur Mer (1864);Moonlight (1865); Auvers-sur-Oise (1868); and Return of the Flock (1878). He was named by the French government as an Officer of the Legion of Honor.^[1]

Daubigny died in Paris. His followers and pupils included his son Karl (who sometimes painted so well that his works are occasionally mistaken for those of his father), Oudinot, Delpy, Albert Charpin and Pierre Emmanuel Damoye.

Born: 11 June 1776; Suffolk, United Kingdom

Died: 31 March 1837; London, United Kingdom

Active years: 1800 – 1837

Field: painting

Nationality: British

Art Movement: Romanticism

School or Group: English school

Genre: landscape

Series: Scene on a River

John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as “Constable Country”—which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”.^[2]

His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England.

John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman. Although Constable was his parents’ second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and after a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.

In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk countryside that was to become the subject of a large proportion of his art. These scenes, in his own words, “made me a painter, and I am grateful”; “the sound of water escaping from mill dams etc., willows, old rotten planks, slimy posts, and brickwork, I love such things.”^[3] He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, which inspired Constable. Later, while visiting relatives inMiddlesex, he was introduced to the professional artist John Thomas Smith, who advised him on painting but also urged him to remain in his father’s business rather than take up art professionally.

Dedham Vale (1802)

In 1799, Constable persuaded his father to let him pursue art, and Golding even granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended life classes and anatomical dissections as well as studying and copying Old Masters. Among works that particularly inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci and Jacob van Ruisdael. He also read widely among poetry and sermons, and later proved a notably articulate artist. By 1803, he was exhibiting paintings at the Royal Academy.

In 1802 he refused the position of drawing master at Great Marlow Military College, a move which Benjamin West (then master of the RA) counselled would mean the end of his career. In that year, Constable wrote a letter to John Dunthorne in which he spelled out his determination to become a professional landscape painter:

His early style has many of the qualities associated with his mature work, including a freshness of light, colour and touch, and reveals the compositional influence of the Old Masters he had studied, notably of Claude Lorrain.^[5] Constable’s usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He did, however, make occasional trips further afield. For example, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east coastal ports, and in 1806 he undertook a two-month tour of the Lake District.^[6] But he told his friend and biographer Charles Leslie that the solitude of the mountains oppressed his spirits; Leslie went on to write:

Wivenhoe Park (1816)

In order to make ends meet, Constable took up portraiture, which he found dull work—though he executed many fine portraits. He also painted occasional religious pictures, but according to John Walker, “Constable’s incapacity as a religious painter cannot be overstated.”^[8]

Constable adopted a routine of spending the winter in London and painting at East Bergholt in the summer. And in 1811 he first visited John Fisher and his family in Salisbury, a city whose cathedral and surrounding landscape were to inspire some of his greatest paintings.

[edit]Marriage and maturity

Maria Bicknell, painted by Constable in 1816

From 1809 onwards, his childhood friendship with Maria Bicknell developed into a deep, mutual love. But their engagement in 1816 was opposed by Maria’s grandfather, Dr. Rhudde, rector of East Bergholt, who considered the Constables his social inferiors and threatened Maria with disinheritance.

Maria’s father, Charles Bicknell, a solicitor, was reluctant to see Maria throw away this inheritance, and Maria herself pointed out that a penniless marriage would detract from any chances John had of making a career in painting.

Golding and Ann Constable, while approving the match, held out no prospect of supporting the marriage until Constable was financially secure; but they died in quick succession, and Constable inherited a fifth share in the family business.

Weymouth Bay (c. 1816)

John and Maria’s marriage in October 1816 at St Martin-in-the-Fields (with Fisher officiating) was followed by time at Fisher’s vicarage and a honeymoon tour of the south coast, where the sea at Weymouth and Brighton stimulated Constable to develop new techniques of brilliant colour and vivacious brushwork. At the same time, a greater emotional range began to register in his art.^[9]

Although he had scraped an income from painting, it was not until 1819 that Constable sold his first important canvas, The White Horse, which led to a series of “six footers”, as he called his large-scale paintings.

Click to view slideshow.

ELTON JOHN:

“Freddie Mercury had a passion for beautiful drawings and paintings as well. I mean, even when he was dying, at his house, I used to go round there and sit well between… [it was] really hard because he was really ill. But he just loved having his auction catalogues round there.

“And things would be arriving, and he’d say: ’Darling, I’ve just bought this!’, and I said like ‘Why are you doing this?’ and he said‘Because I love it.’

