Archive for the 'intimacy' Category

24
Aug
15

Exhibition: ‘The view from here: The photographic world of Alfred Elliott 1890-1940’ at the Museum of Brisbane

Exhibition dates: 13 February – 30 August 2015

 

This is more like it… what a find!

There are some fascinating punctum (which denote the wounding, personally touching detail which establishes a direct relationship with the object or person within the image), contained among this recently discovered treasure trove of photographs by Alfred Elliott.

At first, what looks like a real dog is actually a toy sitting in front of Alfred Goldsbrough Elliott, Stanley Terrace, Taringa (1908). And then you notice the hard-nosed stare of the little girl in Dorothy Elliott (1911). She is not a happy camper. Then the scruffy, bare-footed urchin in ‘Welcome to Brisbane’ arch, Queen Street (1895). Or the unhappy woman staring directly into the camera in Grand Arch, Queen Street, visit of the Duke of York (1901), as though her thoughts are being transmitted to us from beyond the grave. And finally, to the two young, blurred children running in front of a white picket fence in Windmill, Wickham Terrace (1895), the smaller of the children noticing the photographer and camera and looking towards both. Just a joy!

And don’t forget, all of these early photographs were taken with a large plate camera (the photographs after 1921 were taken with a film camera and have a totally different feel to them). For an artist to obtain the street photographs and potraits out in the field with this type of camera is superb. Just look at the image Members of the QLD League of Wheelmen, Wellington Point (1897). You can tell the personality of every individual in this image through the clarity, not just of the image but of the thought of the photographer, before he exposed his plate. It is so Australian in its iconography, it could come from nowhere else in the world. This photograph deserves to be up there with one of the seminal images of Australian photography.

Dr Marcus Bunyan for Art Blart

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Many thanks to the Museum of Brisbane for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The view from here: The photographic world of Alfred Elliott 1890-1940

 

Alfred Elliott. 'Brisbane Botanic Gardens, near the Edward Street entrance' 1895

 

Alfred Elliott
Brisbane Botanic Gardens, near the Edward Street entrance
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Brisbane, from the Windmill' 1895

 

Alfred Elliott
Brisbane, from the Windmill
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Aborigines fishing in the Maroochy River' 1890

 

Alfred Elliott
Aborigines fishing in the Maroochy River
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Central Railway Station, from Edward Street' 1922

 

Alfred Elliott
Central Railway Station, from Edward Street
1922
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Citizens' Welcome' arch, Queen Street' 1927

 

Alfred Elliott
‘Citizens’ Welcome’ arch, Queen Street
1927
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Citizens' Welcome' arch, Queen Street' 1927 (detail)

 

Alfred Elliott
‘Citizens’ Welcome’ arch, Queen Street (detail)
1927
City of Brisbane Collection, Museum of Brisbane

 

 

“Museum of Brisbane’s latest exhibition offers an amazing visual portrait of a lost city – Brisbane at the turn of the 20th century – through a rare collection of photographs, all shot by a single resident and left forgotten under an inner-city house for decades. The view from here: The photographic world of Alfred Elliott 1890-1940 showcases the life’s work of the avid Brisbane-based photographer, offering a fascinating chronicle of the places he visited, major events he witnessed and intimate glimpses into his family life.

The historic collection of glass-plate and film negatives remained stored in cigar boxes under a house in Red Hill until they were uncovered in 1983 and acquired by Museum of Brisbane. For the past 30 years ‘The Elliott Collection’ was thought to comprise 285 glass plate negatives, until a neglected cigar box with more than 400 film negatives was uncovered at the Museum’s storage facility last year. This significant discovery has allowed the Museum to further piece together fragments of the passionate amateur photographer’s past. The collection provides a window into both his life and the life of a quickly changing city.

Elliott’s work also captures significant moments in Brisbane’s history, including the Duke and Duchess of York’s visit in 1901 and the farewell of the troops aboard SS Cornwall from Pinkenba in 1899. Museum of Brisbane Director Peter Denham said the collection was an exceptional record of one man’s perspective of Brisbane at a very exciting time.

“These unseen photographs offer a unique view of Brisbane at a significant turning point – the city’s population was booming, grand civic structures were erected and huge social change was occurring,” Mr Denham said. “The interactive elements of The view from here offer visitors the chance to get up close with buildings from our past, as well as investigate the photographic technology from the turn of last century.”

“With the discovery of hundreds of new photos, we have learned a lot about Elliott and his family and were even able to locate his much-loved home in Taringa. It is part of our mission as the city’s museum to uncover new stories and we are thrilled to share these findings with visitors. The exhibition wonderfully captures how much our city has changed and I think it will encourage people to reflect on their own perceptions of Brisbane.” The view from here will run until 30 August 2015.”

Press release from the Museum of Brisbane website

 

Alfred Elliott. 'Dorothy Elliott, Amy Lock, Mrs Lock and Elizabeth Ellen Elliott' Nd

 

Alfred Elliott
Dorothy Elliott, Amy Lock, Mrs Lock and Elizabeth Ellen Elliott
Nd
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Elizabeth Ellen Elliott w the Dillon sisters Mary, Clare, Margo' Nd

 

Alfred Elliott
Elizabeth Ellen Elliott w the Dillon sisters Mary, Clare, Margo
Nd
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Government House, George Street' 1908

 

Alfred Elliott
Government House, George Street
1908
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott, 'Maroochy' 1890

 

Alfred Elliott
Maroochy
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott, 'Maroochy' 1890 (detail)

 

Alfred Elliott
Maroochy (detail)
1890
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Members of the QLD League of Wheelmen, Wellington Point' 1897

 

Alfred Elliott
Members of the QLD League of Wheelmen, Wellington Point
1897
City of Brisbane Collection, Museum of Brisbane

 

 

“The first shipment of tricycles arrived in Brisbane in 1870 and the first race is reported to have been between a cyclist and a Cobb and Co coach from Brisbane to Sandgate. No official timing was recorded.

The initial Brisbane Bicycle Club meeting was held in 1881 at the Belle Vue Hotel. High wheel bicycles including the Penny Farthing were the only bikes available and novelty Penny Farthing races were held in the Brisbane Botanic Gardens where more riders fell off than stayed on. By 1886 Brisbane had 200 bicycles and 50 of these were used for racing…

The first Queensland championship was held at the Breakfast Creek Sports Ground in 1891 and was won by Lou Isles. Isles also rode long distance, riding from Brisbane to Sydney in 1891 a 700 mile trek which he completed in 7 days. Imported bicycles cost £30 although local bicycles could be bought for two pound ten. Successful Queensland riders of the day included Ben Goodsen, Billy Dowd and Percy Davies.

In 1895 a record of 1 hour 2 minutes and 10 seconds was set by George Stombaco for a 34 kilometre race over rough dirt roads from Brisbane and Cleveland. That same year, The League of Queensland Wheelmen held a Christmas Carnival with over 8000 attendees. Brisbane wasn’t the only town with a club as Maryborough, Townsville, Ipswich and Rockhampton also had successful clubs.”

Karen Hind. “Cycling in Queensland.” 18 July 2011 [Online] Cited 19/08/2015.

 

Alfred Elliott. 'Treasury Building, William Street' 1895

 

Alfred Elliott
Treasury Building, William Street
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Victoria Bridge, decorated for the Duke of York' 1901

 

Alfred Elliott
Victoria Bridge, decorated for the Duke of York
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Victoria Bridge, decorated for the Duke of York' 1901 (detail)

 

Alfred Elliott
Victoria Bridge, decorated for the Duke of York (detail)
1901
City of Brisbane Collection, Museum of Brisbane

 

 

“The images chronicle a broad range of Elliott’s life – from private moments with friends on family trips and picnics at the Glasshouse Mountains to key moments in Brisbane’s history such as the construction of Central Railway Station in 1899 and the visit from the Duke and Duchess of York in 1901. Images were captured in locations including Mt Coot-tha, the city’s Botanic Gardens, Tweeds Heads just south of the border and the Moreton Bay Region – all undertaken by train, bus, boat, car and possibly even by horse and bicycle.

Curator Phil Manning, who discovered the last cigar box, said it was evident from the body of work that Elliott was proud of his city.

“He documented the city by walking the streets and going on travels with his family,” Mr Manning said. “He had a strong connection to the British Empire, that was probably the area he was most drawn to documenting … royal visits and the Queensland troops going off to the Boer War. But he’s also photographed Brisbane’s new buildings and structures such as the bridges that went up following the 1893 flood.”

Elliot’s first photographs were dated 1890 and captured on dry-plate glass negatives, including both single image and stereograph negatives. They were a mixture of amateur and professionally produced plates. Elliot used glass plates until 1921 when it appeared he changed to a camera with film.

Very little was known about Alfred Henrie Elliott. He was born in Paignton in England in 1870 and was the youngest of seven children. His family came to Queensland when he was seven years old, with his father taking up post as principal of Humpybong Primary School in Redcliffe, north of Brisbane. Elliott was known to have worked in Brisbane as a civil servant in a variety of roles. His working life also included jobs as a law clerk, professional shorthand writer and a bank clerk.

Patrick Williams and Maria Hatzakis. “Uncovered glass plates and film negatives capturing 50 years of Brisbane’s history go on display,” on the ABC News website, 10 Feb 2015 [Online] Cited on 19/08/2015.

 

Alfred Elliott. 'Eight hour day procession on Queen Street in Brisbane city' 1893

 

Alfred Elliott
Eight hour day procession on Queen Street in Brisbane city
1893
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Alfred Goldsbrough Elliott, Stanley Terrace, Taringa' 1908

 

Alfred Elliott
Alfred Goldsbrough Elliott, Stanley Terrace, Taringa
1908
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Dorothy Elliott' 1911

 

Alfred Elliott
Dorothy Elliott
1911
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Dorothy Elliott' 1911 (detail)

 

Alfred Elliott
Dorothy Elliott (detail)
1911
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Grand Arch, Queen Street, visit of the Duke of York' 1901

 

Alfred Elliott
Grand Arch, Queen Street, visit of the Duke of York
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Grand Arch, Queen Street, visit of the Duke of York' 1901 (detail)

 

Alfred Elliott
Grand Arch, Queen Street, visit of the Duke of York (detail)
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Picnic party on Brisbane River at Seventeen Mile Rocks' 1898

 

Alfred Elliott
Picnic party on Brisbane River at Seventeen Mile Rocks
1898
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Picnic party on Brisbane River at Seventeen Mile Rocks' 1898 (detail)

 

Alfred Elliott
Picnic party on Brisbane River at Seventeen Mile Rocks (detail)
1898
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Queen Street, Brisbane' 1899

 

Alfred Elliott
Queen Street, Brisbane
1899
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Treasury Building, Queen and William Street' 1901

 

Alfred Elliott
Treasury Building, Queen and William Street
1901
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Welcome to Brisbane' arch, Queen Street' 1920

 

Alfred Elliott
‘Welcome to Brisbane’ arch, Queen Street
1920
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. ''Welcome to Brisbane' arch, Queen Street' 1920 (detail)

 

Alfred Elliott
‘Welcome to Brisbane’ arch, Queen Street (detail)
1920
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Windmill, Wickham Terrace' 1895

 

Alfred Elliott
Windmill, Wickham Terrace
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Windmill, Wickham Terrace' 1895 (detail)

 

Alfred Elliott
Windmill, Wickham Terrace (detail)
1895
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Alfred Henry Elliott (1870 - 1954)' 1899

 

Alfred Elliott
Alfred Henry Elliott (1870 – 1954)
1899
City of Brisbane Collection, Museum of Brisbane

 

Alfred Elliott. 'Elizabeth Ellen Elliott and Alfred Elliott' 1899

 

Alfred Elliott
Elizabeth Ellen Elliott and Alfred Elliott
1899
City of Brisbane Collection, Museum of Brisbane

 

 

Museum of Brisbane

Museum of Brisbane is located on Level 3, Brisbane City Hall (Adelaide and Ann Street, Brisbane QLD)

Opening hours:
Open 7 days a week, 10am -“ 5pm

Museum of Brisbane website

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19
Aug
15

Exhibition: ‘Robert Mapplethorpe’ at the Museum of Contemporary Art Kiasma, Helsinki

Exhibition dates: 13th March – 13th September 2015

Curators: The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

 

 

These images are good to see… but not really what I want to see.

