Detail 1
Trip Hammock by Diabla
This designer hammock is made with a resistant plastic fabric upholstery and has a Dryfast foam cushion, specially made for outdoor furniture. It is also a tilting and folding designer furniture piece, which ensures maximum comfort.
Its lightness makes it easily transportable thanks to its aluminium structure and surfaces.
The Trip hammock is foldable and takes up little room, which makes them ideal for any space, especially those that need to be reconfigured often such as beach clubs, hotels, and other contract installations.
Thermo lacquered aluminium and plastic fabric
Available in 8 colours : White, Pink, Red, Grey, Anthracite, Sand, Bronze & Mustard
620mmW x 1070mmD x 770mmH, 330mm Seat Height
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Diabla enjoys the outdoor life 365 days a year!
A new Spanish brand of outdoor furniture and accessories that celebrate spending time outdoors.
Diabla designs have an open, enthusiastic and cosmopolitan approach to creating original and creative outdoor furniture designs.
With an inspiring attitude that offers creative solutions for stylish environments, Diabla uses bold colourways for its products that add something new and express new lifestyles.
Its collections are developed with the support of the resources and knowledge accumulated by Gandia Blasco Group regarding design culture, production and business development.
About the designer
José A. Gandía-Blasco Canales
José Antonio Gandía-Blasco Canales was born in Ontinyent, Valencia. After studying law at the Valencia University, he joined the family business GANDIA BLASCO, a blanket manufacturer.
After travelling throughout Spain as a business agent, he began to take on responsibilities in the company. With the help of Marisa Gallén and Sandra Figuerola, designers, Gandía Blasco reshaped the image of the company. The current logo was created, the silhouette of a graceful kitten, as well as the first reversible design carpet collection, which later received the IMPIVA Award 1990 for innovation.
The building of his summer residence in Ibiza in 1996 and the need to furnish the house with outdoor furniture that would match the architectonic concept, took José A. to take a closer look at furniture design for the first time. In close collaboration with the architect, they developed the “Na Xemena” collection which is still the outdoor furniture reference of the company Gandia Blasco. The consolidation of this new product line contributed to the diversification strategy of the company.
In 1999 he inherited the company, and started with the definitive structural change.
José A. managed to lead the activities of a solvent family business towards the international benchmark it is today. Experimenting and innovating with materials and shapes, he has been able to turn the ideas of a lover of the Mediterranean culture into a brand image and lifestyle which are well known on the five continents.
José A. is not only president of the company but also the art director. He designed a large part of the furniture and textile collections that are being commercialised today by GANDIA BLASCO worldwide.
Urban furniture collections such as ‘Valencia’ (benches and wastepaper baskets), the outdoor furniture line ‘356’, which are both signed together with Pablo Gironés, the ‘Saler’ collection or accessories such as the daybed, torches, lamps, lanterns and candlesticks; carpets like ‘Mota 2’, ‘Círculos’, ‘Wall’, ‘Champiñones’, the duvet cover ‘Piedras’; all of them being products that can easily be identified with Gandia Blasco lifestyle.
The Art and Sport of Hammocking
After many contemplative hours in my hammock I have realized that there is an artfulness and athleticism involved in being able to thoroughly enjoy the hammock experience. Dictionaries define a hammock as a type of hanging bed made from canvas or cords and supported at each end. I have also learned that there is a tropical hammock. When I saw signs for Curry Hammock State Park near Marathon in the Florida Keys, my mind ran wild. Could there really be a state park devoted to hammocks? I envisioned hammock after hammock slung between palm trees overlooking the bright blue waters surrounding The Keys. Imagine my shock and disappointment when I discovered that a tropical hardwood hammock is an ecosystem comprised of certain species of trees. Even the fun of repeatedly saying the name of the odd sounding gumbo limbo tree, only offered me a modicum of comfort as we drove out of the parking lot. While dictionaries identify hammock as a noun, we now live in a world where parts of speech merely suggest a word’s usage. I believe hammock has merit to also be a verb.
