http://www.bbc.co.uk/iplayer/episode/b00wbn80/The_Art_of_Cornwall/
A good BBC programme giving a clear overview of how St Ives became the centre for Modernism in the UK over three decades. Some fascinating facts came out about the struggle between artists for dominance in the Artist exhibitions. I have only recently re-discovered Peter Lanyon, although I remember going to see some of his works in a private house in Newlyn. Little realising he had wandered over the same area of the Penwith peninsula I had been whilst down there.
Lanyon flying to see the landscape as a wholly different view and being able to synthesise all the elements to create an image of a 'place' rather than a 'landscape'. A picture needs to have elements that is not only a vivid image, but one underpinned by deeper roots. The presenter used one of Lanyon's famous pieces to show how it can be looked at several ways.
One of the other good things was that when Barbara Hepworth was mentioned, there was no reference to Henry Moore. As they are usually mentioned in the same breath.
Sunday, December 5, 2010
Wednesday, September 29, 2010
Paul Gaugin
Paul Gauguin is one of the great artist of the 19th century and the harbinger of the 20th century. I am lucky that there is to be a large retrospective of his work at the Tate Modern this autumn and I expect to be going some time. Due to the nature of this exhibition, it has generated several programmes and critical discussion about his work and of course, his life and times.
The BBC had a superb programme by Waldemar Januszczak- Gauguin -the Full Story. Originally, broadcast in 2003, it was a 2 hour tour-de-force covering from his early life in Peru through to Gauguin's grave in the South Pacific. By going through his life with the places he lived and showing paintings of his world. You gained a sense of the context for his paintings. The shift of colour from his more northern landscapes to the Breton and then beyond to the Pacific. Januszczak is a very good presenter and gives an enthusiasm to each work as well as informing and uncovering things that had been 'lost'.
Alastair Smart's article in the Telegraph puts the case for and against Gauguin. Both as an artist and as a person. The problem is that if you view history from your own period then you are judging by the criteria in some ways shaped by that point of history. The TV programme brought out this outsider's view of Gauguin being both outside of family, friends and culture. A French man brought up in Peru and then a global traveller. The case against him looks very strong from his own family and personal relationships viewpoint. Is this a case of his artistic passion superseding his other commitments, creating a narrative of the penniless creator who struggles until he is 'discovered'. Usually, after his death, so creating a myth of the lone prophet, the voice in the wilderness and whether he then became trapped in this myth partially of his own creation?
The BBC had a superb programme by Waldemar Januszczak- Gauguin -the Full Story. Originally, broadcast in 2003, it was a 2 hour tour-de-force covering from his early life in Peru through to Gauguin's grave in the South Pacific. By going through his life with the places he lived and showing paintings of his world. You gained a sense of the context for his paintings. The shift of colour from his more northern landscapes to the Breton and then beyond to the Pacific. Januszczak is a very good presenter and gives an enthusiasm to each work as well as informing and uncovering things that had been 'lost'.
Alastair Smart's article in the Telegraph puts the case for and against Gauguin. Both as an artist and as a person. The problem is that if you view history from your own period then you are judging by the criteria in some ways shaped by that point of history. The TV programme brought out this outsider's view of Gauguin being both outside of family, friends and culture. A French man brought up in Peru and then a global traveller. The case against him looks very strong from his own family and personal relationships viewpoint. Is this a case of his artistic passion superseding his other commitments, creating a narrative of the penniless creator who struggles until he is 'discovered'. Usually, after his death, so creating a myth of the lone prophet, the voice in the wilderness and whether he then became trapped in this myth partially of his own creation?
Tuesday, September 14, 2010
St David's Head
This photograph has been taken from Whitesands Bay, just below St David's head. It has been a place I have always come to, when visiting Pembrokeshire, whether researching Sutherland or a family holiday. I have always had it in my mind that that there is a picture here and have tried composite images to create the idea and picture, which looked OK and felt OK, but......
So I was some what amazed that this time, I quickly produced three sketches of the hill. First, a traditional - more interest in the composition of the picture, then a differing colouring, secondly, more an emotional response to the land. Thirdly, a sharper image in a large sketch book as I keep on being told not to draw across two pages, but A5 sketchbooks are easy to carry. On all of the images, I decided to leave out the sky colour as the white background left the image feeling more open.
