
David Gentleman's Lessons for Young Artists: advice for living well, for people of all ages
Author
:
David Gentleman
ISBN-13
:
978-0241692813
Publisher
:
Particular Books
Guideline Price
:
£20
Is
art
a mysterious manifestation? Are artists somehow different, living strange and rarefied lives? How does a work of art come about at all? For David Gentleman, it is a simple question of just doing it. 'We make art because it's interesting, and it keeps us in touch with reality. And you get better if you stick at it,' he
writes
in the introduction to Lessons for Young Artists.
He also mentions the often forgotten insight that 'art should be enjoyable'. But do you have to be young to appreciate this book?
Most people would be young these days to Gentleman, who turned 95 this year, and has been drawing daily for nine decades. In fact, you need to be neither technically youthful or even have aspirations to a career as artist to benefit from this quietly, yet richly wise book.
An engraver,
stamp designer
, book illustrator, polemic poster maker and painter, Gentleman is the unassuming face behind many images you may know surprisingly well. There is the series of Penguin Shakespeare book covers from the 1970s, the platform murals at Charing Cross Underground Station, and the iconic Stop the War Coalition poster from 2003, as well as his more personal paintings and drawings.
READ MORE
Alongside illustrations of all these are the 'lessons', and the book could equally be called Advice for Living Well, or even How Not to be Bored. For Gentleman, art is a practice of looking closely at things, of giving up perfectionism, of trying over and over again, of self-forgiveness and trust, and also of ethics – such as the time he declined a lucrative Post Office stamp design commission because Margaret Thatcher disapproved of his industry-critical approach.
Detailed – although not exhaustively, or exhaustingly – under headings such as 'start small', 'travel light', 'don't put work off' and 'try and look at a subject from different angles'; a picture emerges of how to live a creative life in a world full of distractions and false goals.
He is also spot on about dealing with procrastination: 'Sometimes,' he writes, 'you can feel so anxious about getting it right that you are reluctant to start.' Lessons for life, and plenty of good advice for young artists too.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Irish Times
16 hours ago
- Irish Times
Kneecap concert in Manchester under threat as council holds talks
Another high-profile Kneecap concert in England is under threat with Manchester city council reportedly holding talks with the promoters over the rap trio's appearance alongside Fontaines DC next month. There have been calls for the Belfast group to be dropped from the line-up at Wythenshawe Park in Manchester on August 15th, which also features English Teacher. The council has refused to be drawn on the nature of the discussions but confirmed it was speaking to 'key stakeholders' about the concert. 'As with any major event being held in one of our parks, we are in regular discussions with the key stakeholders involved to ensure the event concerned can take place safely and effectively,' a representative said. READ MORE A Fontaines DC concert in London's Finsbury Park with Kneecap playing support went ahead without incident last weekend, however a scheduled appearance at a festival in Glasgow this week was cancelled after concerns were raised by police. [ Kneecap owes Keir Starmer, the BBC and Helen from Wales a thank you Opens in new window ] The trio instead played a gig at the city's O2 Academy earlier, which sold out in less than 90 seconds. Kneecap have found themselves in the eye of a storm in recent months with the British prime minister Keir Starmer saying it was 'not appropriate' for the band to perform at last month's Glastonbury festival after frontman, Mo Chara, was charged with a terror offence and accused of displaying a flag at a gig in support of Hizbullah. 