Hammocking has two predominant philosophies: au naturel and faux naturel. My personal preference is the au naturel method which is when the hammock is suspended between two trees set a certain distance apart. The distance will depend on the type of hammock you are using. The benefit of hammocking au naturel is that you will be in the shade and, since you are tied to trees, it is easier to commune with nature. If you want more flexibility than the au naturel method offers, you can use the faux naturel method and purchase a hammock stand. These stands allow you to move the hammock around your yard to sunny or shady locations. The faux naturel method is also an excellent choice for people who don’t have many trees, have immature trees that can’t withstand the weight of an adult or have trees that are too far apart. Either of these methods will allow you to enjoy hammocking.
Once you have selected a method and location, you will need some accessories to fully appreciate the hammocking experience. For comfort, a pillow is a must. A long, rectangular pillow works best, but, in a pinch, a rolled up beach towel works quite nicely. In addition to the pillow, you might want to consider a sway mechanism. Since I don’t have the funds to employ someone who will sit next to my hammock and gently rock me while feeding me grapes, I’ve devised a method for self swaying; a sway string. You can create one by tying the end of a length of thick laundry line to a tree that is perpendicular to the hammock. After draping the other end over the edge of the hammock you can gently tug on the string and rock like a baby in a cradle. The sway pole is another option for self swaying. I find this to be less effective than the sway string, but if you are hammocking faux naturel, this may be your only choice. Using a large branch that has fallen from a tree as a sway pole is tempting because it is free, but I can tell you, from personal experience, the dead branch will snap leaving you with a nasty splinter that abruptly ends your tranquility. A PVC pipe or broomstick are sturdier. If you drop the sway pole, DO NOT lean over the edge of the hammock to retrieve it. This may result in an embarrassing and graceless roll to the ground.
Now that you understand proper hammock placement and sway mechanisms, it’s time for a pre-nap safety test of the equipment. Always check the hammock’s tension. Sometimes a hammock appears taut and ready for an afternoon of reading and napping, only to sag all the way to the ground the instant you make contact. It is especially important to check the tension of a hammock that is unfamiliar to you like those at a beach or resort. After you have determined that it will support your weight, you are ready to commence relaxation. Keep in mind that there are some hazards inherent with hammocking. Falling out of the hammock is an ever-present danger, so be sure that you are not hanging over any rocks. Nothing spoils an afternoon of serenity more than a trip to the emergency room for a skull x-ray and CAT scan.
Animals are another hazard to be aware of. Birds and squirrels can, and will, chew through the hammock’s cords to use this booty to furnish their nests. Check for damaged cords. A hammock can function well with one string broken, but as my husband learned the hard way, two or more damaged strings will eventually break when the weight of a full-grown adult is added and you will drop like a sack of potatoes. There are additional animal related hazards associated with hammocking au naturel. Because you are lying beneath tree branches, birds sometimes unintentionally relieve themselves on you. There is little you can do to avoid the falling droppings. It doesn’t happen often, but you must be mindful of the possibility and keep your mouth closed at all times. As fall approaches, a concern more common and more painful than bird excrement is acorns. Squirrels will sit on branches directly above the hammock and pelt you with acorn shells and caps. This is irritating, and if it continues, you will be forced to abandon the hammock until the squirrel vacates the area.
The final hazards worth mentioning are food related. Reaching for food or beverages while in the hammock can cause your weight to shift suddenly resulting in you being dumped on the ground while simultaneously spilling the food or drinks. This may be injurious to your body or pride. In addition, common sense dictates that you should never swallow anything while lounging in the supine position. This is a choking hazard and removing your body from the hammock to perform the Heimlich maneuver would be difficult for your rescuers.
On days when the temperatures are sweltering you may feel that you won’t be able to partake of your hammock. That doesn’t have to be the case. With a garden hose, sprinkler or mister you can wile away the hours in your hammock in complete comfort. This makes hammocking a joy on even the hottest days. Simply put on your bathing suit, turn on the sprinkler and get into the hammock. Water will coat your skin leaving you glistening and cool as you gently sway from side to side.
Using a sway string and a water mister enhance the overall hammocking experience.
Getting into the hammock, balancing your weight and adjusting the pillow involve a considerable amount of athleticism. You should never flop gracelessly into a hammock. A friend once did this and instantly turned S hooks into question marks which seriously compromised the hammock’s suspension. He hit the ground in the blink of an eye. To properly enter a hammock you should stand with your back to the center, squat like you are about to sit in a chair, grab the edge and then just simply sit down. Very quickly, with one fluid movement, fling your legs toward the center of the hammock while twisting your torso and adjusting your weight to the center. The pillow will flop around as you do this. Don’t worry about its placement until you are completely stable.