I want to see some of the early work, and some of the S/M photographs. You never get to see these online. It’s almost as though the Robert Mapplethorpe Foundation is too scared to authorise the online publication of these works, for fear of – heaven forbid – letting people understand all the facets of Mapplethorpe’s work.

Its the origin story and the picturing of his sexual proclivities that are some of his most powerful work… and we never get to see them. Eros (denied).

Marcus
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Many thankx to the Museum of Contemporary Art Kiasma for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Robert Mapplethorpe. 'Ken Moody and Robert Sherman' 1984

 

Robert Mapplethorpe
Ken Moody and Robert Sherman
1984
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1980

 

Robert Mapplethorpe
Self-Portrait
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Leather Crotch' 1980

 

Robert Mapplethorpe
Leather Crotch
1980
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

“The American photographer Robert Mapplethorpe (1946-1989) lived a life of passion in the New York underground and rock scenes in the 1970s and ‘80s. That passion also made its way into his art.

Consisting of more than 250 works, the retrospective exhibition in the Museum of Contemporary Art Kiasma offers a broad overview of the key periods of Mapplethorpe’s career. In their aspiration for perfection, Mapplethorpe’s pictures blend beauty and eroticism with pain, pleasure and death. Mapplethorpe also photographed his celebrity friends such as Patti Smith, Andy Warhol and Richard Gere. Although solidly anchored in their time, his photographs are also universal and topical even today.

Arriving from Paris to Helsinki, the high-profile exhibition is a unique opportunity to learn about the art and life of one of the most important photographic artists of our time. The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

This exhibition is organized by The Finnish National Gallery – Museum of Contemporary Art Kiasma and the Réunion des Musées Nationaux – Grand Palais, with the collaboration of the Robert Mapplethorpe Foundation New York.

 

Robert Mapplethorpe. 'Self-Portrait' 1975

 

Robert Mapplethorpe
Self-Portrait
1975
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Patti Smith' 1979

 

Robert Mapplethorpe
Patti Smith
1979
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Poppy' 1988

 

Robert Mapplethorpe
Poppy
1988
Unique dye transfer
© Robert Mapplethorpe Foundation

 

 

Exhibition themes

BODY SCULPTURE

“If I had been born one hundred or two hundred years ago, I might have been a sculptor, but photography is a very quick way to see, to make sculpture.” – Robert Mapplethorpe

Mapplethorpe became interested in photographing sculpture during his first trip to Paris in the early 1970s. He also began taking pictures of people in poses that imitated classical sculptures. Lisa Lyon, the first World Women’s Bodybuilding Champion, was the subject in many of the pictures.
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BODY AND GEOMETRY

Mapplethorpe prized order and purity of form in his art. He was also particular about the frames of his pictures, which he often designed himself. He had great respect for the long history of art. Some of his nude studies echo Leonardo da Vinci’s Vitruvian Man which shows an idealised human body inside a circle and a square.
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STILL LIFES AND BODY DETAILS

“I am looking for perfection in form. I do that with portraits. I do it with cocks. I do it with flowers.” – Robert Mapplethorpe

Mapplethorpe’s still lifes and pictures of body parts play with stormy associations. They are distinctly corporeal and vitalistic, whether the subject is an exposed penis or an aubergine on a table. Mapplethorpe said he looked at all objects in precisely the same way. According to Patti Smith, “Robert infused objects, whether for art or life, with his creative impulse, his sacred sexual power. He transformed a ring of keys, a kitchen knife, or a simple wooden frame into art.”
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CHAPEL & COLOUR BRACKET

“I was a Catholic boy, I went to church every Sunday. A church has a certain magic and mystery for a child.” – Robert Mapplethorpe

Mapplethorpe came from a Roman Catholic family, but his interest in the church was primarily aesthetic. He said he wanted his pictures to be viewed like altars. The figure of a crucified Christ appears in some of his works, as does the human skull, a traditional reminder of death. Instead of suffering, however, the images convey a sense of sinful pleasure. Mapplethorpe worked with colour film starting in the late 1970s, but did not routinely exhibit his colour photos until the end of the 1980s.
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MAPPLETHORPE AND WOMEN

“Lisa Lyon reminded me of Michelangelo’s subjects, because he did muscular women.” – Robert Mapplethorpe

Poet and musician Patti Smith was Mapplethorpe’s first and last model and muse. Mapplethorpe photographed covers for Smith’s albums and books of poems. Another important model was the body builder Lisa Lyon, who is the subject of Mapplethorpe’s book Lady: Lisa Lyon. Both women could be described as androgynous. Locating himself in the same intermediate space between femininity and masculinity, Mapplethorpe photographed himself in drag.
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PORTRAITS

New York and the Chelsea Hotel in particular were places where the American cultural intelligentsia used to gather in the 1970s. There Mapplethorpe met writers, musicians and artists such as William Burroughs, Iggy Pop and David Hockney, and enjoyed the attention lavished on him. He became the court photographer of certain cultural circles, his camera capturing friends, celebrities and famous figures in the art world.
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EROS

“I don’t think anyone understands sexuality. It’s about an unknown, which is why it’s so exciting.” – Robert Mapplethorpe

Sadomasochism, S&M, was both sex and magic for Mapplethorpe. Like the French writer Jean Genet, he too wanted to elevate things into art that were not yet considered art. Mapplethorpe’s depiction of fetishes in his photographs was deliberately formal. He documented spontaneous acts only very infrequently. The sex he captured in his pictures was neither malicious nor repugnant. S&M is about desire and pleasure, and above all about trust.
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POLAROIDS

“I’m trying to record the moment I’m living in and where I’m living, which happens to be in New York. These pictures could not have been done at any other time.” – Robert Mapplethorpe

Mapplethorpe got his first Polaroid camera in 1970 and fell in love with its simplicity: there were few adjustments to make and you could see the results instantly. Because the film was expensive, Mapplethorpe felt that every picture had to be perfect. Precision and economy became a habit that endured throughout his career. In 1975, he switched over to the more versatile Hasselblad 500.
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STILL MOVING

“We were like two children playing together, like the brother and sister in Cocteau’s ‘Enfants Terribles’.” – Patti Smith

Robert Mapplethorpe and Patti Smith began their creative careers together. Frequently they would not plan their projects in advance. The experimental short Still Moving had no script, and Smith improvised her movements and lines. The camera operator was Lisa Rinzler. “He wordlessly guided me. I was an oar in the water and his the steady hand,” Smith has said.
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ROBERT MAPPLETHORPE – PORTRAITS

New York was home to America’s cultural intelligentsia in the 1970s. Mapplethorpe was the court photographer of the cultural elite. His portraits feature his friends, celebrities and influential figures on the art scene.

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

Installation view of the exhibition 'Robert Mapplethorpe' at the Museum of Contemporary Art Kiasma, Helsinki

 

Installation views of the exhibition Robert Mapplethorpe at the Museum of Contemporary Art Kiasma, Helsinki
Finnish National Gallery / Pirje Mykkänen

 

 

Who’s who?

  • Princesse Diane de Beauvau
    French aristocrat, model and fashion muse
  • Bruno Bischofberger
    Swiss gallerist and art dealer known for bringing American Pop Art to Europe, long-term associate of Andy Warhol
  • Louise Bourgeois
    French-born sculptor known for her gigantic spider sculptures
  • Miep Brons
    Dutch porn dealer
  • William Burroughs
    Writer and primary figure of the Beat Generation
  • Alistair Butler
    New York dancer
  • Patrice Calmettes
    French photographer
  • Truman Capote
    American author and journalist whose best known titles include Breakfast at Tiffany’s and In Cold Blood
  • Leo Castelli
    American-Italian gallerist, influential promoter of contemporary art in New York
  • Katherine Cebrian
    San Francisco socialite
  • Francesco Clemente
    Italian-born contemporary artist
  • Ed and Melody
    Mapplethorpe’s brother Edward and his girlfriend at the time, Melody, a friend of Mapplethorpe’s
  • Richard Gere
    American actor, idolized at the time of this portrait following his performance in American Gigolo
  • Philip Glass and Robert Wilson
    Glass is a contemporary composer, Wilson a director and playwright. At the time of this portrait, they had worked together on their opera Einstein on the Beach
  • Keith Haring
    American Pop and graffiti artist
  • Deborah Harry
    Singer and actress, best known as lead singer of Blondie
  • David Hockney and Henry Geldzahler
    Hockney is a British artist and Pop Art pioneer. Belgian-born Geldzahler was a curator, critic and art historian
  • Grace Jones
    Jamaican-born singer, producer, actress and model
  • Amanda Lear
    French singer, performer, painter and author, friend of celebrities such as David Bowie, Salvador Dalí and Brian Jones
  • Annie Leibovitz
    American photographer whose work featured on the cover Rolling Stone and Vanity Fair
  • Roy Lichtenstein
    American painter, sculptor and leading Pop artist
  • Lisa and Robert
    Mapplethorpe and his long-term muse, bodybuilder Lisa Lyon
  • John McKendry
    Curator of prints and photographs at the Metropolitan Museum of Art and personal friend who first introduced Mapplethorpe to the MET’s fine art photography collection
  • Louise Nevelson
    American sculptor
  • Yoko Ono
    Japanese-born artist and musician
  • Philippe
    French socialite
  • Iggy Pop
    Singer, songwriter and actor known for his energetic stage presence as lead singer of The Stooges
  • Robert Rauschenberg
    American artist who inspired later generations of artists including Andy Warhol and Roy Lichtenstein, regarded as a major figure in the transition from Abstract Expressionism to Pop Art
  • Isabella Rossellini
    Italian-born actress, model, filmmaker, author, and philanthropist
  • Giorgio di Sant’Angelo
    Italian-born fashion designer
  • Arnold Schwarzenegger
    Budding actor and award-winning bodybuilder at the time of this portrait, he later achieved world renown as a Hollywood star and Governor of California
  • Cindy Sherman
    American contemporary artist, known for photographs analyzing women’s roles and place in society
  • Holly Solomon
    A self-anointed ‘Pop princess’, Solomon was a prominent collector and subsequent dealer of contemporary art. She was famously immortalized by other artists such as Andy Warhol and Roy Lichtenstein
  • Susan Sontag
    American writer and essayist
  • Tom of Finland
    Finnish artist and illustrator. His drawings had a major influence on gay culture from the 1970s onwards. Mapplethorpe and Andy Warhol were among his admirers
  • Sam Wagstaff
    Curator, collector, Mapplethorpe’s lifetime companion and artistic mentor
  • Andy Warhol
    Pop Art pioneer and filmmaker, greatly admired by Mapplethorpe
  • Edmund White
    American author, known for his work on gay themes