'I think we need to come down really clearly on this,' Mr Starmer told the Sun. 'I won't say too much, because there's a court case on, but I don't think that's appropriate.' [ Leo Varadkar says politicians should not censor artists following Keir Starmer Kneecap remark Opens in new window ] The Eavis family, who run Glastonbury, stood up to the pressure and the band played before thousands of fans on the West Holts stage on the Saturday afternoon with the area closed off 45 minutes before the set began, having reached capacity. An add promoting their Wembley Arena show in September was banned from running on the Transport for London (TfL) network this week. 'We've been banned from advertising on the London tube. How petty can political policing and interference get? After using the tube to advertise loads of times for gigs, records and our movie, all without issue,' Kneecap said in a post on X. The post added: 'Speak out against genocide and they'll use every single angle they can to silence you.' In Northern Ireland this weekend, Kneecap posters appeared on bonfires with one in Dungannon, Co Tyrone, featuring the group on a poster with the wording 'Kill Your Local Kneecap', seemingly in response to a clip that emerged from a show in 2023 which appeared to show a Kneecap member declaring: 'The only good Tory is a dead Tory. Kill your local MP.' – Additional reporting the Guardian


Irish Times
20 hours ago
- Irish Times
To Rest Our Minds and Bodies by Harriet Armstrong: Ambitious, stylish novel is like The Bell Jar for Gen Z
To Rest Our Minds and Bodies Author : Harriet Armstrong ISBN-13 : 978-1739778361 Publisher : Les Fugitives Guideline Price : £14.99 Harriet Armstrong's To Rest Our Minds and Bodies is a true original: ambitious, stylish and wonderfully uncynical. It reads like The Bell Jar for Gen Z , a coming-of-age novel in which very little outwardly happens, yet we're drawn deep into the volcanic interior of girlhood. Set in an unnamed English university town, the novel follows its narrator through her final year as she attends lectures, attempts to lose her virginity and moves through a blur of dates, pub trips and club nights. These events might seem mundane but, in her telling, nothing feels ordinary. There's a piercing brightness in every sentence, a flash of insight. The narrator views the world with a kind of autistic purity, encountering everything as if for the first time, each moment lit up with sensory detail, every social exchange charged with emotion. 'I loved that night, I loved moving my body in a vague unconscious way and watching Anna and Jacob dance with each other, a sarcastic sort of dance as if they were dancing together but also mocking the idea that they might be dancing together.' READ MORE The quiet beauty of this sentence lies in its rhythm and hesitancy, its breathless build mirroring the moment's ecstasy. Armstrong's real ambition becomes clear: not simply to describe experience but to reach under it, to capture its weight and feel. To Rest Our Minds and Bodies begins as a shimmering, deeply sincere love story, but curdles into something more upsetting. The object of the narrator's affection, Luke, is pretty unremarkable. At first, the disconnect between her infatuated perception and the more banal reality is gently comic, even touching; we see what she cannot. But as her desire intensifies and loses touch with anything mutual or grounded, the novel shifts. What once felt tender becomes claustrophobic. By its final movement, the story has transformed into something closer to psychological horror, a portrait of unrequited love as a kind of entrapment, where emotion becomes a sealed and airless chamber, and the narrator is left utterly alone inside it. To Rest Our Minds and Bodies is luminous, unsettling and emotionally honest. Armstrong has captured not how things are, but how they feel. In doing so, she has crafted a style that is urgently contemporary and unmistakably her own.