This type of hammock is for relaxation purposes only. It is not a sport hammock. Entering and exiting require a modified technique.
Holding items in your hands during the entry process adds a degree of difficulty which increases based on the items you are holding; liquids are more difficult than solids, hot liquids are more difficult than cold and holding items in both hands, like a bowl of popcorn and a tumbler of iced tea, rates the highest degree of difficulty. Beginning hammockers should not attempt the entry technique with anything in their hands until they have demonstrated mastery.
Once in the hammock, you may find that as the sun moves across the sky it begins to shine into your eyes making reading a challenge. Experienced hammockers can change position or sides without exiting the hammock, but it is a risky move for even the most proficient individual. This maneuver involves kneeling in the center of the hammock, gripping the ropes and using the core muscles to balance while the hammock wobbles wildly from side to side. Be prepared! The hammock may flip over during this procedure and you’ll find yourself clinging to its underside, inches from the dirt. At this point, it is time to concede, make sure you have a safe drop zone and let go. You might think it would be easier to get out of the hammock and re-enter facing the other direction. While that is the preferred technique for a beginner, there is no sport in that for those with more advanced skills.
Eventually, the time will come when you will need to go to the bathroom or the sun will set and mosquitoes will begin feasting on your flesh. You’ll have to exit the hammock. Your dismount should be graceful. Do not swing back and forth then launch yourself hoping to land on your feet. Initially, you may land in an upright position, but momentum will cause you to pitch forward and nosedive into terra firma. To perform a proper dismount you’ll need strong quadriceps and good technique. Sit up in the middle of the hammock and swing your feet over the side. Tilt the hammock back until your feet are on the ground and then stand up as if you are getting out of a chair. Do not try to push yourself up from the hammock, especially if it is a rope hammock. Your hand will slide through one of the spaces between the ropes and you’ll become entangled. You may even need assistance untangling yourself because you’ll be laughing so hard that it will be difficult to control muscle movement. Once you have successfully dismounted the hammock feel free to throw your arms up over your head like an Olympic gymnast. I find it adds a touch of panache.
Hammocking may look lazy and inactive to some, but there is an artfulness and athleticism to a happy hammock experience. As in any other sport, when the athlete’s performance seems effortless it is because the athlete has trained diligently. In my day-to-day life I don’t exhibit grace or agility, but when it comes to hammocking, I have an innate gift. If hammocking was an Olympic sport, I’d be a gold medalist. Perhaps I should petition the International Olympic Committee to have it added as a competitive sport for the London 2012 games. Until then, I’ll just have to keep training.
When leaves fall, hammock season is over.
Further images
signed, ‘Lyman’ (lower left); signed, titled and inscribed by the artist, ‘JOHN LYMAN / “THE HAMMOCK UNDER THE TREE” / For Mr. Van Valkenburg CCRU’ (verso)
Dominion Gallery, Montreal.
Richard S. Van Valkenburg, Toronto.
Private collection, Montreal;
By descent to the present owners.
Exhibitions
Montreal, Dominion Gallery, John Lyman and Louis Archambault, 23 April – 3 May 1947,
Ottawa, National Gallery of Canada, 9 – 11 Feb 1948, Vancouver, Vancouver Art Gallery, 17 – 19 Feb 1948, Winnipeg, Winnipeg Art Gallery, 20 – 23 Feb 1948, Toronto, Art Gallery of Toronto, 25 – 26 Feb 1948, Montreal, Art Association of Montreal, 27 – 29 Feb 1948, Canadian Appeal for Children, exhibition and auction organized by NGC and UNESCO.
Montreal, Montreal Museum of Fine Arts, 5 – 29 Sept 1963, Ottawa, The National Gallery of Canada, 4 – 27 Oct 1963, and Hamilton, The Art Gallery of Hamilton, 8 Nov – 1 Dec 1963, John Lyman, no. 8 as The Hammock Under the Tree.
Literature
John Lyman, Louis Archambault (exhibition leaflet), Montreal, Dominion Gallery [1947] no. 3.