 

Robert Mapplethorpe. 'Ajitto' 1981

 

Robert Mapplethorpe
Ajitto
1981
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Lisa Lyon' 1982

 

Robert Mapplethorpe
Lisa Lyon
1982
Gelatin silver print
© Robert Mapplethorpe Foundation

 

Robert Mapplethorpe. 'Self-Portrait' 1988

 

Robert Mapplethorpe
Self-Portrait
1988
Gelatin silver print
© Robert Mapplethorpe Foundation

 

 

Museum of Contemporary Art Kiasma
Mannerheiminaukio 2, FIN-00100
Helsinki, Finland
Tel:+358 (0)294 500 501

Opening hours:
Tue 10-17
Wed-Fri 10-20.30
Sat 10-18
Sun 10-17
Mon closed

Museum of Contemporary Art Kiasma website

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09
Aug
15

Exhibition: ‘John Wolseley – Heartlands and Headwaters’ at The Ian Potter Centre: NGV Australia, Melbourne

Exhibition dates: 11th April – 16th August 2015

 

This is a wondrous exhibition by John Wolseley at NGV Australia. The whole feeling of the exhibition, its scale and intimacy, the attention to detail and the sheer the beauty of the work is quite outstanding. I was fascinated with the text descriptions the artist gives with each piece of work, included here in the posting.

While Wolseley plays with time (deep time, shallow time and now time) and space here it is more than that, for deep time (or “the zone” in the alternative parlance of athletes) is also used in artistic activity to refer to the experience of being lost in the act of creation or the consumption of a work. To the viewer, so it would seem here for we become lost in the art of creation. There is a sense of timelessness, the experience of unusual freedom within time, an unawareness of time, within Wolseley’s work, yet still grounded in the past and present, flowing into the future of this planet. This sense of place, context, space and time(lessness) are lucidly resolved in the artist’s work.

As the Introduction to the exhibition states, Wolseley conceives the exhibition as gesamtkunstwerk , a total work of art, presenting new possibilities for understanding landscape in the twenty-first century. This generally works well in revealing the unique, dynamic processes of natural ecosystems when the work is on the wall. However, the floor of the gallery (natural timber boards) lessened the experience of the “total work of art” for me. If you are designing an exhibition that would seem to me to be immersive (to some extent) then the work needed more grounding than it contains here.

This is a minor observation in an otherwise superlative exhibition. The colours, the sensitivity of the painting, the flow of the images, water, music, prose… are a narrative almost like a fable if the issues were not so real. The heightened imagery and emotional effects of the work make us truly aware that now is the time for action. The future development of the new coal power stations must be stopped. Renewable energy is the energy of the future as much as it is light emanating from the past.

Dr Marcus Bunyan for Art Blart.

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Many thankx to the National Gallery of Victoria for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

 

 

“Over the past four years, John Wolseley has travelled and painted throughout the Australian continent. He has journeyed from the swamps of the Tasmanian high country to the coastal flood plains of the tropical north, exploring the nature and action of water and how it has shaped the land.

Wolseley has worked on site beside strange and diverse wetlands – sphagnum bogs, ephemeral waterholes, bilabongs and mangrove swamps – and combined his own distinctive mark-making processes with more traditional watercolour techniques. He has ‘collaborated’ with plants, birds and insects and used a range of drawing systems that includes frottaging (rubbing against) burnt trees, burying papers in snad and swamps and nature printing from leaves, wood and rocks.

The artist’s layered and collaged papers have been assembled as an installation in the shape of a giant branching tree, surrounded by large-scale works which enclose the viewer in an immersive environment. Wolseley has rejected European landscape conventions that often reduce a complex, living system to a static and generalised representation. Instead, he endeavours to reveal the unique, dynamic processes of natural ecosystems. Conceived as gesamtkunstwerk (total work of art), Heartlands and headwaters presents new possibilities for understanding landscape in the twenty-first century.”

Introduction text to the exhibition

 

John Wolseley. 'History of the Whipstick Forest with ephemeral swamps and gold bearing reefs' 2011

 

John Wolseley
History of the Whipstick Forest with ephemeral swamps and gold bearing reefs (detail)
2011
Watercolour, charcoal and pencil on 2 sheets (a-b)
233.5 x 286.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

One summer’s day I walked from my studio into the forest and followed a dry creek to some swamps and pools bursting with life. This arid landscape, so torn up and churned over, was still miraculously reinventing itself. Such resilience!

In this drawing I bring together the histories of three kinds of time: the ‘deep time’ of geology, ‘shallow time’ since European arrival, and ‘now time’ in October 2011. The history of the hidden workings of the earth I stole from a geologist’s map. Resting on this ancient framework in the painting’s centre is the green swamp. Above this is another map, which tells the story of William Johnson, a visitor to this forest 160 years ago, whose discovery of gold was the birth of the Bendigo goldfields.

When I was working on this painting, this bush was burnt in line with the government’s draconian legislation to burn all public bushland in Victoria every ten years. This often gives no time for vegetation to mature and seed, and biodiversity in certain fire-sensitive ecologies is being ravaged. My reverence for nature’s resilience was moved to a sense of deep chagrin that yet again we are destroying the matrix which is our home.

 

John Wolseley. 'Regeneration after fire - the seeders and the sprouters, Mallee' (detail)  2009-11

 

John Wolseley
Regeneration after fire – the seeders and the sprouters, Mallee (detail)
2009-11
Watercolour, charcoal, pencil and pigment
152.2 x 256.7 cm irreg.
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I went for a long walk through recently burnt mallee scrub in the Big Desert Wilderness Park. Some of the mallee roots had vivid amber, scarlet and mauve new growth exploding from the surviving stumps. Nearby were scatterings of tiny, bright banksia seedlings that had germinated after the fire, causing seed pods to burst open and expel their seeds. Botanists call such trees ‘seeders’, while their companions, the mallee eucalypts, are known as ‘sprouters’. Sprouters have a large root, known as a lignotuber, which stores water and nutrients – this is part of a brilliant strategy for survival in arid landscapes.

 

John Wolseley. 'From Siberia to Roebuck Bay - the godwits reach the mangrove swamps, WA' (detail) 2012

 

John Wolseley
From Siberia to Roebuck Bay – the godwits reach the mangrove swamps, WA (detail)
2012
Watercolour over pencil, charcoal and coloured chalk
151.9 x 199.0 cm irreg. Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Each year in June the bar-tailed godwits fly 12,000 kilometres from their breeding grounds in Siberia to the north coast of Australia. I was standing by the sea on the north Kimberley coast when out of a clear sky the godwits arrived in vast, pulsing flocks that swooped down to rest on the mudflats. The land, with its mudflats and sandbanks, had been formed by the great king tides, dragged for eons by the cycles of the moon. And now I could see these great tides of godwit, pulled by another powerful force, flow down and merge with the waters.

 

John Wolseley. 'Natural history of swamps III, heron in swamp - Loy Yang Power Station' (detail) 2009-10

 

John Wolseley
Natural history of swamps III, heron in swamp – Loy Yang Power Station (detail)
2009-10
Watercolour, pencil, ink, black chalk, scratching out and leaf
114.0 x 176.0 cm
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I was looking at a dam in the grounds of the Loy Yang Power Station, when in flew a black-backed heron. It looked for fish in the water and then peered at a billboard declaring ‘Hazelwood Power Station – WETLAND DEVELOPMENT PROJECT’. I walked down to the vast open-cut coalmine, and looked for fish fossils and Cryptogamic flora among the seams of coal. Then I returned to the heron, which now seemed to be looking at the steam and CO2 belching out of the cooling towers – those clouds of CO2 that came from the coal which was once a carboniferous swamp.

 

 

“For four years, artist John Wolseley has roamed the coastal floodplains of the Northern Territory through to the glacial lakes of Tasmania, exploring and recording in exquisite detail the diverse wetlands of Australia. The works he has created will be revealed at NGV Australia.

This series of eighteen evocative works on paper, many of them monumental in scale (up to 10 metres in size), detail the geographical features and unique plants and animals of these wetlands in works characterised by minutely- observed drawing and rich watercolour washes.

Many works combine collage and unusual markings made through burying works or hoisting large sheets of paper across the charred remains of burnt tree trunks and branches. Through this ‘collaboration’ with the natural environment, Wolseley subverts traditional approaches to the depiction of landscape and seeking to give the natural world a more active presence in the work of art.

‘Heartlands and Headwaters celebrates Australia’s unique and diverse natural environment,’ said Tony Ellwood, Director, NGV. ‘Wolseley’s work is not only of great beauty, but also demonstrates how depicting the landscape has become an important form of activism’.

The mangrove swamps of Roebuck Bay in Western Australia, the flood plains of the Gulf of Carpentaria in the Northern Territory, the Finke River in the Simpson Desert and the sphagnum swamps of Skullbone Plains in central Tasmania are just some of the sites detailed in these impressive works.

Commissioned by Sir Roderick Carnegie AC, these works celebrate the beauty of the Australian wilderness and encourage an understanding of the significance and environmental fragility of these remote and little-known sites.

 

About John Wolseley

Born in England in 1938, John Wolseley immigrated to Australia in 1976 and has gained recognition in the past four decades as one of Australia’s leading contemporary artists whose work engages passionately with the environment.

Over the years Wolseley has travelled extensively throughout the country, into the arid interior and remote wilderness areas in all states, camping out for extended periods and immersing himself in the landscape.

This approach is reflected in the distinctly non-traditional character of the landscape works Wolseley produces. Instead of presenting a single overarching view of a particular site they are composite images that combine precisely observed details of flora and fauna. Informed by readings in geology, biology, cartography and other disciplines, these provide multiple perspectives on the location’s topography, journal notations and observations of natural cycles or patterns of the area.”

