John Weaver (1930 - 2018) Gallery
Spatial Compostion
(a selection of John Weaver's classical paintings)

Galaxy - (Arabesque)

   Eternity - (forever)

The Moon: steadies the Earth and changes the tide

 





 
  1. Imminent turbulence - (brewing storm)
    Imminent turbulence - (brewing storm)
    Oil John weaver
  2. Velocity - (cricket)
    Velocity - (cricket)
    John Weaver
  3. Oscillate - de Mozart's "il seraglio"
Oil
    Oscillate - de Mozart's "il seraglio" Oil
    John Weaver
Spatial
Composition
The Florentine artist, Perugino together with his assistant "The Divine Raphael invented modern art for us. In the XVI Century it was known as "Spatial Cnomposition" an ideal title for the accumunlated prints shown here.

   Cosmic Expansion - (imagery in space)

   Tumultuous - (violent storm)

Velocity -  (tennis)

  Equilibrium -  (orbital Madonna)

   "The Goldilocks zone" - (NASA's term for the Earth'sorbit around the sun)

Pearl from the Oyster - (methaphor for the tension in an artists that produces his art)

Levitate -  (zero gravity)

‘'After retiring as a graphic artist and my children growing up, I returned to my passion serious art producing a collection of formalist classical art. I have struggled for some time with the problem of ‘finding myself in my abstract paintings: this is by no means an easy approach to art, but it is as anyone knows who has experience in looking at art, a considerable difficulty.’  A grasp of the subject cannot be achieved by a quick flick around an art gallery – it takes time and real passion to take the subject on board. The meaning of the forms in any abstract painting is essential to an artist’s understanding of what he is doing.  Art is not a matter of copying the nature of things as we know them in an everyday sense, but it is essential that the artist recognises himself in the forms that reveal themselves to be from the inner person. The artist recognises the form when he sees it but he doesn’t concern himself (figuratively) with what it is. It is truly the subconscious that makes the art.’
                                                                                                         (John Weaver, 2011)
‘Art, when carried through to a conclusion has two basic and irrefutable components: the form and the content.  That these two elements can be confidently stated and, I trust agreed upon, poses an interesting, and for me, enduring question:
If I were to separate the two and devote myself solely to the formal (composition) side of the equation, would the content (emotional side) reveal itself of its own accord?  In short, enabling things to grow and enshrine themselves in the formal design?’                                                                                                                                               (John Weaver, 2005)