“The year that he died, at Christmas, someone gave me this parcel wrapped in a beautiful pilowcase and inside was a Henry Scott Tuke watercolour and it said:

- ‘cos that was our names, and I was… it was one of the most touching things anyone’s ever done for me – the fact that he thought of me as he was dying and bought this painting because he knew that I loved Henry Scott Tuke. I’ve still got the pillowcase next to my bed and my Henry Scott Tuke’s on an easel that he gave me. It’s fantastic. What a great gift and what a beautiful thought.”

© brianmay.com

Henry Scott Tuke

Henry Scott Tuke was born in York in to a Quaker dynasty in 1858, and came to live in Falmouth in 1860. His father, Daniel Hack Tuke, had been suffering from the symptoms of tuberculosis. He was a doctor who became an early pioneer in mental health and wrote several important books on the subject which are still used today by students. The happy memories of Tuke’s childhood spent on the beaches around Falmouth, watching the tall ships coming into the harbour from all over the world, helped his decision 23 years later to return to live firstly in Newlyn then in Falmouth where he remained for the rest of his life.

Best known for his paintings of bathing boys, Henry Scott Tuke was in fact, a very diverse and talented artist in a variety of subjects and media. His first commissions were portraits of family and friends, including other Quakers such as the Fox family. Tuke was also known as great maritime artist, a very accurate depicter of every kind of sailing craft from Lowestoft fishing boats that came to Falmouth in the winter, to wooden and steel hulled sailing ships such as barques and brigantines, to smaller quay punts and yawls.

Initially, Tuke returned to Newlyn after the tragically early death of his only brother William Tuke in 1883 from TB, to paint alongside his fellow ex-students from the Slade School of Fine Art in London and the Ateliers of Paris. Most of his paintings from Newlyn are quite dark interiors set in Philip Harvey’s fishing tackle cellar in Trewarveneth Street, where Tuke rented rooms. His subjects were the local children such as Ambrose Rouffignac posing with a model boat or eating his dinner. Newlyn was where Tuke started to get a taste for all things nautical. He bought his first boat The Ripple, there, and he did his first painting of boys sitting in a small rowing boat on a sunny day in Newlyn harbour. But it was Falmouth that won his heart in the end, and he moved into rented rooms at Pennance Cottage at Pennance point near Swanpool in 1885.

Falmouth had everything for his maritime interests and subjects for his art. It was here in 1886 he bought another boat, an old French brigantine The Julie of Nantes which, after he had plugged her for leaks and created a floor in the hold, he turned into a floating studio. This is where many of his early major paintings were executed, including ‘All Hands to the Pumps!’ 1894, which was bought for the nation.

The Julie, along with several other boats he purchased such as The Lily and the Cornish Girl, acted as floating sets to create posed pictures using local fishermen and young lads including Jack Rowling (a.k.a. Rolling). ‘Our Jack’, 1886 (RCPS Tuke Collection – pictured above left) is a classic Tuke painting from this period with Jack Rolling standing on  a boat with Falmouth town in the background. Whenever Falmouth or its environs appear in Tuke’s paintings, it tends to be as a backdrop to a figure painting and nearly always viewed from onboard a vessel on the water or from a beach.

Tuke also used his base at Pennance Cottage the subject for several paintings from the late 1880s to early 90’s. The cottage made an appropriate domestic setting as did the models, his housekeeper Mrs Elizabeth Fourarce who posed for several important works including ‘Morning Gossip’ (below left), 1886 and ‘The Message’ (right) 1890, both in Falmouth Art Gallery’s collection.

Pennance cottage was also, it seems, chosen by Tuke because if its proximity to some secluded and fairly inaccessible beaches such as Newporth beach. These beaches were vital to the subject that he created as his greatest artistic challenge, painting the nude human figure outdoors.

The beaches were an ideal setting as they were south facing, usually bathed in sunshine and had interesting barnacle encrusted rocks and shallow warm pools for the models to stand around. Tuke has started painting the nude figure whilst studying at the Slade in London where he won prizes for his life painting. But it was in Italy that he first painted male youths outdoors in 1881. After an inspirational trip some 11 years later in 1892 to the Mediterranean and the Greek island of Corfu, he came back wanting to paint the nude outdoors in Falmouth.  He had attempted painting nude bathers as early as 1885 with a professional male model brought from London, but soon found this expensive and difficult. This was equally true when trying to obtain female models. In the end, Tuke asked the local lads to pose nude for him. Tuke always paid them andtreated them with courtesy and consideration, although he demanded they were professional and sometimes asked them to model outdoors as late as November.  His first great success in his bathing boy paintings was ‘August Blue’ (below right) 1894 Tate Gallery. Having been bought for the nation it heralded Tuke’s arrival as an important artist of the late Victorian era. From 1900 to 1914 he was at the height of his powers as a painter and experimented with impressionist techniques. This can be seen in his stunning figure composition Midsummer Morning, 1908. He was elected an Associate of the Royal Academy in 1900 and a Royal Academician in 1914.

