[ Pobierz całość w formacie PDF ]
.Anyway, there’s just the two of them, we’re in Callaghan’s office.Lovely room, he’s got the original warehouse wide-planked flooring sanded and waxed – nothing so crude as that polyurethane varnish – and he’s got a few Persian tribal rugs scattered on them, and there’s some lovely Art Nouveau furniture, a burr walnut drinks cabinet with a sunburst motif on it, nice settee and chairs in cut moquette, that kind of thing.Good art on the walls, you’d like it, Gabriel, there’s a Maurice Wilks landscape, and a Paul Henry, one of those Connemara ones which is mostly sky, clouds tumbling all over the place.There’s a nice Colin Middleton from his Surrealist phase.Callaghan pours us all a good glass of brandy to begin, and offers me a cigarette from a cedar box, though he knows I don’t smoke, it’s all very informal.Bentley lights up a pipe, and Callaghan gestures for me to sit on the settee.Bentley and himself sprawl out in these easy chairs.Well, says Callaghan, Miranda, if I might call you Miranda, we’ve looked at your differentiation outline, and it’s very good, very well thought out, says Callaghan.Yes, very well thought out, says Bentley in a cut-glass Oxford accent, and the way he says it, it’s not like he’s repeating what Callaghan said, he’s adding to it, he puts a different spin on it, and Bentley smiles meaningfully as he says this, and then Callaghan says, Yes, we’d just like to explore it a bit further, get a clearer picture of what you have in mind.Yes, says Bentley, a clearer picture.Of what you have in mind, says Bentley, and again this seems to mean something else to what Callaghan meant.But first, says Callaghan, purely procedural matter, don’t you know, let’s be sure we’ve got the right woman, and he laughs as if he’s just made a joke, and Bentley says, between puffs of his pipe, Yes.The.Right.Woman.So Callaghan’s got this dossier on his lap, and he opens it and says, Miranda Bowyer.Born London, 11th June, 1951, parents Arie Bouwer, Dutch national, and Eleanor Bowyer, née Birtwhistle, and so on, the dossier’s got where I went to school, my university career, what I subsequently did, they’ve got everything, they’ve got things about me that I’d forgotten, maybe things about me I didn’t even know.And every so often he looks up at me and says, Correct? And I nod, and Bentley says, Yes.Correct.Well, that’s good, says Callaghan, we like to know who we’re dealing with, and he laughs again.And this time Bentley doesn’t echo his words, but he says, Well, Miranda, if I might call you Miranda, we’ve looked very carefully at your outline, it’s excellent, design consultancy, it’s a good niche market thing, we’ll go into all that later in more detail, but for now, it seems to me that the best way to advance this little session is for you perhaps to give us a broader understanding of your role in the organisation, well, not so much that, but we’d like you to be clear about what we do.I mean, what do you think we do? says Bentley, and Callaghan says, Yes, what do you think we do?So I’m a bit put out by this.And oh, do take your time, they both say together then, and they look at each other like Tweedledum and Tweedledee, and I’m beginning to feel like Alice in Wonderland, so I start talking off the top of my head, and I says, Well, I’m looking at the art on the wall here, and it seems to me it must be representative in some way of what you do.You’ve been very careful in researching my background, and I’m sure the organisation is equally meticulous in its design choices.Take the Maurice Wilks, now.And Callaghan and Bentley crane their necks to look at it, as if they’d never seen it before, it’s one of those Bridge at Cushendun pieces, but a good cut above the normal, nice scumbling to the clouds, Wilks, born when, 1911, 1912, year of the UVF gun-running operation, Protestant background, son of a linen designer, why, his father might have worked in these very premises, I said, and Callaghan and Bentley nod sagely at this, and Maurice goes to the local College of Art, he’s a star pupil, exhibits at the RHA when he’s only nineteen.Starts to specialise in landscapes, spends a lot of time in the Glens of Antrim, Connemara, Donegal, those kinds of Irish landscapes, mountains and skies.It’s ostensibly very conventional, the kind of thing the art-conscious Ulster middle classes like to hang on their walls, but there’s a nice touch of French Impressionism there too, and it’s very well painted.Young artists these days, they could learn a lot from Wilks.And Wilks sees himself more as an Irishman than an Ulsterman, I’d say, though I’ve never met him.Isn’t he living in Dublin now? So the Wilks sends out a message that art can transcend political allegiances, that there are things that are important beyond this fiddle [ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl przylepto3.keep.pl