Press release from the NGV website

 

John Wolseley. 'Murray-Sunset refugia with 14 ventifacts' 2008-10

 

John Wolseley
Murray-Sunset refugia with 14 ventifacts
2008-10
From The Great Tree of Drawings 1959-2015, installed 2015
Pencil, watercolour and charcoal on 15 sheets (a-o)
Dimensions variable (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley Murray-Sunset refugia with 14 ventifacts (detail) 2008-10

John Wolseley Murray-Sunset refugia with 14 ventifacts (detail) 2008-10

 

John Wolseley
Murray-Sunset refugia with 14 ventifacts (details)
2008-10
From The Great Tree of Drawings 1959-2015, installed 2015
Pencil, watercolour and charcoal on 15 sheets (a-o)
Dimensions variable (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

This work was made in the Murray-Sunset National Park, where I found an island of unburnt scrub remaining after a bushfire. This refugium, or sanctuary, provided shelter for plants and small creatures from which they could later gradually recolonise the surrounding sand dunes. The small, flying sheets are papers I released to blow on the desert winds for weeks and sometimes months. Each sheet records carbon traces made by the burnt fingers of trees and shrubs. Having been made soft from dews and showers, and dried and tossed by the desert winds, they have become fixed in a variety of sculptural forms.

 

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' 2013

 

John Wolseley
Natural history of a sphagnum bog, Lake Ina, Tasmania
2013
Watercolour, pencil, pen and ink, and sphagnum on 8 sheets (a-h)
155.6 x 407.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

John Wolseley. 'Natural history of a sphagnum bog, Lake Ina, Tasmania' (detail) 2013

 

John Wolseley
Natural history of a sphagnum bog, Lake Ina, Tasmania (details)
2013
Watercolour, pencil, pen and ink, and sphagnum on 8 sheets (a-h)
155.6 x 407.6 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

As a creek moves down to the shores of Lake Ina in the central highlands of Tasmania, it swells out into an ancient sphagnum moss swamp. I leant over and peered into a gap between the mats of sphagnum, and a small fish emerged in the crystal water. This brief phantom – a Clarence galaxias – was only miraculously there because its ancestors had been isolated by a glacial moraine (ridge) upstream, which six million years later had saved it from the European trout, which had supplanted most of the other galaxias in the rest of Tasmania. And then, marvellously, it had been saved again by the Tasmanian Land Conservancy, which had purchased these plains to protect them from further loss and degradation.

As the grey shadows moved down the hill and melted into the lake, I soaked and painted the spongy sphagnum mats with tinctures of watercolour – viridian and crimson and Indian yellow – and laid them on several sheets of paper. I did the same with water milfoils, spike reed, tassel sedges and bladderwort, and weighted them down overnight with slabs of bark. Their images were imprinted on the paper, emerging slowly like a photograph being developed.

 

John Wolseley. 'From the edge of the great flood plains of Garrangari and Garrangalli, NT' 2012-14

 

John Wolseley
From the edge of the great flood plains of Garrangari and Garrangalli, NT
2012-14
Pencil, charcoal, black and brown chalk, watercolour, coloured pencil, coloured pastel, frottage and collages of linocut, wood relief printed in black and brown ink, watercolour, charcoal and coloured pencil over pencil and pen and ink on Japanese and wove paper
155.5 x 961.7 cm irreg.
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

In June 2011 I was standing on the edge of the monsoon rainforest bordering a vast flood plain in East Arnhem Land with Djambawa Marawili, the great Yolngu leader and artist. Djambawa recounted how in the dawn of creation ancestral figures had moved up from the coast, digging for edible roots as they went, creating springs of fresh water that still bubble out along the plains. He described how when the first sun came up these ancestor women turned into brolga cranes. As he sang the song several brolgas emerged from the mists and flew slowly towards the coast.

This was the originary moment of this painting. For the next three years, guided by the Dhudi-Djapu clan leader and artist Mulkun Wirrpanda, I collected and drew specimens of plants and trees of the flood plain, and their edible roots and tubers. In the painting I have drawn many of them, along with the various trees festooned with vines.

For me the great miracle of that morning rested in that moment of time – being there, seeing the living land and sensing the ‘deep time’ so intimately linked with the life and art of the people who have lived in it for so long.

 

John Wolseley. 'A Daly River creek, NT' 2012

 

John Wolseley
A Daly River creek, NT
2012
Watercolour, pastel, pencil, charcoal, ink, yellow pencil and collage of woodcut and linocut on Japanese paper (a-c)
152.0 x 602.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'A Daly River creek, NT' (detail) 2012

 

John Wolseley
A Daly River creek, NT (detail)
2012
Watercolour, pastel, pencil, charcoal, ink, yellow pencil and collage of woodcut and linocut on Japanese paper (a-c)
152.0 x 602.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Here is a flowing tropical creek near Nauiyu, about two hours’ drive south of Darwin. It shows the fecund, flowing mass of life and aquatic plants and fish, and how they are all an integral part of one particular ecosystem. The plants were all drawn on the spot or collected and drawn later in Darwin. It was May 2012 and I went on several trips with the ethnobiologist Glenn Wightman, the Ngan’gi elder Patricia Marrfurra McTaggart AM and other artists from the arts centre at Nauiyu. They showed me the plants in their living habitat so that I could draw them in action, rather than as dried museum specimens – the Nymphaea waterlily, with its long, convulsive stems, several species of bladderwort, water chestnuts and duckweed.

In this tropical aquatic painting I have tried to show how landscape for me is made up of energy fields that I draw as passages of particular plant forms, in which the individual plants move or dance with different rhythms. My intention is to show how these rafts of different species weave in and out of one another, and across the surface of my painting, rather as a passage of a symphony changes key and mood.

 

John Wolseley. 'Cycles of fire and water - Lake Tyrrell, Victoria' 2011-12

 

John Wolseley
Cycles of fire and water – Lake Tyrrell, Victoria
2011-12
Watercolour, charcoal, pencil, sponging and scratching out on 2 sheets (a-b)
154.0 x 610.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

John Wolseley. 'Cycles of fire and water - Lake Tyrrell, Victoria' (detail) 2011-12

 

John Wolseley
Cycles of fire and water – Lake Tyrrell, Victoria (detail)
2011-12
Watercolour, charcoal, pencil, sponging and scratching out on 2 sheets (a-b)
154.0 x 610.0 cm (overall)
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

I was sitting on a low sandbank and drawing the pools of water that lay on this ancient salt lake. A rust-coloured cloud erupted into the air and darkened the sky over the water. The wind grew stronger, as if emanating from the core of the fire, and it carried embers and burning branches like dismembered limbs. I felt a kind of disquiet, almost dread. I knew such fires had always been part of the natural cycles of the bush, but this was one of several I had experienced that season where it felt as if fire itself was behaving in a different, more erratic way; as if the subtle equilibrium of the climate was changing.

From out of the billowing clouds of smoke some spoonbills, ibis and cormorants emerged, and flew far out over the lake. Several of them alighted on a patch of sunlit water and remained there, as if illustrating some cycle of eternal return – from action to stillness, from noise to quiet. But as I watched, the great black cloud drifted over their resting place, moving them on as if they were being chased away from the world they had known.

 

John Wolseley. 'After fire - spiny-cheeked honeyeaters at Lake Monibeong' (detail) 2009-11

 

John Wolseley
After fire – spiny-cheeked honeyeaters at Lake Monibeong (detail)
2009-11
Watercolour, charcoal, pencil, gouache and brown chalk
151.7 x 128.9 cm
Collection of Sir Roderick Carnegie AC and Family
© John Wolseley

 

 

Walking through the recently burnt Cobboboonee Forest in Victoria one morning, I reached a lake where fresh water rested in sand dunes bordering the sea. I stood beside a burnt banksia tree with powdery black, corrugated bark. It had been a stormy night, but now the sea and lake were calm. Several spiny-cheeked honeyeaters swooped down, perched in the tree and sung out jubilantly. It was as if they were filled with elation at all these elements coming to rest in equilibrium – the lake resting within the sand dune, the quietening of the wind and the passing of the fire.

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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05
Aug
15

Exhibition: ‘The EY Exhibition: Sonia Delaunay’ at Tate Modern, London

Exhibition dates: 15th April – 9th August 2015

Curators: curated at Tate Modern by Juliet Bingham, Curator International Art, with Juliette Rizzi, Assistant Curator.

 

 

One of my favourite female artists of all time. Up there with Georgia O’Keeffe, Lee Krasner, Agnes Martin and Louise Bourgeois.

The early portrait paintings are a revelation. And then, how avant-garde her Electric Prisms paintings, fashion designs, theatre costumes, embroidering poetry onto fabric, turning her apartment into a three-dimensional collage… the very epitome of a “progressive woman synonymous with modernity.”

I have always loved her creativity, vibrancy, colours and asymmetric, musical rhythm – her photogeneity, in the sense of her works producing or emitting light, like an organism does. They seem to grab you, like a jolt of electricity, saying “Wake up!” and “Look at me!”

Perhaps I’m a little bit in love with this very wonderful women.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the Tate Modern for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

“In this case, the pram in the hall was not the enemy of promise. (In any case, surely poverty is the more likely candidate.) It is still rare, however, for a cradle cover to be given gallery space and acknowledged as an important artwork. The little blanket Sonia stitched for her son, Charles, in 1911 [see image below] is to be exhibited, and it seems to have been a breakthrough piece which moved her from figurative work to abstract. The coverlet is a patchwork medley of pinks, creams and greens with hints of maroon and black. It shows how Sonia melded Russian folk-craft with Parisian avant garde, and anticipated the experiments with colour and shape that would become the Delaunay hallmark style, simultané.

As well as the baby quilt, there is on display the child’s painted toy box, and the outfit Sonia made in the same manner, the one in the photograph mentioned above: by 1913 the Delaunays had found a babysitter and were setting off to the dancehall, the Bal Bullier. As well as making clothing for herself and her friends, Sonia still painted. Next to the dress, which is composed of swatches of fabric in different textures, is her large canvas Bal Bullier. A flow of colour and rhythm, it shows several couples (or one couple twirling) under a new Parisian sensation: coloured electric lights.”

Kathleen Jamie. “Sonia Delaunay: the avant-garde queen of loud, wearable art,” on the Guardian website, Saturday 28 March 2015

 

 

Sonia Delaunay. 'Quilt cover' 1911

 

Sonia Delaunay
Quilt cover
1911

 

Sonia Delaunay exhibition at Tate Modern

 

The EY Exhibition: Sonia Delaunay at Tate Modern

 

Sonia Delaunay. 'Syncopated rhythm, so-called The Black Snake' 1967

 

Sonia Delaunay
Syncopated rhythm, so-called The Black Snake
1967
Musée des Beaux-Arts, Nantes, France
© Pracusa 2014083

 

Sonia Delaunay. 'Propeller (Air Pavilion)' 1937

 

Sonia Delaunay
Propeller (Air Pavilion)
1937
Skissernas Museum, Lund, Sweden
© Pracusa 2014083
Photo: Emma Krantz

 

Sonia Delaunay. 'Propeller (Air Pavilion)' 1937 (detail)

 

Sonia Delaunay
Propeller (Air Pavilion) (detail)
1937
Skissernas Museum, Lund, Sweden
© Pracusa 2014083
Photo: Emma Krantz

 

Sonia Delaunay. 'Rhythm Colour no. 1076' 1939

 

Sonia Delaunay
Rhythm Colour no. 1076
1939
Centre National des Arts Plastiques/Fonds National d’Art Contemporain, Paris, on loan to Palais des Beaux-Arts de Lille
© Pracusa 2014083

 

Sonia Delaunay. 'Court shoes' 1925

 

Sonia Delaunay
Court shoes
1925

 

Sonia Delaunay (right) and two friends in Robert Delaunay’s studio, rue des Grands-Augustins, Paris 1924

 

Unknown photographer
Sonia Delaunay (right) and two friends in Robert Delaunay’s studio, rue des Grands-Augustins, Paris
1924
Image courtesy of Bibliothèque nationale de France, Paris

 

 

Sonia Delaunay (1885-1979) was a key figure in the Parisian avant-garde, whose vivid and colourful work spanned painting, fashion and design. Tate Modern presents the first UK retrospective to assess the breadth of her vibrant artistic career, from her early figurative painting in the 1900s to her energetic abstract work in the 1960s. This exhibition offers a radical reassessment of Delaunay’s importance as an artist, showcasing her originality and creativity across the twentieth century.