Monday, September 13, 2010
War Artists in World War Two
There was a section on the Culture Show on BBC 2 about British War Artists during World War Two, a tradition that began in the First World War and continues today. Possibly, unique in the world?
There was a section on Graham Sutherland's work during the Blitz as well as some old film footage of Pembrokeshire and its relationship to some of this landscape work. I did make me re-consider this work as it viewing it looks scratchy as if he is knows there is something there, but not sure how to organise yet. I will be watching again and looking for others, besides Henry Moore, Paul Nash - who painted the iconic Battle of Britain image, John Piper.
There was a section on Graham Sutherland's work during the Blitz as well as some old film footage of Pembrokeshire and its relationship to some of this landscape work. I did make me re-consider this work as it viewing it looks scratchy as if he is knows there is something there, but not sure how to organise yet. I will be watching again and looking for others, besides Henry Moore, Paul Nash - who painted the iconic Battle of Britain image, John Piper.
Sunday, September 12, 2010
Returning to Pembrokeshire
This summer, I went back to Pembrokeshire, staying in some places I had been too. I knew it was going to be exciting as I walked over a lot of the area in my research about Graham Sutherland and his work in the 80's. Picton Castle had created a gallery to show some of his later work there, but due to poor construction, the paintings deteriorated over time and the gallery was closed. These pieces of work were taken under the control of the National Museum of Wales and disappeared from view.
There was talk to of opening a new gallery on the A40 to make it more accessible to the general public and the possibility of opening another gallery at St Davids (the smallest city in the UK). Latterly, I discovered that this new gallery had been opened and had some of Sutherland's work on display beside other artists who had lived and worked in the area.
Having been away from this part of Wales for a decade or more, I had knew what to expect, but when you get there. It was like discovering the whole place over again. If I was on my own, I would have come back with a lot more work, but time dictated that I was busy in other areas. As has been mentioned before this part of Wales is very similar to Cornwall. This article appeared a month or two ago, and I would pick West Wales over Cornwall any day. The difference across the landscape is staggering moving from the rugged moor like landscape to the intimate coast rivers with hidden stretches of the river bank.
On a trip to Skomer Island, a small island off the coast of the Marloes area of the Pembrokeshire coast, which was a bird sanctuary as well with only the wardens living on it. I was surprised that there was wings of birds with the carcasses gone. Later found that there was a peregrine falcon that haunted the island as well preying on the rabbits as there were some skeletons lying around. The birds' wings reminded me of shorn wings by angels in stepping down to earth. Islands had a mystical quality in Celtic mythology being associated with the 'otherworld'. The placed did have a unique atmosphere to it.
Sutherland had become to incorporate both animals and people into this work and seeing this lost wings, made me wonder if these remains had started the process.
There was talk to of opening a new gallery on the A40 to make it more accessible to the general public and the possibility of opening another gallery at St Davids (the smallest city in the UK). Latterly, I discovered that this new gallery had been opened and had some of Sutherland's work on display beside other artists who had lived and worked in the area.
Having been away from this part of Wales for a decade or more, I had knew what to expect, but when you get there. It was like discovering the whole place over again. If I was on my own, I would have come back with a lot more work, but time dictated that I was busy in other areas. As has been mentioned before this part of Wales is very similar to Cornwall. This article appeared a month or two ago, and I would pick West Wales over Cornwall any day. The difference across the landscape is staggering moving from the rugged moor like landscape to the intimate coast rivers with hidden stretches of the river bank.
On a trip to Skomer Island, a small island off the coast of the Marloes area of the Pembrokeshire coast, which was a bird sanctuary as well with only the wardens living on it. I was surprised that there was wings of birds with the carcasses gone. Later found that there was a peregrine falcon that haunted the island as well preying on the rabbits as there were some skeletons lying around. The birds' wings reminded me of shorn wings by angels in stepping down to earth. Islands had a mystical quality in Celtic mythology being associated with the 'otherworld'. The placed did have a unique atmosphere to it.
Sutherland had become to incorporate both animals and people into this work and seeing this lost wings, made me wonder if these remains had started the process.