Tuke always had a gay following including a group known as the Uranian poets which included John Addington Symonds. There is a strong homoerotic aesthetic to many of Tuke’s paintings of the male nude, but whether it was to satisfy his own need for sensuality which he could not realise in everyday life – is debatable.

Tuke embraced life in Falmouth and was greatly involved with several of its key institutions such as the Royal Cornwall Polytechnic Society, where he was elected Vice-President in 1899. He also helped establish the Falmouth Sailing Club, which ran successfully for a number of years where he won many races with his numerous sailing boats built in Falmouth. He also played cricket for the Falmouth Parish Hall Cricket Club. His interest in that particular game gained him portrait commissions of some of the great cricketers of his day including W.G.Grace and Prince Ranjitsinhji. He had his own gallery in Falmouth at Grove Place, which he ran with his friend the painter Ayerst Ingram.

Tuke was a master exponent of watercolour painting and he was elected an Associate member of the Royal Watercolour Society in 1904 and became a full member in 1911.  He exhibited over 220 watercolours at the Society from 1904 to 1927 and sold many of them.  A lot of his watercolours were done on his frequent trips abroad, mainly to the Mediterranean where he would visit the French and Italian Riviera, staying at villas or on board ships owned by friends. His only one man show in his lifetime was at Dowdeswell’s gallery in 1904 and featured 55 watercolours of the Italian Riviera.

Tuke was a great recorder of both the local scenery whether it was at home and abroad, people and places that he saw. He also kept a diary and a register of paintings, which add enormous detail to our understanding of Tuke both as a man and as an artist.

Works by Henry Scott Tuke are in public art collections across the world including at Sydney, Adelaide and Brisbane in Australia, Auckland and Wellington in New Zealand and Munich, Germany as well as throughout the UK and Ireland.

Catherine Wallace

Catherine Wallace’s is author of Catching the Light: The Art and Life of Henry Scott Tuke 1858-1929 and Henry Scott Tuke Paintings from Cornwall

Sunday, 25 January 2009

Sir Elton John collects gay Cornish Child Porn?

(Henry Scott Tuke painting in Baden Powell House, branded as paedophilic by the Devon based Intercom Trust)

Sir Elton John collects Child Porn?

…at least that must be the logical conclusion reached by supporters & members of the Intercom Trust based in Devon who recently slated & attacked the gay & Cornish historical, art & cultural art works of Henry Scott Tuke famous for his paintings of naked youth, but have been branded by Intercom Trust as paedophilia.

Sir Elton John is a major private collector of the artwork of Henry Scott Tuke and last year Sir Elton loaned numerous of his paintings to the Royal Cornwall Museum in Truro, Cornwall for a highly successful exhibition of Tuke’s works, which included many of Tuke naked youth paintings.

Henry Scott Tuke’s paintings of naked youth can be found in such prestigious collections as the National Tate Gallery, the London Guildhall Gallery, The Dublin Municipal Gallery, Sotheby’s, Bonham’s, Scouting Association Baden Powell House, Falmouth Art Gallery, Royal Polytechnic Society …the list goes on

But the logical conclusion from the Intercom Trust attack upon Cornish & gay historical & cultural art is that these organisations are harbouring paedophilic Tuke paintings of Child porn & Sir Elton Johnis therefore according to the Intercom Trust …is a collector of paedophilic material

The Intercom Trust & homophobic supporters have decided to expunge the Historical, Artistic & Cultural importance of Tuke from a government funded lgbt History project in Cornwall.

This quote from the minutes of The Intercom Trust meeting states:-

1.2 Michael (Hall) (of Intercom Trust) made it clear that Intercom could not support the use of the artworks of Henry Scott Tuke in this event or any future events. He made it clear that pederasty and paedophilia have no place in an LGBT History pride event: these are part of the history of abuse and exploitation.