Born in Odessaand trained in Germany, Sonia Delaunay (née Stern, then Terk) came to Parisin 1906 to join the emerging avant-garde. She met and married the artist Robert Delaunay, with whom she developed ‘Simultaneism’ – abstract compositions of dynamic contrasting colours and shapes. Many iconic examples of these works are brought together at Tate Modern, including Bal Bullier 1913 and Electric Prisms 1914. Her work expressed the energy of modern urban life, celebrating the birth of electric street lighting and the excitement of contemporary ballets and ballrooms.

The EY Exhibition: Sonia Delaunay shows how the artist dedicated her life to experimenting with colour and abstraction, bringing her ideas off the canvas and into the world through tapestry, textiles, mosaic and fashion. Delaunay premiered her first ‘simultaneous dress’ of bright patchwork colours in 1913 and opened a boutique in Madrid in 1918. Her Atelier Simultané in Paris went on to produce radical and progressive designs for scarves, umbrellas, hats, shoes and swimming costumes throughout the 1920s and 1930s. Clients included the Hollywood star Gloria Swanson and the architect Erno Goldfinger, as well department stores like Metz & Co and Liberty. The exhibition reveals how Delaunay’s designs presented her as a progressive woman synonymous with modernity: embroidering poetry onto fabric, turning her apartment into a three-dimensional collage, and creating daring costumes for Diaghilev’s Ballets Russes.

The diverse inspirations behind Delaunay’s work are also explored, from the highly personal approach to colour which harked back to her childhood in Russia, to the impact of her years in Spain and Portugal where she painted The Orange Seller 1915 and Flamenco Singers 1915-16. The show also reveals the inspiration provided by modern technology throughout Delaunay’s career, from the Trans-Siberian Railway to the aeroplane, and from the Eiffel Tower to the electric light bulb. It also includes her vast seven-metre murals Motor, Dashboard and Propeller, created for the 1937 International Exposition in Paris and never before shown in the UK.

Following her husband’s death in 1941, Sonia Delaunay’s work took on more formal freedom, including rhythmic compositions in angular forms and harlequin colours, which in turn inspired geometric tapestries, carpets and mosaics. Delaunay continued to experiment with abstraction in the post-war era, just as she had done since its birth in the 1910s, becoming a champion for a new generation of artists and an inspiring figure for creative practitioners to this day.

The EY Exhibition: Sonia Delaunay is curated at Tate Modern by Juliet Bingham, Curator International Art, with Juliette Rizzi, Assistant Curator. It was organised by the Musée d’Art Moderne de la Ville de Paris, Paris-Musées and Tate Modern, and was realised with the exceptional help of Bibliothèque nationale de France and Musée national d’art moderne, Centre Pompidou.”

Text from the Tate Modern website

 

Sonia Delaunay. 'Finnish woman' 1908

 

Sonia Delaunay
Finnish woman
1908

 

Sonia Delaunay. 'Yellow Nude' 1908

 

Sonia Delaunay
Yellow Nude
1908
Musée des Beaux-Arts de Nantes, Nantes
© Pracusa 2014083

 

Sonia Delaunay. 'Sleeping girl' 1907

 

Sonia Delaunay
Sleeping girl
1907

 

Sonia Delaunay. 'Philomene' 1907

 

Sonia Delaunay
Philomene
1907

 

Sonia Delaunay. 'Electric Prisms' 1913

 

Sonia Delaunay
Electric Prisms
1913
Davis Museum at Wellesley College, Wellesley, MA, Gift of Mr. Theodore Racoosin
© Pracusa

 

Sonia Delaunay. 'Electric Prisms' 1913-14

 

Sonia Delaunay
Electric Prisms
1913-14

 

Sonia Delaunay. 'Prismes electrique' 1914

 

Sonia Delaunay
Prismes electrique
1914
© Pracusa 2013057
© CNAP

 

Sonia Delaunay. 'Prismes electrique' (detail) 1914

 

Sonia Delaunay
Prismes electrique (detail)
1914
© Pracusa 2013057
© CNAP

 

Who is Sonia Delaunay?

Who is she?

Sonia Delaunay was a multi-disciplinary abstract artist and key figure in the Parisian avant-garde. Alongside her husband, Robert Delaunay, she pioneered the movement Simultanism. Her exploration of the interaction between colours has created a sense of depth and movement throughout her oeuvre.
.

What is her background?

She was born Sonia Illinitchna Stern to a Jewish Ukrainian family. At the age of seven she went to live with her comparatively wealthy uncle Henri Terk and his wife, Anna, in St Petersburg, Russia. The Terk’s offered her a privileged and cultured upbringing in St Petersburg. Nevertheless, her childhood memories of Ukraine remained with her and she often referred back to the ‘pure’ colour and bright costumes of the Ukrainian peasant weddings.
.

How did she start her career as an abstract artist?

“About 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Russian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions and we then tried to apply the same process to other objects and paintings.”
.

What does she do?

“I always changed everything around me… I made my first white walls so our paintings would look better. I designed my furniture; I have done everything. I have lived my art.”

Delaunay’s creativity expanded beyond painting to include many other outlets such as Casa Sonia, an interiors and fashion boutique that she set up 1918; The entire set and costume design of Tristan Tzara’s 1923 play Le Cœur à Gaz; An illustration for the cover of Vogue in 1926; Costumes for the films Le Vertige directed by Marcel L’Herbier and Le p’tit Parigot, directed by René Le Somptier; Furniture for the set of the 1929 film Parce que je t’aime; And her textiles label Tissus Delaunay, which sold her designs worldwide.
.

What is Orphism?

Orphism is a term originating from 1912 when French poet and art critic Guillaume Appollinaire identified the new style of Cubist painting. Appollinaire was inspired by the work of František Kupka and the Delaunays, who, although channelling the Cubist vision, prioritised colour in their work. Appollinaire felt this use of colour brought movement, light and musical qualities to the artwork and therefore referenced the legendary poet and singer of ancient Greek mythology, Orpheus, when naming the movement.
.

What is Simultanism?

Simultanism is the strand of Orphism practised by the Delaunays. The name comes from the work of French scientist Michel Eugène Chevreul who identified the phenomenon of ‘simultaneous contrast’, in which colours look different depending on the colours around them. For example, a grey will look lighter on a dark background than it does on a light one. The Delaunays dispensed with form and aimed to created rhythm, motion and depth through overlapping patches of vibrant hues.
.

What are her key artworks?

Prismes électriques (Electric Prisms), 1914, displays Delaunay’s trademark concentric circles at their best. Interpreted as an ode to modernity, Delaunay refracts the lights and bustle of Boulevard Saint Michel into almost complete abstraction. Everything disintegrates into colour except two figures, which remain discernible in the lower centre of the piece.

Nu jaune, 1908, juxtaposes the models’ warm yellow skin against lashings of cool emerald. This is one of Delaunay’s most striking uses of tone. The bright colours are frequently offset by black marks. These create a bold and heavy outline which is primitivist in its intention. The face of the model is mask like, suggesting melancholy. Delaunay makes no attempt to depict her as attractive, giving the artwork a brusque, modern feel.
.

What are her thoughts on colour?

“Colour is the skin of the world.”
“Colour was the hue of number.”

9 April 2015 on the Tate Modern website

 

Wearing the Pierrot-Éclair costume designed by Sonia Delaunay, on the set of René Le Somptier's film 'Le P’tit Parigot' 1926

 

Unknown photographer
Lizica Codreanu wearing the Pierrot-Éclair costume designed by Sonia Delaunay, on the set of René Le Somptier’s 1926 film ‘Le P’tit Parigot’
1926
Still photo from the film Le P’tit Parigot, written by Paul Cartoux, Directed by René Le Somptier, 1926, collection of Antoine Blanchette
© L & M SERVICES B.V. The Hague 20100623

 

'Sonia Delaunay in front of her door-poem in the Delaunays’ apartment, Boulevard Malesherbes, Paris' 1924 

 

Unknown photographer
Sonia Delaunay in front of her door-poem in the Delaunays’ apartment, Boulevard Malesherbes, Paris
1924
© Bibliothèque nationale de France, Paris

 

Germaine Krull. 'Sonia Delaunay in her studio at boulevard Malesherbes, Paris, France' 1925

 

Germaine Krull (German, 1897-1985)
Sonia Delaunay in her studio at boulevard Malesherbes, Paris, France
1925
Bibliothèque Nationale de France, © L & M SERVICES B.V. The Hague 20100623

 

Sonia Delaunay in Simultaneous dress c. 1913

 

Unknown photographer
Sonia Delaunay in Simultaneous dress
c. 1913

 

Bathing suits designed by Delaunay, c. 1920s

 

Unknown photographer
Bathing suits designed by Delaunay
c. 1920s

 

 

“It was extremely inspiring to see a woman working with different disciplines – design, painting, textiles. Her reach was enviable. She was part of a tradition of Russian artists such as Liubov Popova and Varvara Stepanova who combined their knowledge of artisanal techniques with their beaux arts training as a way into the world of fashion. And her designs were outstanding. Look at her marvellous knitted bathing suit or patterned overcoat. If you were to walk into an exhibition and saw a woman dressed in that overcoat, she would steal the show.

Of course in Paris there were other powerful women designers, such as Madame Grès and Coco Chanel. The former’s designs were very sinuous, and Chanel was cutting back to the bone, whereas Sonia seemed to work on a frontal level. I like the powerful geometry of her designs – encasing a curvilinear body, contained and boxed-in like a walking cubist form. They were definitely not cute; they were harsh designs for husky women. I would have loved to see Gertrude Stein dressed in Sonia Delaunay’s clothes.

I admire her early paintings, especially Yellow Nude from 1908. You can’t really tell if the reclining figure that she has painted is male or female. It is coy, seductive, androgynous, as if she didn’t seem to care whether it was either. And if you read her biography, you find that she had a rather open attitude to sexuality – her first marriage was to a homosexual, and later to Robert. It was probably part of her shrewdness too – in making things work for her.