Travelling Exhibition & Auction of Canadian Paintings & Sculpture, Canadian Appeal For Children (typed list), Library, National Gallery of Canada, one page.
Anon, “Art Exhibit to Assist Children of Europe”, The Evening Citizen (Ottawa, ON), 10 February, 1948, p. 3, reproduced b/w.
Anon, “Travelling Art Show Makes Novel Appeal”, Montreal Standard (Montreal, QB), February 28, 1948, mention.
Montreal Museum of Fine Arts, John Lyman, 1963, no. 8 as The Hammock Under the Tree, repr. (unpaginated)
Evan H. Turner, Gilles Corbeil, John Goodwin Lyman Retrospective (Exhibition catalogue), Montreal, Montreal Museum of Fine Arts, 1963, np, cat. 8.
Louise Dompierre, John Lyman, 1886-1967, Kingston, Agnes Etherington Art Centre, 1986, p. 206 and 209.
John Lyman came from a cultured, upper-class Puritan family in New England [1]. In 1886, the year he was born, his father became a Canadian citizen and established his pharmaceutical business with operations from Montreal to Vancouver. John was two years old when his mother succumbed to typhoid fever. Despite having a governess and an affectionate father, John Lyman lived a solitary childhood in Montreal. The family was interested in painting and John’s uncle, James Morgan, had a collection of impressive works by the Barbizon school and modern Dutch painters. In 1900, at the age of 14, the young man set off for Europe with his father, visiting the Uffizi Gallery in Florence and the Paris Exposition. After completing his secondary studies at a private school in Connecticut, he began a degree in Literary Studies at McGill University. In February 1906, at the age of 20, he attended the exhibition Some French Impressionists at the Art Association of Montreal, where he had a revelation about becoming a painter. From there, things happened quickly: a summer vacation in Paris, where he took classes with Pierre Marcel-Béronneau, a follower of Gustave Moreau; a stint at the Royal College of Art in South Kensington, London, to study architecture as per his father’s wishes; and less than six months later, he returned to Paris to resume his painting classes, this time in Jean-Paul Laurens’ studio at the Académie Julian. He spent two years there before finding his true master, the Fauve painter Henri Matisse, whose classes he took from April to June 1910, just before the Académie Matisse at the Couvent du Sacré-Cœur closed. What Lyman retained from his short time with Matisse is clear throughout his oeuvre: convey nature as he saw and sensed it, with clarity, honesty and faithfulness. According to Lyman, “[t]he painter’s job is to persuade nature to collaborate with him.” [2]
Returning to Montreal at the end of 1910, Lyman became engaged to Corinne St. Pierre—daughter of the well-known tailor William St. Pierre—and they married in the spring of 1911. Before setting off for Europe, the couple paid a visit to 291, the famous avant-garde art gallery in New York City, where they discovered the articles on Matisse and Picasso written by Gertrude Stein in the photographic journal Camera Work, edited by Alfred Stieglitz. Once they were in Paris, in early June, John and Corinne met Matisse at the Salon des Indépendants, then visited Gertrude Stein, since John had been a regular figure at her salon in his student days. In 1911, Corinne became pregnant and gave birth to a child who died a few days later. In the summer of 1912, the Lymans settled in the hamlet of Dalesville, in the Argenteuil region located between Montreal and Ottawa. Dalesville was part of the rural area near the town of Lachute where, since the 19th century, Anglo-protestant Scottish and Irish merchants and farmers would vacation. The region inspired the painter to create landscapes—paintings which caused a scandal in May 1913 at the Art Association of Montreal. It must be said, Lyman’s modernist paintings had already earned scathing criticism at the 1912 and 1913 Spring Exhibitions, but this time, the invectives reached their pinnacle. He publicly defended his avant-garde approach, which had been clearly explained by Corinne St. Pierre who had penned the preface for the exhibition’s catalogue, before resigning himself to exile. It was only eighteen years later, in 1931, when the couple returned to settle permanently in Canada. It was then that the painter found a community that was more open to modern art. He brought together young artists in groups like the Atelier, the Eastern Group and the Contemporary Arts Society. As a painter, art critic and McGill University professor, he dedicated himself entirely to defending art that strives for universality. John Lyman passed away in 1967 in Barbados at the age of 71, followed a few months later by his wife Corinne.