Sunday, April 25, 2010
The Lost Romantic - Paul Nash
Today, I threaded my way through the labyrinth of the South Circular to go to Dulwich Picture gallery to see the Paul Nash exhibition. Besides getting lost and I needed to go this weekend as time was against me. I had nearly given up in going, mainly because of the travel as that part of London is difficult to get too. Not proper arterial road, so it requires a lot of single roads and stop & starting.
The strange thing that kept on popping into my mind was the novel by Stella Duffy called The Room of Lost Things, set in part in South London. A part of the world that I venture across now and again, but never stay long enough to see all the places or get to know the scenery. Today, I found that there was a Dulwich Park and I wonder what is there? Is it like Greenwich park with the entrances into flat plain with a steep drop?
The Gallery is set in Dulwich Village, one of those oasis of village life in the metropolis. The area was set out in yellow aged brick, within a Georgian setting. Originally designed by Sir John Soanes - it looks odd without any windows on the buildings side. The main light comes from the roof, so giving an even 'spread' to the viewer as they look at the paintings.
Paul Nash is one of those artist who impact is more under stated. His work is has a deep power, but at times, it is delicate like a watercolour painting. Yet, here there were several paintings that I had not seen before. Some which I found intrigued me.
Pyramids of the Sea and Combat, both early work and remind me of that other great English artist, William Blake. Especially, Combat with angel and demon, and its setting on a hill near Uxbridge - some where I use to live. You got to see more of his use of surrealism, by use of opposite element. In one a port was merged into a room, you are both inside and outside at the same time.
There were do interesting pictures from his time at Dymchurch near Romney Marsh, another place on my list to go and visit. There was one of the Great Dyke, which focused on the dyke with two figures in the right corner and a fence in the left corner. This reminded me of a series of illustrations based on the Pilgrim's Progress that I had seen in Liverpool in 1980. A lot of these Romney Marsh pictures were long and flat with large areas of space. I wonder how this landscape will look when I visit, again on the list of places to go.
Need to go and check how much of this more to the wilds of Kent/Sussex helped with his interest in surrealism. The juxtaposition of images to combine and create different forms. In the room were b&w photos of his collection and how these led him on. The long furrows of a ploughing, giving texture across the whole space. His use of trees to cut out and create new creatures and the starting point, The Monster Field. It is echoed in a Sutherland picture of the early 50's. Large open spaces with objects scattered across the scene are reminiscence of sea-scapes. The strangeness of the flotsam and jetsam washed up on the shores can throw up just such opposites.
In his later paintings, I noticed that he rarely used strong outlines, something that I have done, although, I having been trying to work with just colour and rarely use black or the dark, deep brown. The shape of the paint helps to define the shape of the image. Landscape of the Vernal Equinox (III) is a good example of this style of his work.
There at the end of the exhibition was a picture that solved a problem that I have encounted in 1983 and still lies buried in my mind that there was a picture waiting to come out, but I had a good stab at the time. You have frames within frames. A pool with trees on either side, so you have a U-shape. Nash's have branches linking across the sky and then merging in with the pool below in a riot of grey, white and paler greens. It was fantastic. It has made me think that I can solve the problem of linking the areas. I can't really say why the image was flat, but I think it was that there was not enough 'tangling' elements to catch and bind the various parts of the image together. Time to dig it out again.
The strange thing that kept on popping into my mind was the novel by Stella Duffy called The Room of Lost Things, set in part in South London. A part of the world that I venture across now and again, but never stay long enough to see all the places or get to know the scenery. Today, I found that there was a Dulwich Park and I wonder what is there? Is it like Greenwich park with the entrances into flat plain with a steep drop?
The Gallery is set in Dulwich Village, one of those oasis of village life in the metropolis. The area was set out in yellow aged brick, within a Georgian setting. Originally designed by Sir John Soanes - it looks odd without any windows on the buildings side. The main light comes from the roof, so giving an even 'spread' to the viewer as they look at the paintings.
Paul Nash is one of those artist who impact is more under stated. His work is has a deep power, but at times, it is delicate like a watercolour painting. Yet, here there were several paintings that I had not seen before. Some which I found intrigued me.
