λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979), PIPE MAJOR OF THE SCOTS GUARDS

objekt/l paul lucien maze french british 1887 1979 pipe major of the scots guards gx5mTkP 633022595 / Till salu

objekt/l paul lucien maze french british 1887 1979 pipe major of the scots guards gx5mTkP 633022595

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objekt/l paul lucien maze french british 1887 1979 pipe major of the scots guards gx5mTkP 633022595

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λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979), PIPE MAJOR OF THE SCOTS GUARDS

λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PIPE MAJOR OF THE SCOTS GUARDS Pastel Signed (lower right) 45 x 21.5cm (17½ x 8¼in.) Exhibited: London, Wildenstein & Co Ltd, Paul Maze and the Guards, 10 May - 2 June 1973, cat. no. 102 Oxfordshire, Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush, 11 July-13 November 2022, no cat. no. I have heard it said that only a soldier or an artist can really appreciate the true significance of a military parade. The soldier sees corporate discipline in the steadiness of the troops, their immediate and crisp response to the word of command, ranks perfectly aligned, men moving as one. He understands, too, that all this exemplifies esprit de corps and is the outward sign of the inward spirit…The instant obedience to a command, steadiness, personal and corporate pride are qualities as essential now as ever before. The artist sees colours, movement and stillness, lines and curves as the troops manoeuvre. He hears the measured tread accompanying the military music, the wail of the pipes and staccato drumbeats, and transmits these sounds to his canvas so that these various facets are welded together in unison. Paul Maze is, however, in a unique situation because he is an artist and a soldier, both of rare distinction, and therefore combines in himself and his work the faculties of appreciation which I have described. His knowledge of the battlefield, its horrors and its effects on the minds and bodies of men, was gained at first hand. His knowledge of the Household Troops stems not only from what he saw then and shared with them, but also from an intimate association in their ceremonial role between the two wars and since. It is the knowledge of the soldier and the artist; and his understanding and deep affection stand out with startling vividness in his paintings. (Michael Gow, Brigadier, Scots Guards, Foreword, Wildenstein, London, Paul Maze and the Guards, 10 May-2 June 1973). Condition Report Disclaimer, λ, λ PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979) PIPE MAJOR OF THE SCOTS GUARDS Pastel Signed (lower right) 45 x 21.5cm (17½ x 8¼in.) Exhibited: London, Wildenstein & Co Ltd, Paul Maze and the Guards, 10 May - 2 June 1973, cat. no. 102 Oxfordshire, Blenheim Palace, Paul Maze and Winston Churchill: Companions of the Brush, 11 July-13 November 2022, no cat. no. I have heard it said that only a soldier or an artist can really appreciate the true significance of a military parade. The soldier sees corporate discipline in the steadiness of the troops, their immediate and crisp response to the word of command, ranks perfectly aligned, men moving as one. He understands, too, that all this exemplifies esprit de corps and is the outward sign of the inward spirit…The instant obedience to a command, steadiness, personal and corporate pride are qualities as essential now as ever before. The artist sees colours, movement and stillness, lines and curves as the troops manoeuvre. He hears the measured tread accompanying the military music, the wail of the pipes and staccato drumbeats, and transmits these sounds to his canvas so that these various facets are welded together in unison. Paul Maze is, however, in a unique situation because he is an artist and a soldier, both of rare distinction, and therefore combines in himself and his work the faculties of appreciation which I have described. His knowledge of the battlefield, its horrors and its effects on the minds and bodies of men, was gained at first hand. His knowledge of the Household Troops stems not only from what he saw then and shared with them, but also from an intimate association in their ceremonial role between the two wars and since. It is the knowledge of the soldier and the artist; and his understanding and deep affection stand out with startling vividness in his paintings. (Michael Gow, Brigadier, Scots Guards, Foreword, Wildenstein, London, Paul Maze and the Guards, 10 May-2 June 1973). PAUL LUCIEN MAZE (FRENCH/BRITISH 1887-1979), PIPE MAJOR OF THE SCOTS GUARDS, Exhibited:, Paul Maze and the Guards, Paul Maze and Winston Churchill: Companions of the Brush, I have heard it said that only a soldier or an artist can really appreciate the true significance of a military parade. The soldier sees corporate discipline in the steadiness of the troops, their immediate and crisp response to the word of command, ranks perfectly aligned, men moving as one. He understands, too, that all this exemplifies esprit de corps and is the outward sign of the inward spirit…The instant obedience to a command, steadiness, personal and corporate pride are qualities as essential now as ever before. The artist sees colours, movement and stillness, lines and curves as the troops manoeuvre. He hears the measured tread accompanying the military music, the wail of the pipes and staccato drumbeats, and transmits these sounds to his canvas so that these various facets are welded together in unison. Paul Maze is, however, in a unique situation because he is an artist and a soldier, both of rare distinction, and therefore combines in himself and his work the faculties of appreciation which I have described. His knowledge of the battlefield, its horrors and its effects on the minds and bodies of men, was gained at first hand. His knowledge of the Household Troops stems not only from what he saw then and shared with them, but also from an intimate association in their ceremonial role between the two wars and since. It is the knowledge of the soldier and the artist; and his understanding and deep affection stand out with startling vividness in his paintings. . Condition Report Disclaimer

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