Has her work influenced mine? I came out of the Josef Albers camp, where colour was more magical and less obvious than Delaunay. I tend to go for unexpected nuanced colour combinations. So I would say not, but her workaholic attitude and willingness to experiment and try out things in different ways has. She was fearless, so why shouldn’t we be fearless. And I am very influenced by her teamwork – the big mural paintings she did for Palais de l’Air in 1937. I love those. She would have had teams of people working on them. They are such powerful works, so present and timeless. They send out a strong message – pronouncing a new world. They are not domestic works done at the easel. They are out in space. They are universal.”

Sheila Hicks. “The multi-talented Delaunay. Sonia Delaunay: The Fortune of Colour,” Tate Etc. issue 34: Summer 2015 on the Tate Modern website, 8 June 2015

 

Sonia Delaunay. Illustration for cover of 'Vogue' 1926

 

Sonia Delaunay
Illustration for cover of Vogue
1926

 

Sonia Delaunay. 'Simultané playing cards' 1964

 

Sonia Delaunay
Simultané playing cards
1964

 

Sonia Delaunay. 'Coat made for Gloria Swanson' 1923-24

 

Sonia Delaunay
Coat made for Gloria Swanson
1923-24
Private Collection
© Pracusa 2014083

 

Sonia Delaunay. 'Simultaneous Dresses (The three women)' 1925

 

Sonia Delaunay
Simultaneous Dresses (The three women)
1925
Museo Thyssen-Bornemisza, Madrid
© Pracusa 2014083

 

Sonia Delaunay. 'Rythme' 1938

 

Sonia Delaunay
Rythme
1938

 

Sonia Delaunay. 'Rythme' 1945

 

Sonia Delaunay
Rythme
1945
Grey Art Gallery, New York
© Pracusa 2014083

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

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02
Aug
15

Exhibition: ‘Masterpieces from the Hermitage: The Legacy of Catherine the Great’ at NGV International, Melbourne

Exhibition dates: 31st July – 8th November 2015

 

A scintillating exhibition at NGV International which showcases one of the world’s greatest art collections. Exhibition design is outstanding (particularly the floor tiling), as are the Da Vinci, Titian, Rembrandt, van Dyck, Rubens and Flemish still life. Among my favourites is a small Watteau Savoyard with a Marmot (1716) which is absolutely still, delicate and exquisite: I thought of the photographs of Atget, his street sellers, when I saw this painting; and Frans Snyders’ tour-de-force Concert of birds (1630-40) which has such presence.

Well done to the curators, the Hermitage Museum and the NGV for staging such a magnificent exhibition.

Marcus

.
Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

All photographs © Dr Marcus Bunyan and the National Gallery of Victoria.

 

 

Masterpieces from the Hermitage: The Legacy of Catherine the Great showcases one of the world’s greatest art collections. Featuring works by artists including Rembrandt, Rubens, Velázquez and Van Dyck, the exhibition offers a dazzling array of works including the finest group of Dutch and Flemish art to come to Australia.

This exclusive Melbourne exhibition will also highlight the innovation and vision of Catherine the Great, whose inexhaustible passion for education, the arts and culture heralded a period of enlightenment in the region. The extraordinary works sourced and commissioned by Catherine during her thirty-four year reign, created the foundations for the Hermitage today – considered to be one of the world’s greatest treasure houses of art and decorative arts. The exhibition will offer audiences an immersive experience, recreating the rich atmosphere of the Hermitage to showcase these exquisite works.

German-born Catherine the Great (Catherine II) came to power in 1762, aged thirty-three, and ruled Russia for the next thirty-four years, until her death in 1796. She saw herself as a Philosopher Queen, a new kind of ruler in the Age of Enlightenment. Guided by Europe’s leading intellectuals, she modernised Russia’s economy, industry and government, drawing inspiration both from Antiquity and contemporary cultural and political developments in Western Europe. A fluent speaker of Russian, French and German, Catherine was largely self-educated, independent, idealistic and visionary.

While her reign was not always peaceful, Catherine sought to bring order, stability and prosperity to the vast Russian Empire. Her ideals of abolishing serfdom and ensuring the equality of all citizens under the law were ahead of her time, and strongly resisted by the nobility of the day; however, she achieved numerous other reforms, including the introduction of paper money and modernisation of Russia’s education system. French philosopher Denis Diderot, who visited St Petersburg in 1773, described an audience with Catherine as being ‘more like study than anything else: she is a stranger to no subject; there is no man in the Empire who knows her nation as well as she’.

 

Room 1 Catherine the collector

Between 1762 and 1796, the years of her reign, Catherine the Great oversaw a period of cultural renaissance in Russia. The world of ideas in which she was deeply involved from an early age found tangible expression in the material world the Empress later created around herself. The great complexes of imperial buildings Catherine constructed reflected her informed interest in both Classical and Chinese culture.

Catherine not only assembled a collection of Old Master paintings equal in scale and quality to leading European collections, but also paid considerable attention to the acquisition of contemporary art. While the richness and technical perfection of her diverse collections of decorative arts aimed to dazzle and please, they also had the more practical purpose of raising standards of artistic production in Russia. The fact that more than 400 exemplary works of art from her personal collection, including paintings, sculptures, drawings, porcelain, silver and precious gems, are seen here for the first time in Australia is cause for celebration.

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

 

Installation views of room 1 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Alexander Roslin (Swedish 1718-93) Portrait of Catherine II 1776-77

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Sèvres Cameo Service

The Sèvres Cameo Service relates to Catherine’s great passion for collecting engraved gemstones. Comprising 797 individual pieces designed to serve dinner, dessert and coffee to sixty people, the Cameo Service was commissioned from the celebrated Sèvres porcelain manufactory outside Paris as a present for Catherine’s court ‘favourite’, Prince Grigory Potemkin. The Empress’s monogram, ‘E II’ (the Russian version of her name being Ekaterina), woven from garlands of flowers and surmounted by a crown, adorned almost every object in the service.

Production of the service was both time consuming and labour-intensive. The exquisite blue element alone – made from separate layers of copper enamel that gradually seeped into the porcelain and set the pure colour – required five firings. In addition to the hundreds of porcelain objects decorated with painted and sculpted cameos and related silverware, the service also included grand central table decorations fashioned from biscuit, or unglazed cream-coloured porcelain, by the sculptor Louis-Simon Boizot. These decorations illustrated tales from Greek mythology, and were presided over by a grand biscuit statue of Catherine the Great as Minerva, the Roman goddess of wisdom and the arts.

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 1 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Exhibition passageway

Installation view of passageway video of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Installation view of passageway video of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

 

Room 2 Italian art

When Catherine the Great began collecting European art, opportunities to acquire fine Italian Old Master paintings were already severely limited. Demand from wealthy collectors was high and the marketplace was saturated with misattributed works, some of which inevitably made their way to the Hermitage and other great collections.

Despite this, Catherine achieved great success collecting sixteenth and seventeenth century paintings, particularly from Venice, including great paintings by Titian, Paris Bordone and the enigmatic Lorenzo Lotto. These are complemented by fine examples of Roman and Florentine paintings, such as the famous Female nude (Donna nuda), by an artist very close to Leonardo da Vinci. This select group of paintings beautifully illustrate developments in figurative art, portraiture and religious art in Italy from the sixteenth to the eighteenth century.

In the early years of her reign, Catherine the Great acquired en masse several large collections of drawings representing all the main European schools. This set the foundations for the current Hermitage Museum’s outstanding Cabinet of Drawings. In terms of quality, Catherine’s acquisitions of Italian drawings were of the highest standard. The majority of these date from the mid sixteenth to late eighteenth centuries and include many rare and precious works.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Domenico Fetti (Italian 1589-1623) 'Portrait of an actor' 1620s

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Domenico Fetti (Italian 1589-1623) Portrait of an actor 1620s

 

Domenico Fetti (Italian 1589-1623) 'Portrait of an actor' 1620s

 

Domenico Fetti (Italian 1589-1623)
Portrait of an actor
1620s
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Domenico Fetti was court painter to Gerdinand II Gonzaga, Duke of Mantua, when he made this striking portrait of an actor. It is though to be Tristano Martinelli who made his fame working in the commedia dell’arte tradition. It is believe that Marinelli created and popularised the standard roll of the Harlequin in theatre. Fetti himself was involved with the theatre in both Mantua and Venice.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Paris Bordone (Italian 1500-71) 'Portrait of a lady with a boy' Mid 1530s

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Paris Bordone (Italian 1500-71) Portrait of a lady with a boy Mid 1530s

 

Paris Bordone (Italian 1500-71) 'Portrait of a lady with a boy' Mid 1530s

 

Paris Bordone (Italian 1500-71)
Portrait of a lady with a boy
Mid 1530s
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

This work by Venetian artist Paris Bordone is a typical example of formal Renaissance portraiture. Bordone’s main aim was to show the high social standing of the sitters, so he painted their luxurious costumes in great detail. He draws our attention to the sumptuous sleeves of this woman’s dress, he headgear resembling a turban, as well as her opulent jewellery. Bordone was one of Titian’s most talented pupils whose work is characterised by a level of precision not often present in his master’s work. This painting entered the Hermitage as a work by Giorgione.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring to the left, Domenico Capriolo (Italian c. 1494-1528) 'Portrait of a young man' 1512 and to the right, Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring to the left, Domenico Capriolo (Italian c. 1494-1528) Portrait of a young man 1512 and to the right, Lorenzo Lotto (Italian c. 1480-1556) The Rest on the Flight into Egypt with Saint Justine 1529-30

 

Portrait of a young man by the Venetian master Domenico Capriolo captures the intellectual values of Renaissance art. Everything that surrounds this youth speaks of his interests, such as the church that indicates his piety; the statue of Venus that reveals his passion for Antiquity; and the folder (containing verses or drawings) that illustrates the richness of his inner world. The painting is dated 1512 and the artist’s name symbolised by a medallion containing a Capreolus, or deer, which is a play on his name. Such allusions were common in Renaissance art and would have been readily understood by his contemporaries.

 

Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

 

Lorenzo Lotto (Italian c. 1480-1556)
The Rest on the Flight into Egypt with Saint Justine
1529-30
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Lorenzo Lotto is a much admired sixteenth-century Venetian artist. The Rest on the Flight into Egypt with Saint Justine has the typical dynamism of Lotto’s work, achieved not only through the poses, gestures and movement of the foliage, but also through his intense colour palette and the juxtaposition of resonant blues with red and yellow tones. Here, the Holy Family has been joined by Saint Justine of Padua, martyred in 304 AD, identifiable through her attribute of a sword piercing her breast. Justine was a very popular subject for artists of Northern Italy.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Leonardo da Vinci (school of) 'Female nude (Donna Nuda)' Early 16th century

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Leonardo da Vinci (school of) Female nude (Donna Nuda) Early 16th century

 

Leonardo da Vinci (school of) 'Female nude (Donna Nuda)' Early 16th century

 

Leonardo da Vinci (school of)
Female nude (Donna Nuda)
Early 16th century
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

This painting entered the Hermitage collection as a work by Leonardo da Vinci, but is now widely accepted to be by one of his close followers, possibly his pupil Salai. Perhaps more important is that it may be a close copy of a lost painting by Leonardo. Female nude (Donna Nuda) also shares some of the qualities of the famous Mona Lisa c. 1503-19, in the Louvre Museum, Paris; namely the repetition of the pose, the position of the hands and the landscape setting seen behind a stone ledge in front of which the figure is set. This is the most refined of numerous variants of this composition in existence.