Irish Times
a day ago
- Irish Times
Wet Leg's Rhian Teasdale: ‘I'm doing sexy body rolls, but I'm wearing lobster claws'
Rhian Teasdale has always sung like a rock star, and now she looks like one too, her hair dyed a shocking strawberry pink, and jewels on her nails and teeth. 'This is something we've always played with,' says Wet Leg 's Grammy-winning frontwoman, citing the band's 2022 single Wet Dream, the promotional film for which features Teasdale and Hester Chambers , her bandmate, looking like glamorous lobsters. 'It's a very tongue-in-cheek sexual-innuendo song. In the video I'm doing, like, these sexy body rolls, but I'm wearing lobster claws.' Wet Dream was part of a blitz of releases that, over the space of a few months, propelled Wet Leg from alternative-playlist fodder to award-bagging stars – Rolling Stone called their eponymous debut album 'the relentlessly catchy post-punk record' the world had been waiting for. Three years later they're back with a scintillating second LP, Moisturizer, looking very different but still making the same thrilling deadpan post-punk. READ MORE What's changed is that Teasdale is flexing her rock-star muscles, both figuratively and literally. She has the gym-honed physique of someone who could hold her own in an MMA ring – but the real muscle has gone into the way the band present themselves. First time around, she and Chambers were overwhelmed twentysomethings from the Isle of Wight, in southern England, still working day jobs and not sure how to negotiate the overnight fame that came their way when their single Chaise Longue went viral – leading Harry Styles to invite the pair to tour as his opening act, Dave Grohl to make a cameo appearance with them at Coachella and Barack Obama to put one of their songs on his summer playlist. Now they feel fully in control. Moisturizer is the work of artists calling the shots and confident in the way they present themselves – musically, sartorially and philosophically. [ Wet Leg: Triumphant debut of frosty insouciance Opens in new window ] 'When we made the first album we took time off work,' says Teasdale, who is 32. In those early days she was still earning a living as a film stylist's assistant. (Her credits include an Ed Sheeran video.) 'I was working on set, on commercials, and as a wardrobe assistant. I wanted to blend right into the background. It's such a male-dominated space in the film industry. My life, outside of school, up until that point when we started Wet Leg, is just ... you have no time for self-expression. You have no money.' Moisturizer is one of those great second LPs that land like bigger, brighter, more confident versions of the music that made the artists so beloved the first time around. The point is underscored by the romping Pixies-meets-Motörhead single CPR and the student-disco blitzkrieg Catch These Fists, which features pummelling riffs and lyrics to match ('I don't want your love/ I just want to fight'). The latter is about dealing with unwanted male attention, its key line being 'Don't approach me, I just want to dance with my friends'. But Moisturizer is also threaded through with the same subversive humour that prompted Teasdale to dress like a 'sexy lobster' in the Wet Dream video while delivering lines such as, 'you climb on to the bonnet and you're licking the windscreen/ I've never seen anything so obscene.' That vibe is epitomised by the cover of Moisturizer, an unsettling photograph of Teasdale with a hideous AI-generated smile as Chambers, her back to the camera, flexes monster claws. The image is disconcerting in the conflicting emotions it evokes. Teasdale radiates rock-star mystique while looking like something that has crawled from your worst nightmare. She enjoys the duality, the 'sugary sweetness of the cover, having it juxtaposed with this creepy AI smile and the long fingernails' – and you have to regard the artwork in the context of things she's said about being objectified as a woman in the spotlight, including the creepy middle-aged men who spend entire Wet Leg gigs filming on their phones. Moisturizer: the cover photograph of Hester Chambers and Rhian Teasdale The photograph's 'kind of sexy, disgusting' combination fits in with Wet Leg's long enjoyment of unsettling their audience. In the Chaise Longue video, Teasdale and Chambers dress like characters from a folk horror movie; Chambers's features are concealed behind a giant wicker hat, so there's a real chill when she delivers the song's whispered refrain of 'What?' Similarly, performing at the Brit Awards in 2023, they were accompanied by Morris dancers from the Isle of Wight. 'One of the fun things about being in a band is your opportunity to create a world around the music,' Teasdale says. 'When you watch a film and you like the soundtrack it gives you so much. 'I just watched 28 Years Later' – Danny Boyle's zombie-themed folk horror . 