Pyramids of the Sea and Combat, both early work and remind me of that other great English artist, William Blake. Especially, Combat with angel and demon, and its setting on a hill near Uxbridge - some where I use to live. You got to see more of his use of surrealism, by use of opposite element. In one a port was merged into a room, you are both inside and outside at the same time.
There were do interesting pictures from his time at Dymchurch near Romney Marsh, another place on my list to go and visit. There was one of the Great Dyke, which focused on the dyke with two figures in the right corner and a fence in the left corner. This reminded me of a series of illustrations based on the Pilgrim's Progress that I had seen in Liverpool in 1980. A lot of these Romney Marsh pictures were long and flat with large areas of space. I wonder how this landscape will look when I visit, again on the list of places to go.
Need to go and check how much of this more to the wilds of Kent/Sussex helped with his interest in surrealism. The juxtaposition of images to combine and create different forms. In the room were b&w photos of his collection and how these led him on. The long furrows of a ploughing, giving texture across the whole space. His use of trees to cut out and create new creatures and the starting point, The Monster Field. It is echoed in a Sutherland picture of the early 50's. Large open spaces with objects scattered across the scene are reminiscence of sea-scapes. The strangeness of the flotsam and jetsam washed up on the shores can throw up just such opposites.
In his later paintings, I noticed that he rarely used strong outlines, something that I have done, although, I having been trying to work with just colour and rarely use black or the dark, deep brown. The shape of the paint helps to define the shape of the image. Landscape of the Vernal Equinox (III) is a good example of this style of his work.
There at the end of the exhibition was a picture that solved a problem that I have encounted in 1983 and still lies buried in my mind that there was a picture waiting to come out, but I had a good stab at the time. You have frames within frames. A pool with trees on either side, so you have a U-shape. Nash's have branches linking across the sky and then merging in with the pool below in a riot of grey, white and paler greens. It was fantastic. It has made me think that I can solve the problem of linking the areas. I can't really say why the image was flat, but I think it was that there was not enough 'tangling' elements to catch and bind the various parts of the image together. Time to dig it out again.
Monday, April 5, 2010
Francis Bacon: In Camera at Compton Verney.
I spotted this exhibition in the listings and having been an admirer of Bacon's since my student days. I wanted to see how the photographs would relate to his work. The show was at Compton Verney - a gallery I had kept on passing on the M40 and thinking I would stop at, but one thing and another I had not. The gallery is a little off the beaten track and I prefer to stop at the place coming back to London from Up North, but the right junction you can not turn off going south. This time I was going to make the effort as I no pressing need to get back and a day spare.
Compton Verney is set in the heart of English countryside, that is Warwickshire. Getting off the junction was not too difficult and was sign posted off the motorway. The building was a small country house that had been in the hands of the Verney family for a few centuries until it was sold in the 19th century. Passing through several owners and then falling into semi-neglect. The place has been re-build and the grounds are going through a renewal process. The whole places seems perfectly formed on a small scale with two amazing bridges.
I went to the Bacon exhibition first as I was unsure about how many people might be there and how long it would take. There seemed to be more cars than people, so the whole exhibition was easy to get round without clashing with other viewers. There were a lot of reference shots from the work of Eadweard Muybridge, who produced images showing the movement of people and animals in the later part of the 19th Century. We had photos of various people in Bacon's circle and showing some of the many photos that were found in his studio. Images had been crumpled and broken up. There were one or two paintings, but the exhibition lacked depth.
Another set of rooms had an adjoining exhibition called Deconstructing Bacon and contained other works. Intriguingly, there were some cut canvas that Bacon had 'destroyed' as he became unhappy with them. These two had been exhibited and therefore photographic reproduction was available so you could see the whole image. It was similar to another Bacon with vegetation. It was strange seeing a canvas displayed with mutilation of areas cut out. Reminds me now of the Lord Leverhulme portrait by August John, which was cut up by the owner and of course, Churchill's portrait by Sutherland that was destroyed.
There was a resource center where you could manipulate your own images either in photo booth or by crumpling up magazine pages; along with some of the publications and comments by visitors.
One the other floors, where some examples of British Folk Art, which was one of the first I have seen. There were some typical native pictures but one that interested me was one depicting A Midsummer Night's Dream from the 1860s. This image looked like an Indian Mughal painting, very flat colour with a central couple and puck below at the edge of the canvas.