 

 

Room 3 Flemish art

In the seventeenth century, Flanders comprised the Catholic-dominated Southern Netherlands or ‘Spanish’ Austrian Netherlands, an area larger than modern Belgium. Thanks in large part to the talents of artist Peter Paul Rubens, the Flanders or ‘Flemish’ school in this era became very prestigious. While chiefly a painter, Rubens had far-reaching stylistic influence on many visual art forms, from prints to silverware and architecture. Every leading artist of seventeenth-century Flanders studied in, passed through or was connected with Rubens’s studio.

A diplomat and court insider, Rubens operated on an international stage. His art was correspondingly monumental; characterised by large forms modelled with loose brushstrokes in glowing, brilliant colours. Rubens’s pupil Anthony van Dyck and collaborator Cornelis de Vos led the way in bringing new naturalism to portraiture. While they catered to different markets (van Dyck to the nobility and de Vos to a rich merchant class) their mutual influence is apparent.

Flanders was a nation built on trade, and Flemish artists travelled widely, especially to Italy. From Italy they brought back new pictorial trends, such as the theatrical naturalism of Caravaggio. Flemish artists excelled in naturalistic effects, which they applied even to traditionally humble subjects, such as still lifes and animal pictures, seen to brilliant effect in the art of Frans Snyders and David Teniers II.

 

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

room-three-installation-e

 

Installation views of room 3 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Peter Paul Rubens and workshop (Flemish 1577-1640) The Adoration of the Magi, c. 1620 at centre

 

Rubens painted the subject of the Adoration of the Magi (Matthew 2:1) more often than any other episode from Christ’s life. Rendered at life-sized scale, this painting combines the humility of Christ’s birth with splendid, worldly pageantry. Three Kings from the East are shown crowding into Christ’s stable (portrayed as a cave, in an allusion to Christ’s later interment) wearing gold- embroidered silks and satins, and offering gifts. The eldest king, Caspar, kneels before Christ with gold; behind him is Melchior, with frankincense; and Balthazar with myrrh, used for embalming. With the help of his studio, Rubens produced more than sixty altarpieces during his career.

 

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 3 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Peter Paul Rubens (Flemish 1577–1640) 'Roman Charity (Cimon and Pero)' c. 1612

 

Peter Paul Rubens (Flemish 1577-1640)
Roman Charity (Cimon and Pero)
c. 1612
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Count Cobenzl, Brussels, 1768

 

Roman Charity (Cimon and Pero) depicts a story told by the Roman historian Valerius Maximus in his Factorum ac dictorum memorabilium libri IX (Nine Books of Memorable Deeds and Sayings), written around 30 AD. The story involves Cimon, an old man awaiting execution in prison who was not given food. Cimon’s daughter Pero visited him, and suckled him at her breast like a child. Pero’s nourishing of Cimon was considered an outstanding example of paying honour to one’s parents.

 

 

Room 4 Dutch art

The Hermitage holds the finest collection of Dutch art outside the Netherlands. While Peter the Great (1672-1725) had a passion for Dutch art and acquired some notable masterpieces, Catherine the Great established the depth and breadth of this extraordinary collection, beginning in 1764 with her first acquisitions. In that year Catherine purchased 317 paintings that had been assembled for Frederick II of Prussia by the German merchant Johann Ernst Gotzkowsky. Among this substantial group were more than 100 Dutch paintings by the most notable masters.

In 1769 Catherine purchased the collection of Count Heinrich von Brühl, which included spectacular landscapes by Jacob van Ruisdael, Isaack Jansz. van Ostade and Aert van der Neer, as well as four Rembrandt portraits, including the wonderful Portrait of a scholar, 1631. For the rest of her life Catherine continued to add outstanding Dutch works to her rich collection. Although the paintings and drawings from the Dutch school included here are only a fragment of the extensive and diverse collection assembled by Catherine the Great, they reveal her artistic preferences and taste.

 

Installation view of room 4 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 4 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 4 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with Rembrandt. Harmensz. van Rijn (Dutch 1606-69) Portrait of a scholar 1631 at centre.

 

Rembrandt painted Portrait of a scholar shortly after moving from his native Leiden to Amsterdam in 1630. He had already established a growing reputation in Leiden and was enticed to the capital by the art dealer Hendrick van Uylenburgh, father of his future wife Saskia. Once completing the move, Rembrandt rapidly became the city’s leading artist, mainly on account of dazzling portraits such as this early masterpiece. He then secured the most prestigious commissions from wealthy and powerful citizens of Amsterdam.

 

 

Room 5 French taste

The Russian aristocracy spoke French and modelled their manners and style on those of the French Court. Catherine followed the vast intellectual strides of the French philosophes with passionate interest. She also embraced the arts, luring French artists, architects and craftsmen to St Petersburg.

Catherine relied on agents and advisors in France and Germany to identify and acquire works of art on her behalf. In this way she acquired the collection of Paris banker Louis Antoine Crozat, Baron de Thiers and other important bodies of work in France. Her holdings of French art came to encompass works by Renaissance masters as well as seventeenth-century landscapes and history paintings.

Catherine also acquired examples of work of her own century by Rococo artists such as Antoine Watteau. The playful, erotic and at times wistful art of Watteau’s generation gave rise to the intimate and worldly art of François Boucher, whose pictures Catherine also purchased. The Empress collected modern masterpieces created in reaction to French courtly and decadent styles. Her paintings by Jean-Baptiste Siméon Chardin are premier examples of a new, moralising directness in ambitious French art.

Catherine’s buying in France was not limited to French art. Also in this room are paintings by great German, Spanish and Italian masters that were acquired in Paris from prestigious collections under the direction of Catherine’s French advisors.

 

Installation view of room 5 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 5 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 5 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne.

 

 

Room 6 Catherine and the world

For Catherine the Great, collecting art was part of a wider economic and diplomatic program designed to stimulate economic and cultural activity at home and abroad. At a meeting in December 1762 with the Moscow Senate, Catherine suggested that consuls be stationed in Spain, Holland and England not only to promote maritime trade but also to source luxury goods and works of art as examples for Russian artists and manufacturers to aspire to.

Through Catherine’s consuls and agents, such items began to flow into St Petersburg, steadily elevating that city into a vibrant centre of European culture. While her cultural sympathies were French, Catherine was also very curious about Britain – the economic success story of the age. She informed herself about Britain’s trade, commerce, manufacturing, philosophy and political system, and purchased works by modern British neoclassical masters, such as Joseph Wright of Derby and Joshua Reynolds. Examples of Spanish, Italian and German art were often not sourced in their own countries of origin but acquired as a part of larger collections.

 

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 6 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with the 1773 sculpture Catherine II by Jean-Antoine Houdon (French 1741-1826) at centre.

 

 

Room 7 The Walpole collection

In 1779 Catherine the Great acquired 198 paintings from a celebrated collection formed by Sir Robert Walpole, 1st Earl of Orford, Britain’s first prime minister. They were bought from the family estate, Houghton Hall, and sold by Walpole’s grandson, George Walpole, 3rd Earl of Orford, who approached the Russian ambassador to Britain directly about the sale. At more than £40,000, the price was high, but the transaction was concluded in only two months. Attempts were made to keep this famous collection in Britain, to no avail.

The Walpole collection was outstanding in quality, and significantly enhanced the Hermitage’s range of Flemish and Italian works. The Russian ambassador to Great Britain, Alexey Musin-Pushkin, who organised the valuable purchase, wrote to Catherine the Great: ‘The greater part of the nobility here are displaying general dissatisfaction and regret that these paintings are being allowed out of this country, and are setting in train various projects to keep them here … No little assistance comes from Lord Orford’s zealous desire to unite [the collection for] the gallery of Your Imperial Majesty, rather than to sell it to parliament itself or, least of all, to divide it through sale to different individuals’.

 

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 7 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with Frans Snyders (Flemish 1579-1657) Concert of birds, 1630-40 at right and Frans Snyders (Flemish 1579-1657) Jan Boekckhorst (German 1605-68) Cook at a kitchen table with dead game, c. 1636-37 second left
Frans Snyders (Flemish 1579-1657) 'Concert of birds' 1630-40

 

Frans Snyders (Flemish 1579-1657)
Concert of birds
1630-40
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Sir Robert Walpole, Houghton Hall, 1779

 

An important place in Flemish seventeenth-century painting is occupied by two specific genres: animal painting and the still life. One of the most important animal and still-life painters was Frans Snyders, a very close collaborator of Peter Paul Rubens who often painted still-life details and animals on the master’s canvases. Snyders’s superb skill as a painter of animals is revealed by Concert of birds, based on a subject from Aesop’s Fables. It shows a gathering of feathered creatures screeching and singing under the direction of an owl seated on a dried branch in front of an open music score.

 

Frans Snyders (Flemish 1579-1657) 'Concert of birds' 1630-40 (detail)

 

Frans Snyders (Flemish 1579-1657)
Concert of birds (detail)
1630-40
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Sir Robert Walpole, Houghton Hall, 1779

 

Frans Snyders (Flemish 1579-1657) Jan Boekckhorst (German 1605-68) 'Cook at a kitchen table with dead game' c. 1636-37 (detail)

 

Frans Snyders (Flemish 1579-1657)
Jan Boekckhorst (German 1605-68)
Cook at a kitchen table with dead game (detail)
c. 1636-37
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Frans Snyders was the son of the owner of one of Antwerp’s largest wine and eating houses. His dramatically realistic still lifes celebrate the exotic variety of rare fowls available at Antwerp’s markets. Images of dead animals being prepared for a banquet were understood in Snyder’s time as lessons in Christian morality. Many Dutch and Flemish still lifes featuring the sacrifice of an animal for the table functioned as allusions to Christ’s Passion and the transience of the flesh.

 

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 7 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with, at left in the bottom image, Anthony van Dyck (Flemish 1599-1641) Portrait of Philadelphia and Elizabeth Wharton, 1640

 

This is one of the most charming portraits of children paint by van Dyck, who had particular talent for such works. It is one of a group of family portraits commissioned from can Dyck by Philip, Lord Wharton in the late 1630s. Van Dyck worked in England for approximately ten ears and brought a new standard of elegance and style to English portraiture. He largely conveyed this through his flair for painting lavish costumes and sumptuous fabrics, a sensibility he carried through to his portraits of children.