Lyman’s 1913 one-man show, a landmark event in Canadian art history, has yet to reveal all its mysteries: of the 35 works (paintings and drawings) presented—among the 42 listed in the catalogue—few have reached us. At the time, Lyman favoured evocative rather than descriptive titles, often relating to music, which creates another obstacle to retracing these works. Fortunately, the images reproduced in newspapers and a few brief descriptions from the critics (hidden amongst the insults) provide some leads. For example, Wild Nature Impromptu, 1st State, a landscape painted in Dalesville in 1912 (no. 36 in the 1913 catalogue), is in the collection at the Musée national des beaux-arts du Québec (1970.499), a gift of the Mrs. John Lyman’s Estate in 1970. Dalesville, another similarly sized landscape painted that same year, is also part of the collection (1970.500). But what became of Rural Sensation (no. 35) or Canadian Essay, No. 2 and No. 3 (no. 26 and no. 34) from the 1912 catalogue?
After the disastrous exhibition, the artist kept the works from this time period for himself. Some resurfaced three decades later in retrospective exhibitions held at the Dominion Gallery in 1944 and 1947 [3]. It was during the second exhibition, which featured works by both Lyman and the sculptor Louis Archambault, that the astounding painting The Hammock under the Tree was presented to the public for the first time. The following year, the painting was included in the exhibition and sale organized by the Canadian Council for Reconstruction through UNESCO (CCRU), coordinated by Richard S. Van Valkenburg, director of Eaton’s Fine Art Gallery and a prominent figure of the Toronto art scene. This explains the verso inscriptions on the painting.
This exhibition was part of the large scale charity campaign, Canadian Appeal for Children, in which 46 countries of the United Nations contributed to the cause for children of the Second World War. In Canada, every sector of the economy was called upon. The exhibition was placed under the authority of the Canadian Art Council. Thirty-five painters and five sculptors answered the request from Montrealer Marian D. Scott and Torontonian Charles F. Comfort, who headed the CAC member committee. Travelling to five major Canadian cities in February 1948, the exhibition featured a range of styles of recent contemporary Canadian art, from realism to abstraction [4]. In this regard, John Lyman was unique, choosing to exhibit a work he had painted over 35 years earlier, The Hammock under the Tree [5]. It was during this exhibition that the painting was acquired by the family of the present owners – a collector known for his interest in modern art and the works of James W. Morrice in particular [6].
Ever since he had studied in Paris, John Lyman had been a great admirer of Morrice. When Lyman returned to Canada, he wrote a monograph about Morrice, which was published in 1945 by Éditions de L’Arbre in Montreal. The two Canadians, who had both known and frequently visited with Henri Matisse, shared the great Fauvist’s view of art; Namely, that art should express feelings rather than transpose reality. This is precisely what Corinne St. Pierre had tried to explain to the Montreal public in the preface for her husband’s exhibition catalogue in 1913: “Art that looks natural is nonsense; art must be artificial; where imitation ceases, art begins; […] Art is not the story of what we see, but of what we think about what we see; what determines it is what arises between expression and the inspiring object: imagination, organizing intelligence and personality as well.” [7]
The late François-Marc Gagnon wrote that, in the development of Canadian art, Morrice and Lyman were, “‘the missing link’ of Fauvism, between the Impressionism of Clarence Gagnon, the early-twentieth-century painter bitterly opposed to everything that had followed Impressionism, and the Cubism of Alfred Pellan, who had spent fourteen years in Paris in contact with all the avant-gardes.”[8] The exhibition Morrice and Lyman in the Company of Matisse, organized by the Musée national des beaux-arts du Québec in 2014, demonstrated their aesthetic kinship. Certainly, The Hammock under the Tree could have been included in the exhibition for its decorative qualities. But the work escaped attention, tucked away in the current collection, having emerged just once in 67 years, at the Montreal Museum of Fine Arts’ retrospective exhibition of Lyman’s work in 1963. The exhibition also toured to the National Gallery of Canada in Ottawa and the Art Gallery of Hamilton. Interestingly, the latter gallery recently acquired the sketch for this work (Fig. 1).
