{"id":9939,"date":"2022-12-06T14:18:59","date_gmt":"2022-12-06T14:18:59","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=9939"},"modified":"2022-11-21T17:15:20","modified_gmt":"2022-11-21T17:15:20","slug":"premiere-coup","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=9939","title":{"rendered":"Premiere coup"},"content":{"rendered":"
\"\"

Back Shore, Philip Malicoat, 16″ x 22″, oil on canvas.<\/p><\/div>\n

Tom Insalaco told me earlier this year to check out Philip Malicoat. His close association with Edwin Dickinson emerges immediately in one glance at his work, in both modes that Dickinson employed: the large, dark and mysterious figures and interiors and the quickly executed, nearly abstract scenes Dickinson described as “first stroke”: premier coup<\/em>. Back Shore<\/em> is clearly an example of the latter. From the Provincetown Art Association and Museum:<\/p>\n

Philip Cecil Malicoat was a child of farmers with little exposure to the arts, first in Oklahoma, then in Indiana, before coming to Provincetown in 1929 to study with Charles Hawthorne. Malicoat went on to build a life in Provincetown, meeting his wife, the artist Barbara Haven Brown, and together raising two children, Martha and Conrad, both of whom became accomplished artists. Malicoat was active in Provincetown arts community as a member of the Provincetown Art Association and Beachcomber\u2019s Club, a teacher, a painter, and, in 1968, a co-founder of the Fine Arts Work Center.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Tom Insalaco told me earlier this year to check out Philip Malicoat. His close association with Edwin Dickinson emerges immediately in one glance at his work, in both modes that Dickinson employed: the large, dark and mysterious figures and interiors and the quickly executed, nearly abstract scenes Dickinson described as “first stroke”: premier coup. Back […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-9939","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nPremiere coup - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=9939\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Premiere coup - represent\" \/>\n<meta property=\"og:description\" content=\"Tom Insalaco told me earlier this year to check out Philip Malicoat. His close association with Edwin Dickinson emerges immediately in one glance at his work, in both modes that Dickinson employed: the large, dark and mysterious figures and interiors and the quickly executed, nearly abstract scenes Dickinson described as “first stroke”: premier coup. 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