Enver Larney was born in Cape Town South Africa. For many decades now, he has captured scenes around the world in oils on canvas. An impressionist in the traditional manner, Larney's medium format works are achieved in one sitting and in the open. His collective of hundreds of canvases completed this way, is a collectors dream and extremely rare, if not unprecedented in the modern era. After more than fifty one man shows globally since 1972, his works appear in many collections and Institutions such as, the Chase Manhattan Bank New York USA and the Musee d'Affiche in Paris, as well as countless private collections worldwide.
Larney has decided to make prints of his works available in order that these images be viewed and appreciated by a wider audience. These last few years he has traveled to Mount Ararat in Eastern Turkey, central Africa and Indonesia. Previous painting expeditions have had him travel from the wilds of Tasmania to Washington State, California, the Sonoras in the United States of America, Italy and Africa from where he has just returned after another painting spell there. His works are created in the traditional way, capturing sunlight as medium and reminiscent of Alfred Sisley, Berthe Morisot, van Gogh and those early impressionists who were able to achieve this level of immediacy with oils. In this regard, Larney has very few contemporaries.
A few years ago he painted in Provence France, where he visited St. Paul de Mausole, the clinic where Vincent recovered at St. Remy, after his breakdown due to Paul Gauguin's controversial departure from Arles. The more than twenty canvases that he completed here, spoke of a distant time when the challenges of en plein air painting were met in this honest and direct way. Not since Vincent's death however, had any painter achieved this in Provence. It was Larney's private tribute to a fellow artist whom he refers to as 'an inspirational guiding light'. The most recent work are from Morocco where he completed canvases at the Ouzoud waterfalls east of Marrakesh.
Daylight Hours, a book which he hopes to. publish soon, talks of his travels around the world and his experiences under South Africa's apartheid rule. It also highlights what it means to work with an impressionist palette, in pure daylight and with such vast access to our global community and its natural habitat. Potential collectors are welcome to discuss the availability of certain pieces with a view to acquisition via email. Larney is a life member of the Florence Biennial in Italy and lives in northern New South Wales in Australia where he returns to after regular painting trips abroad.
A day in the life.
It's a hot hazy day. A boiling wind blows browns, creams...surreal snakes of sand around shifting dunes. Lost hay bails, scattered bushes, date laden palms, all illusions of the desert earth to be borrowed by Enver Larney. Told as a magical story in oils on canvas - an impression of our world.
Enver is a stranger in this world. He is one of a very few who are true to their dreams, their talents and the journeys they know they are destined to take. ' A man from many places', he is a purist, an impressionist. He travels the world unrestricted by time and space looking for magic. The world has a story and he wants to paint it.' Be bold and mighty forces will come to your aid ' Curtis said. It would seem that Enver is the perfect disciple for such adventurous advice and his quest to paint the world has taken him far and wide. From the Eiffel Tower in Paris to the shore-front of Lake Ontario, Canada, he lives in his paintings.
The place from which Enver has chosen to paint on this particular day was Al Maha. The resort is part of the Emirates Group and is situated 45 minutes from cosmopolitan Dubai by car. It is Aladdin's land complete with carpets, ancient lamps and Arabian magic. An idyllic oasis deep in the desert. As the wind blew us towards it, I couldn't help but wonder how the magnificence and splendor of this timeless space could possibly be painted.
As we drove he talked and I listened. He told me of his hopes, his dreams, his adventures of being alive. He spoke of Cezanne as his guru. Of Monet and the other great impressionists as his faithful guides. A deeply spiritual person, he believes that he is but a medium through which creativity flows...his inspiration from another time and place. In time talking was done. Brush bristles scratched canvas. Oils, canvas, sand, sun. Strange mixing, magical consequences. As I watched sketched outlines became so much more. Heat dripped from shirtless shoulders, ran down his back and soaked into no-style trousers. His concentration was unflinching. I felt his passion in this fierce environment, it was as if he would sacrifice his very self for the life in his paintings.
His painting a gift created with gratitude to powers greater than us of which he so freely speaks. All of this a crazy interconnected plot of listening, learning, seeing and teaching. A wonderful connection between creator and createe. In the reds and pinks of afternoon, his work was done. On the canvas he had created an eye shattering explosion of the emptiness. A light that will most certainly shift through time. From here he will return to New South Wales Australia, a place he calls home, to rest and dream and then journey on to destinations unknown, but for today Enver Larney was the desert.
Simon Ross Dubai 2002
Yet the painting titled ' Asseneda' Flanders in Belgium evokes visions of the French masters, so apt are the colours, almost having been lifted out of a historic publication. As they say, ' It's the light, you know' GALLERY WATCH with Joerg Andersch The Hobart Mercury May 26th 1998 Australia
'The most striking thing about Enver Larney's paintings - apart from their stunning and captivating beauty - is their similarity to those of Vincent van Gogh. The colours jump at you, but instead of yellow, van Gogh's famous colour of life, Larney captivates you with blue.' SUNDAY CULTURE Bennie Bunsee The Sunday Independent November 7th 1999 South Africa
Like the reconciliation process in South Africa, impressionism also offers similar resolve albeit in a visual manner. The ancient culture of Arabia and the magnificence that lies barely visible beyond these dunes here, lures him like a curious child. THE GULF TODAY Rajeev Nair Dubai Thursday June 27th 2002
'I don't put my name on my canvases you know. A mark like the early Egyptians is enough for the sake of identification and authenticity. The canvas is totally sacred.' Thursday May 12 2005 Piers Grimley Evans Staff Reporter Gulf News Tabloid Dubai UAE
An impressionist painter he said, is someone who does his work “wet paint on wet paint”, and painted exactly what they saw, where they saw it, without taking the work to a studio later in order to “beautify” it. Monday February 25th 2008 Kagiso Molefhe Arts and Culture Gaberone Botswana