There were galleries for Chinese statues and objects, 17th-18th Century baroque with some of pictures of Volcanoes and some Tudor & Stuart portraits. My other find was a catalogue of Peter Greenaway exhibition Tusle Luper's 92 Suitcases, which I some how missed in 2004. I was worth a visit, but the Bacon show was disappointing, but this was due to the lack of further works to show the theme better. I look forward to an exhibition that will do the gallery justice.
Compton Verney is set in the heart of English countryside, that is Warwickshire. Getting off the junction was not too difficult and was sign posted off the motorway. The building was a small country house that had been in the hands of the Verney family for a few centuries until it was sold in the 19th century. Passing through several owners and then falling into semi-neglect. The place has been re-build and the grounds are going through a renewal process. The whole places seems perfectly formed on a small scale with two amazing bridges.
I went to the Bacon exhibition first as I was unsure about how many people might be there and how long it would take. There seemed to be more cars than people, so the whole exhibition was easy to get round without clashing with other viewers. There were a lot of reference shots from the work of Eadweard Muybridge, who produced images showing the movement of people and animals in the later part of the 19th Century. We had photos of various people in Bacon's circle and showing some of the many photos that were found in his studio. Images had been crumpled and broken up. There were one or two paintings, but the exhibition lacked depth.
Another set of rooms had an adjoining exhibition called Deconstructing Bacon and contained other works. Intriguingly, there were some cut canvas that Bacon had 'destroyed' as he became unhappy with them. These two had been exhibited and therefore photographic reproduction was available so you could see the whole image. It was similar to another Bacon with vegetation. It was strange seeing a canvas displayed with mutilation of areas cut out. Reminds me now of the Lord Leverhulme portrait by August John, which was cut up by the owner and of course, Churchill's portrait by Sutherland that was destroyed.
There was a resource center where you could manipulate your own images either in photo booth or by crumpling up magazine pages; along with some of the publications and comments by visitors.
One the other floors, where some examples of British Folk Art, which was one of the first I have seen. There were some typical native pictures but one that interested me was one depicting A Midsummer Night's Dream from the 1860s. This image looked like an Indian Mughal painting, very flat colour with a central couple and puck below at the edge of the canvas.
There were galleries for Chinese statues and objects, 17th-18th Century baroque with some of pictures of Volcanoes and some Tudor & Stuart portraits. My other find was a catalogue of Peter Greenaway exhibition Tusle Luper's 92 Suitcases, which I some how missed in 2004. I was worth a visit, but the Bacon show was disappointing, but this was due to the lack of further works to show the theme better. I look forward to an exhibition that will do the gallery justice.
Monday, March 29, 2010
Little Gems - 3
I visited the Fitzwilliam Museum in Cambridge recently and this was one of the 'little gems' that I found. It is a George Stubbs' painting - Una and the Lion Isabella Saltonstall as Una in Spensers Faerie Queene, 1782.
I have never seen a Stubbs based on a typical Georgian actor or actress portrait as you might see other painters of the period. So it was great surprise especially as I had been recently looking at Stubbs horse painting. Further thinking I can not remember many other pictures based on the Edmund Spenser's Faerie Queen. I only knew of the book because of Michael Moorcock's novel Glorianna or the Unfilled Queen. This used some familiar Moorcockian themes and a homage to one of his influences - Mervyn Peake - Gormeghast Trilogy.
Sunday, March 28, 2010
The Kiss
This is the second entry into an open exhibition on the theme of A Book About Death. The success of this first exhibition has spun off with an exhibition in Brazil and another one in Wales. It is this one that I have send my second submission.
I have decided to keep the same format off the black edged front and the white border reverse. I had been thinking that I might change the stamp on the reverse, but decided against it. One of the reasons is that the stamp might come from the same place or from the person who might or might not be death.
Again the image is from my Highgate Heads suite. The theme is of lovers in the wood and how trees can look like figures amongst the vegetation. The colour is slightly more muted and was down to a light use of washes as well as not wanting to 'overload too much' vivid colours into the image. The use of slightly lighter marking with pen to make a more delicate picture.