John Lyman adopted the artistic principles championed by Henri Matisse as displayed in The Hammock under the Tree. The meticulous composition of the elements seen in the study were reproduced in the large painting. A notable difference is the pink clothing worn by the female figure—most likely Corinne, now facing forwards. It becomes a focal point from which a multitude of chromatic waves flow through the areas of light and shadow. The long brushstrokes of colour and areas of exposed canvas bring movement to the painting, from left to right and from bottom to top. Devoid of any picturesque elements, the landscape respects the two-dimensional plane by highlighting the foreground and background elements and using yellow gold for the structures. The motifs of the shrubs to the right of the dirt path as well as the woman are reminiscent of the dark outlines and shading used in other Dalesville scenes.
There are few examples where John Lyman pushes the pictorial and decorative treatment of surfaces so far [9]. Just as in a musical composition, here, the smallest element contributes to the overall dynamic of the piece: the rhythmic sensations evoke the wind that sweeps over the waving grass and rustles the leaves of the umbrella tree. On this beautiful summer day in the country, these waves carry through into the sky, fanning out into sunbeams. The Hammock under the Tree embodies what Lyman meant when he said that “the painter’s job is to persuade nature to collaborate with him.” This remarkable work illustrates John Lyman’s unique early contribution, at a time when the art world was vehemently averse to the new languages of the Parisian avant-garde. [10]
Footnotes:
1. This text greatly benefited from the assistance of Annie Arsenault (National Gallery of Canada) and Danielle Blanchette (Montreal Museum of Fine Arts) and fruitful discussions between the author and Lucie Dorais, Charles C. Hill, Tobi Bruce (Art Gallery of Hamilton) and Nathalie Thibault (Musée national des beaux-arts du Québec). I would like to extend my warm thanks to them all.
2. Guy Viau, “John Lyman,” Montreal, Vie des arts (33), Winter 1963–1964, p. 30.
3. Charles Hill found the consignment record for The Hammock under the Tree in the archives of the Dominion Gallery, May 17, 1946, stock no. 12120d.
4. Although she had passed away in 1945, Emily Carr was among the 40 artists whose works were included in the exhibition. Her estate donated her later painting The Wood. Other artists featured in the exhibition included painters Franklin Arbuckle, Archibald Barnes, Allan Barr, P. E. Borduas, Fritz Brandtner, A. J. Casson, Paraskeva Clark, Charles F. Comfort, Stanley Cosgrove, Jacques De Tonnancour, Kenneth Forbes, Eric Goldberg, Lawren Harris, Edwin H. Holgate, A. Y. Jackson, Arthur Lismer, Henri Masson, David Milne, Lilias Torrence Newton, Louis Muhlstock, Jack Nichols, Will Ogilvie, Alfred Pellan, Robert Pilot, Goodridge Roberts, Anne Savage, Carl Schaefer, Marian D. Scott, Percy Tacon, Frederick H. Varley, R. York Wilson, William A. Winter; and sculptors Emanuel Hahn, Jacobine Jones, Stephen Tranka, Florence Wyle and Elizabeth Wyn Wood.
5. The work’s record at the Dominion Gallery lists the completion date as “September 1912.”
6. [Names withheld]
7. Foreword to the Exhibition of Paintings and Drawings by John G. Lyman, presented at the AAM from May 21 to May 31, 1913 in Morrice and Lyman in the Company of Matisse, p. 223.
8. “Lyman’s Encounter with Matisse” in Morrice and Lyman in the Company of Matisse, (exhibition catalogue), Richmond Hill, Kleinburg, Québec, Firefly Books, McMichael Canadian Art Collection, Musée national des beaux-arts du Québec, 2014, p. 171.
9. On the Beach, Bermuda, 1913 (Lavalin Collection of the Musée d’art contemporain de Montréal A 92 995 P 1) and The Lawns of Fairfield, Cowansville (Musée national des beaux-arts du Québec, gift of Mrs. John Lyman Estate [1970.510]).
10. To our knowledge, John Lyman revisited the hammock as a subject in 1926, in a work that was displayed at the Salon des Tuileries in Paris in 1927 before being presented, that same year, in the artist’s first exhibition since 1920 in Montreal at Johnson Art Galleries Ltd. (634 St. Catherine Street). The Hammock, oil on wood, 30 x 40 cm, is now housed at the Musée national des beaux-arts du Québec, gift of Mrs. John Lyman Estate (1970.506).