The group agreed that the Tuke’s work was perceived as abusive and sexually exploitative of young people and was not an appropriate exhibition to include in a family event.

This is blatant homophobia & racist towards the Cornish culture by the Intercom Trust, (which is a registered charity & is UK government funded), has outraged artists, gay people, Cornish people & even distant relatives of Tuke’s former youth models for the clear PREJUDICE & DISCRIMINATION of the Intercom Trust & its supporters against gay & Cornish history & culture.

A formal complaint against the Intercom Trust made to:-
the Charities Commission
the Devon & Cornwall Constabulary
the Equality & Human Rights Commission

Please add your complaint to try to get these government organisations to take some action on the Intercom Trust’s blatant homophobia & their anti-Cornish heritage

Peter Tatchell, Human Rights Expert had this to say:-

Re: SW LGBT History Month and the Henry Scott Tuke controversy:

While I agree wholeheartedly that we must protect children and must never condone child exploitation or abuse, I am alarmed to learn that this commendable concern has led some people to propose a ban or censorship of artistic works by the renowned painter Henry Scott Tuke.

First, his paintings are not sexual and only a deeply perverse mind would view them as such.

Second, since there is nothing indecent or shameful about the naked human body there is, equally, nothing indecent about its artistic depiction.

Third, Henry Scott Tuke is an acclaimed artist of international repute. His works have been exhibited in many prestigious galleries, where they have been viewed with appreciation by adults and children alike. I am sure these esteemed artistic institutions would not have hosted his paintings if there was anything depraved about them.

Fourth, if Henry Scott Tuke’s paintings are obscene or unsuitable (for adults or children) I am sure they would have long ago been prosecuted or banned. They have not been either prosecuted or banned .

Fifth, since a very significant proportion of art involves the depiction of nude or semi-nude figures, also often of young persons, a judgement that brands Henry Scott Tuke’s work as exploitative or abusive must, logically, also brand much of the entire canon of art as exploitative and abusive. This is obviously an absurd osition to take.

I would, respectfully, urge you to reconsider any decision to exclude Henry Scott Tuke and his paintings.

In our quest for LGBT acceptance, we should never sell our souls and bend to the demands of the new puritans and the baying mob, but stand firm and steadfast for what is right, just and fair – and defend art and beauty against the ugliness of narrow-minded prejudice.

Yours sincerely and with best wishes,

Peter Tatchell

Peter Tatchell is the Green Party parliamentary candidate for Oxford East
www.greenoxford.com/peter and www.petertatchell.net

Unfortunately, the well known homophobically reputed Devon & Cornwall constabulary, in their normal empathy towards those who make ‘hate crime’ attacks upon gay people, gay culture & lifestyle, (see numerous examples of further Cornwall police abuses here:- http://www.pinkpasty.blogspot.com)

Cornwall police have already stated they decline to act at this time regarding a complaint made against the Intercom Trust.

Make your complaint about Intercom Trust to:-
police here:- 
Charities Commission here:-
Equality & Human Rights Commission here:-

The Intercom Trust are gaining a reputation for abusing, isolating, marginalising & ostracising any gay person who dare speak out against Intercom Trust hostility towards gay persons as happened to Peter Midwood, a previously homeless 15yr old gay youth abused & violated by the Intercom Trust.
See Peters video on his OWN video channel here:-

Posted by PP  Links to this post

Labels: Elton John Child porn gay abuse homophobia police Intercom Trust devon Cornwal Cornish Tuke

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Henry Scott Tuke

THS-6677-6853

	Henry Scott Tuke - Past Auction Results

	The following is one of 367 past auction results for Henry Scott Tuke in artnet’s Price Database, the most comprehensive color-illustrated archive of fine art sales results worldwide.

	Artist Henry Scott Tuke Title Midsummer morning Medium Oil on Canvas Size 72.2 x 54 in. / 183.5 x 137.2 cm. Year 1908 Misc. Signed Sale Of Christie’s London: Wednesday, February 19, 2003 [Lot 23] The Forbes Collection of Victorian Pictures and Works of Art I Estimate * Sold For *
	* Complete data is available for subscribers.

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The rocky cliffs of Étretat by Monet.

The rocky cliffs of Étretat by Geo

Why not painting some Monet & Gauguin I like…

The-white-horse-1898

The White Horse by Geo

The village

 by Geo sept 2011

A-man-with-axe-1891 by Gauguin

Pacific Ocean by Geo

Models

Forest by Geo sept 2011

Fontainebleau-forest by Monet

Forest models