Saturday, March 20, 2010
Hibernation
I have been quiet on the blogging front as I have been focused on my new job for the last few months. My own output has slowed to an almost a halt, but the ideas have been ticking over or growing from one to the other and not stopping. Also practicing with new software and getting to grips in how it is used in the new part of the print industry, where I work.
I have found myself going back to my interest in comics and graphic novels. Starting to work on some drawings for some of my gaming friends and developing cover ideas. One of the big projects, is to work on a graphic novel or more likely novella. More a case of doing it rather than creating a great bit of literature or drawing. Again it has paused, so my writing about it inception, I am hoping to begin to up the current pace.
After my 'lost year' I have trying to control costs, so have not been out much or into London to see many new exhibitions. I am looking for to go and see the Paul Nash at the Dulwich Picture Gallery. Nash is one those Neo-Romantic painters of the mid-century British artists, who has had to be defined by this grouping. I would say that this grouping is a short hand for critical studies. These painters - Paul Nash, John Nash, Graham Sutherland, Vaughan, Armitage, Ayrton are not a cohesive grouping as others or whether they would claim such an idea.
Another exhibition I am looking forward to seeing is Henry Moore at the Tate Britain. Like Graham Sutherland, Moore's reputation has suffered since his death. It has been fashionable to consider Barbara Hepworth more important than Moore, but in my Art College days Moore was like a giant on the landscape. One of the reasons, I feel I can relate to his work is the relationship to the northern landscape. Rocky crags staggered onto the horizon line, not complete ranges or outcrops dug into the hillside half finished or abandoned villages from the industrial age.
This year, I hope to get to some museums and galleries that I have not seen. So watch this space!
I have found myself going back to my interest in comics and graphic novels. Starting to work on some drawings for some of my gaming friends and developing cover ideas. One of the big projects, is to work on a graphic novel or more likely novella. More a case of doing it rather than creating a great bit of literature or drawing. Again it has paused, so my writing about it inception, I am hoping to begin to up the current pace.
After my 'lost year' I have trying to control costs, so have not been out much or into London to see many new exhibitions. I am looking for to go and see the Paul Nash at the Dulwich Picture Gallery. Nash is one those Neo-Romantic painters of the mid-century British artists, who has had to be defined by this grouping. I would say that this grouping is a short hand for critical studies. These painters - Paul Nash, John Nash, Graham Sutherland, Vaughan, Armitage, Ayrton are not a cohesive grouping as others or whether they would claim such an idea.
Another exhibition I am looking forward to seeing is Henry Moore at the Tate Britain. Like Graham Sutherland, Moore's reputation has suffered since his death. It has been fashionable to consider Barbara Hepworth more important than Moore, but in my Art College days Moore was like a giant on the landscape. One of the reasons, I feel I can relate to his work is the relationship to the northern landscape. Rocky crags staggered onto the horizon line, not complete ranges or outcrops dug into the hillside half finished or abandoned villages from the industrial age.
This year, I hope to get to some museums and galleries that I have not seen. So watch this space!
Friday, January 1, 2010
Tadahiro Uesugi
Finally, I got round to watching the film, Coraline having read both the book and the graphic novel - Craig P. Russell's illustrations are gorgeous.Yet, tucked away in the special features the animators talked about the work of Tadahiro Uesugi. Some one I have never heard of, but the illustrations just knocked me sideways.
It reminds me of my early discovery of Paul Hogarth's illustrations with pen and ink. Uesugi combines both this 'scratch-like' pen manship, but harks by to a 50s style. I can see how it might have been used for the silk screen with the stuck fantastic colour. The colour is subtle, but it also pulls your eye to it. Sometimes you think the clash of colour, but it works.
I hesitate to be cliched to say how different the perspective to a western eye and reminds me of the prints of the 'Floating World'. The use of white space within the image is fantastic.
It reminds me of my early discovery of Paul Hogarth's illustrations with pen and ink. Uesugi combines both this 'scratch-like' pen manship, but harks by to a 50s style. I can see how it might have been used for the silk screen with the stuck fantastic colour. The colour is subtle, but it also pulls your eye to it. Sometimes you think the clash of colour, but it works.
I hesitate to be cliched to say how different the perspective to a western eye and reminds me of the prints of the 'Floating World'. The use of white space within the image is fantastic.
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