'The soundtrack to that film, it's everything for me. The opportunity to serve up your music with imagery is such an important part of it. It can completely change the way that you hear something.' Wet Leg: Rhian Teasdale. Photograph: Meghan Marin/New York Times They recorded the new album with Dan Carey, the Fontaines DC producer. As with the Dublin group, Wet Leg weren't overawed by the challenge of following up an acclaimed debut. Teasdale's philosophy is that it's better to crack on than obsess about making a perfect second LP. 'Sometimes your best ideas are the first ideas,' she says. In the studio, accordingly, they made an effort not to second-guess themselves. 'You can censor yourself out of something that's a bit weird and that's the magic secret sauce. There can be a lot of pressure if you overthink it. We were, like, 'Let's rip the Band-Aid off.' We managed to keep it fun. But in a way of, 'Let's keep the pace up.'' Teasdale and Chambers, who met studying music, had been in and out of bands through their early 20s. They decided to start Wet Leg for a lark while sitting on a Ferris wheel – and were soon conquering indiedom one chunky riff at a time. They initially presented themselves as a duo, with their backing band comprising a trio of shaggy indie boys for hire (Joshua Mobaraki on guitar, Ellis Durand on bass and Henry Holmes on drums). Second time around, those background musicians are now fully signed-up band members. Chambers has made a conscious decision to retreat into the background, the better to navigate her social anxiety. 'Starting the band together ... that will always be a very important part of our story,' Teasdale says. 'When we signed with Domino we signed as the two of us, and we went on tour, and we took our friends with us. Experiencing all the things that we have together, we have naturally developed into a five-piece. 'We've learned things along the way of what we do and don't like doing and what comes with being in a band – which, of course, we had no real understanding of.' Chambers's decision to step back was a result of their experiences as musicians in the spotlight, according to Teasdale. 'We had no idea this thing was going to snowball in the way that it did. We started the band because we wanted to play some shows together and write music together. 'You don't think about all the other things that go along with it, like an online presence and people being able to comment and pick you apart, and all of the promo that goes along with it – having to speak about your music and dissect why you've done this or why you've done that.' Wet Leg: Henry Holmes, Joshua Mobaraki, Rhian Teasdale, Ellis Durand and Hester Chambers. Photograph: Alice Backham For all the ferocity of the music, a seam of sweetness runs through tracks such as Davina McCall, with its chorus of 'Days end too soon/ When I'm with you'. That's a reflection of where Teasdale is in her personal life and her relationship with her nonbinary significant other. 'I'm someone who wears their heart on their sleeve quite a lot, for better or for worse,' she says. 'I am very, very in love. I'm obsessed with my partner.' Teasdale is chatty and pleasant, but a slight chill descends when she's asked if she has any regrets about writing Ur Mum, a scorched-earth number from their first album that carpet-bombed a former romantic partner with its unsparing lyrics – 'When I think about what you've become/ I feel sorry for your mum.' The song is believed to be about Teasdale's ex-boyfriend – and former Wet Leg member – Doug Richards, who has said that the tune hurt his feelings, largely because his mother had died shortly before he and Teasdale began their relationship. 'I realise she wrote these lyrics during the heat of a break-up, but she could have come and told me about it after, given me a heads-up at least,' he told the Sunday Times. Teasdale did later voice misgivings. 'It's a bit harsh,' she told the Independent. ''I feel sorry for your mum' is a very mean thing to say.' Today, however, she says, 'I don't have any regrets. Why would I have regrets?' [ Wet Leg at Electric Picnic 2023: Smart, punchy, shin-kicking pop from Rhian Teasdale and Hester Chambers Opens in new window ] She may not have misgivings over Ur Mum, but Wet Leg have learned a great deal in the run-up to the new LP. One of the lessons is that, if the whole world wants a bit of you, there comes a time when you have to put your foot down. Say yes to everything – every gig offer, every interview request – and soon you'll be running on empty. That's exactly what happened to Wet Leg in September 2022, when exhaustion led to them cancelling several shows in the United States. Second time out, they're determined to climb Everest at their own pace. 'If I didn't say no, I would be doing promo all day. People are trying to do their jobs, and trying to do a good job, and everyone's working hard for us.' She skips a beat, as if reflecting on the busy year stretching ahead of Wet Leg. 'It's up to me to communicate what I'm emotionally and mentally available for. No one can guess. That's on me.' Moisturizer is released by Domino . Wet Leg play the All Together Now festival, in Co Waterford, July 31st-August 3rd