.Anyway, there’s just the two of them, we’re in Callaghan’s office.Lovely room, he’s got the original warehouse wide-planked flooring sanded and waxed – nothing so crude as that polyurethane varnish – and he’s got a few Persian tribal rugs scattered on them, and there’s some lovely Art Nouveau furniture, a burr walnut drinks cabinet with a sunburst motif on it, nice settee and chairs in cut moquette, that kind of thing.Good art on the walls, you’d like it, Gabriel, there’s a Maurice Wilks landscape, and a Paul Henry, one of those Connemara ones which is mostly sky, clouds tumbling all over the place.There’s a nice Colin Middleton from his Surrealist phase.Callaghan pours us all a good glass of brandy to begin, and offers me a cigarette from a cedar box, though he knows I don’t smoke, it’s all very informal.Bentley lights up a pipe, and Callaghan gestures for me to sit on the settee.Bentley and himself sprawl out in these easy chairs.Well, says Callaghan, Miranda, if I might call you Miranda, we’ve looked at your differentiation outline, and it’s very good, very well thought out, says Callaghan.Yes, very well thought out, says Bentley in a cut-glass Oxford accent, and the way he says it, it’s not like he’s repeating what Callaghan said, he’s adding to it, he puts a different spin on it, and Bentley smiles meaningfully as he says this, and then Callaghan says, Yes, we’d just like to explore it a bit further, get a clearer picture of what you have in mind.Yes, says Bentley, a clearer picture.Of what you have in mind, says Bentley, and again this seems to mean something else to what Callaghan meant.But first, says Callaghan, purely procedural matter, don’t you know, let’s be sure we’ve got the right woman, and he laughs as if he’s just made a joke, and Bentley says, between puffs of his pipe, Yes.The.Right.Woman.So Callaghan’s got this dossier on his lap, and he opens it and says, Miranda Bowyer.Born London, 11th June, 1951, parents Arie Bouwer, Dutch national, and Eleanor Bowyer, née Birtwhistle, and so on, the dossier’s got where I went to school, my university career, what I subsequently did, they’ve got everything, they’ve got things about me that I’d forgotten, maybe things about me I didn’t even know.And every so often he looks up at me and says, Correct? And I nod, and Bentley says, Yes.Correct.Well, that’s good, says Callaghan, we like to know who we’re dealing with, and he laughs again.And this time Bentley doesn’t echo his words, but he says, Well, Miranda, if I might call you Miranda, we’ve looked very carefully at your outline, it’s excellent, design consultancy, it’s a good niche market thing, we’ll go into all that later in more detail, but for now, it seems to me that the best way to advance this little session is for you perhaps to give us a broader understanding of your role in the organisation, well, not so much that, but we’d like you to be clear about what we do.I mean, what do you think we do? says Bentley, and Callaghan says, Yes, what do you think we do?So I’m a bit put out by this.And oh, do take your time, they both say together then, and they look at each other like Tweedledum and Tweedledee, and I’m beginning to feel like Alice in Wonderland, so I start talking off the top of my head, and I says, Well, I’m looking at the art on the wall here, and it seems to me it must be representative in some way of what you do.You’ve been very careful in researching my background, and I’m sure the organisation is equally meticulous in its design choices.Take the Maurice Wilks, now.And Callaghan and Bentley crane their necks to look at it, as if they’d never seen it before, it’s one of those Bridge at Cushendun pieces, but a good cut above the normal, nice scumbling to the clouds, Wilks, born when, 1911, 1912, year of the UVF gun-running operation, Protestant background, son of a linen designer, why, his father might have worked in these very premises, I said, and Callaghan and Bentley nod sagely at this, and Maurice goes to the local College of Art, he’s a star pupil, exhibits at the RHA when he’s only nineteen.Starts to specialise in landscapes, spends a lot of time in the Glens of Antrim, Connemara, Donegal, those kinds of Irish landscapes, mountains and skies.It’s ostensibly very conventional, the kind of thing the art-conscious Ulster middle classes like to hang on their walls, but there’s a nice touch of French Impressionism there too, and it’s very well painted.Young artists these days, they could learn a lot from Wilks.And Wilks sees himself more as an Irishman than an Ulsterman, I’d say, though I’ve never met him.Isn’t he living in Dublin now? So the Wilks sends out a message that art can transcend political allegiances, that there are things that are important beyond this fiddle [ Pobierz całość w formacie PDF ]