P. J. C.
Field
Contributions to journals
David Jones’s last important painting, Tristan ac Essylt, shows its central figures surrounded by other people, beset by dangers, and being carried inexorably towards their meeting with King Mark, to all of which they are sublimely unconscious. Jones renders the world in which the lovers are set, and particularly the ships in which they travel, with a mixture of historical authenticity (whose full extent has often eluded commentators) and non-naturalistic freedom that suggest simultaneously a powerful physicality and the possible presence of hidden forces working to other ends
David Jones’s last important painting, Tristan ac Essylt, shows its central figures surrounded by other people, beset by dangers, and being carried inexorably towards their meeting with King Mark, to all of which they are sublimely unconscious. Jones renders the world in which the lovers are set, and particularly the ships in which they travel, with a mixture of historical authenticity (whose full extent has often eluded commentators) and non-naturalistic freedom that suggest simultaneously a powerful physicality and the possible presence of hidden forces working to other ends