 

 

Room 8 China

Eighteenth-century Enlightenment fascination with the East, particularly China, is reflected by Catherine the Great’s architectural and landscaping works completed in St Petersburg and at her summer and winter palaces, as well as by her collecting of Oriental curiosities and philosophical texts. Russian interest in China can be traced to the reign of the Romanov tsars in the seventeenth century, when several missions brought back Chinese treasures and goods to the Russian Court. Importantly, in 1689 the first treaty between Russia and China was signed at Nerchinsk, outlining the border between the countries and rules about caravan trade.

Like many educated people of her time, Catherine was fascinated by the concept of the enlightened ruler thought to be found in China, such as the Kangxi Emperor (reigned 1662-1722), Yongzhèng Emperor (reigned 1723-35), and Qianlong Emperor (reigned 1736-95). One of her regular and most influential correspondents was French philosopher Voltaire, who praised the Celestial Kingdom, its monarchs and men of wisdom; only in China, he thought, was a man’s life, honour and property truly protected by law. Such a clear link between Catherine’s desire for justice and order in Russia and general perceptions of good Chinese government, combined with the Enlightenment fashion for curiosities of all kinds, led to great Russian interest in China in the second half of the eighteenth century.

 

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 8 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

 

NGV International
180 St Kilda Road

Opening hours for exhibition
10am – 5pm daily

NGV Masterpieces from the Hermitage website

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18
Jul
15

Exhibition: ‘Mario Giacomelli. Against Time’ at Fotomuseum WestLicht, Vienna

Exhibition dates: 26th June – 9th August 2015

 

Mario Gaicomelli has a unique signature as an artist. His photographs could never be anyone else’s work.

The press release states, “His works, all of them conceived as series, combine elements of reportage with lyrical subjectivity and a symbolic aesthetic which seems almost calligraphic in its harsh contrasts between black and white… On the one hand, they express a personal feeling; on the other, they embody a clear, courageous and conceptually groundbreaking attitude.” It continues, “His singular style caused him to remain beyond photographic fashions. In the five decades of his work, he created a body of work that is unparalleled in its aesthetic and thematic consistency.”

To remain beyond photographic fashions. In other words, he didn’t fit in, he was an outsider, he was Other. He did not conform.

He crafted, and I use the word deliberately, a conceptual response to life and landscape, to memory and existence – his symbolic aesthetic – that also expresses an enormous respect for personal feeling, for the stuff of life. There is a consistency to his enquiry, both aesthetically and thematically, that marks him out from the pack.

The calligraphic nature of his work has links back to his training as a printer. The aerial photographs of the landscape from the series Presa di coscienza sulla natura / Awareness of Nature (below) possess the quality of an etching. Mix in an dash of surrealism, such as in the series Verrà la morte e avrà i Tuoi Occhi / Death will come and have your eyes (below)1 and the macabre, as in the series Slaughterhouse, and you have a potent mix of portrayal of the irreality of everyday life. Some photographs, such as an image below from the series Scanno Italy, Scanno even posses the 3D quality of stereoscopic cards.

Above all, there is a sense of the mysteries of life contained within the spaces of his work. Is the white cat flying in mid-air or is clinging to someone that we can’t see, who has been printed out by the photographer because of his previsualisation of the work. What is that shape hovering next to his mother? I think it looks like a moth, and the mother is a Japanese mother after Hiroshima with a withered hand. She almost looks like she is dressed in a kimono as well. We’re not supposed to know what that is – actually it’s Agfa paper, hardest possible grade, and skilled use of bleach by the artist – and that is the mystery. Its an interesting print because it is printed so that it could be any gender.

I do love artists who push the boundaries of the sensual and the symbolic. Praise be to traces of differences.

Marcus

.
Many thankx to Fotomuseum WestLicht for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

1. See the case of Christine Papin and Léa Papin who were two French maids who murdered their employer’s wife and daughter in Le Mans, France, on 2 February 1933. They had both been beaten to the point of being unrecognisable, and one of the daughter’s eyes was on the floor nearby. Madame Lancelin’s eyes had been gouged out and were found in the folds of the scarf around her neck.

 

Italian Neorealism (Neorealismo)

Italian Neorealism came about as World War II ended and Benito Mussolini’s government fell, causing the Italian film industry to lose its center. Neorealism was a sign of cultural change and social progress inItaly. Its films presented contemporary stories and ideas, and were often shot in the streets because the Cinecittà film studios had been damaged significantly during the war.

The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema, including Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis and Pietro Ingrao. Largely prevented from writing about politics (the editor-in-chief of the magazine was Vittorio Mussolini, son of Benito Mussolini), the critics attacked the white telephone films that dominated the industry at the time. As a counter to the popular mainstream films some critics felt that Italian cinema should turn to the realist writers from the turn of the 20th century.

Both Antonioni and Visconti had worked closely with Jean Renoir. In addition, many of the filmmakers involved in neorealism developed their skills working on calligraphist films (though the short-lived movement was markedly different from neorealism). Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary-style films of Francesco De Robertis. Two of the most significant precursors of neorealism are Toni (Renoir, 1935) and 1860 (Blasetti, 1934). In the Spring of 1945, Mussolini was executed and Italy was liberated from German occupation. This period, known as the “Italian Spring,” was a break from old ways and an entrance to a more realistic approach when making films. Italian cinema went from utilizing elaborate studio sets to shooting on location in the countryside and city streets in the realist style.

The first neorealist film is generally thought to be Ossessione by Luchino Visconti (1943). Neorealism became famous globally in 1946 with Roberto Rossellini’s Rome, Open City, when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war…

The films are generally filmed with nonprofessional actors – although, in a number of cases, well known actors were cast in leading roles, playing strongly against their normal character types in front of a background populated by local people rather than extras brought in for the film. They are shot almost exclusively on location, mostly in run-down cities as well as rural areas due to its forming during the post-war era.

The topic involves the idea of what it is like to live among the poor and the lower working class. The focus is on a simple social order of survival in rural, everyday life. Performances are mostly constructed from scenes of people performing fairly mundane and quotidian activities, devoid of the self-consciousness that amateur acting usually entails. Neorealist films often feature children in major roles, though their characters are frequently more observational than participatory…

The period between 1943 and 1950 in the history of Italian cinema is dominated by the impact of neorealism, which is properly defined as a moment or a trend in Italian film, rather than an actual school or group of theoretically motivated and like-minded directors and scriptwriters. Its impact nevertheless has been enormous, not only on Italian film but also on French New Wave cinema, the Polish Film School and ultimately on films all over the world.

Text from the Wikipedia website

 

 

Mario Giacomelli. From the series 'Awareness of Nature, Italy, Senigallia' 1980

 

Mario Giacomelli (1925-2000)
From the series Presa di coscienza sulla natura / Awareness of Nature
Italy, Senigallia
1980

 

Mario Giacomelli. From the series 'Awareness of Nature, Italy, Senigallia' c. 1987

 

Mario Giacomelli (1925-2000)
From the series Presa di coscienza sulla natura / Awareness of Nature
Italy, Senigallia
c. 1987

 

Mario Giacomelli (1925-2000) From the series 'The Good Earth, Italy' c. 1965

 

Mario Giacomelli (1925-2000)
From the series The Good Earth, Italy
c. 1965

 

Mario Giacomelli. From the series 'Awareness of Nature, Italy, Senigallia' 1982-92

 

Mario Giacomelli (1925-2000)
From the series Presa di coscienza sulla natura / Awareness of Nature
Italy, Senigallia
1982-1992

 

 

“The images by Mario Giacomelli (1925-2000), one of the most well-known Italian photographers of the post-war period, are distinctive and possessed of an almost painful intensity. Inspired by Neorealismo cinema, Giacomelli, a typesetter and printer by training who had been experimenting with painting and literature, turned to photography during the 1950s, developing a highly individual visual idiom characterised by graphic abstraction. His works, all of them conceived as series, combine elements of reportage with lyrical subjectivity and a symbolic aesthetic which seems almost calligraphic in its harsh contrasts between black and white.

Starting with the people and landscape of his native central Italy, Giacomelli’s pictures always deal with the fundamental questions of existence: life and death, faith and love, the relationship of man and his roots, the traces of time. One of his most well-known images shows a group of young priests in their cassocks dancing a round in the snow – a moment of innocence already inscribed with loss. Giacomelli’s images of the farm land around his native town of Senigallia, taken from an airplane, dissolve the fields into picturesque networks of lines, showing the landscape as a product of human toil and the passing of time. On the one hand, they express a personal feeling; on the other, they embody a clear, courageous and conceptually groundbreaking attitude.

The photographs on display are part of the Photography Collection OstLicht, curated by Rebekka Reuter and Fabian Knierim.”

Text from the Fotomuseum WestLicht website

 

Mario Giacomelli. 'From the series: Puglia Italy, Puglia' 1958

 

Mario Giacomelli (1925-2000)
From the series Puglia Italy, Puglia
1958

 

Mario Giacomelli. From the series 'Scanno Italy, Scanno' 1959

 

Mario Giacomelli (1925-2000)
From the series Scanno Italy, Scanno
1959

 

Mario Giacomelli. From the series 'Lourdes France, Lourdes' 1966

 

Mario Giacomelli (1925-2000)
From the series Lourdes France, Lourdes
1966

 

Mario Giacomelli (1925-2000) From the series 'Io non ho mani che mi accarezzino il volto / I have no Hands caress my face' Italy, Senigallia 1961-1963

 

Mario Giacomelli (1925-2000)
From the series Io non ho mani che mi accarezzino il volto / I have no Hands to caress my face
Italy, Senigallia
1961-1963

 

 

“Among his most famous designs include the photographs of the series Io non ho mani che mi accarezzino il Volto (I have no hands that caress my face, after a poem by David Maria Turoldo), 1961-63. Giacomelli observed in a group of priest candidates at their boisterous games and silliness between the seriousness of the lessons. An image showing the young clergy, as they dance in their cassocks a dance in the snow – a moment of innocence, the loss already acknowledged. The soil is so that the seminarians seem to float as black silhouettes on nothing in the recording of a pure white surface without any drawing.

At the end of the 1950s Giacomelli photographed the street scenes of Puglia and Scanno. Both series show a largely untouched by modernity village community. The archaic rural life that still has a clearly vital undertone in Puglia (1958), turns into the black-clad figures of Scanno (1957/59), an image of gloomy Providence.

Over several years, from 1954 to 1983, Giacomelli returned to the nursing home where his mother had worked in the days of his childhood, to photograph there. As in all his series he took, even with Verrà la morte e avrà i Tuoi Occhi (Death will come and will have your eyes on a poem by Cesare Pavese), Giacomelli builds a relationship to the place and its people. The recordings are marked by a harsh realism of human decay, the white of the deductions seem to exhaust the fragile body which possesses an almost existential quality. Simultaneously Giacomelli’s identification with the residents and his silent anger at the suffering is obvious and so the ancients always remain hidden in his eyes.

Giacomelli’s shots from the plane of farmland of his birthplace Senigallia, finally resolve the fields in picturesque interwoven lines and show the landscape as a drawn from the people and time. On one hand, an expression of a personal feeling, these images embody at the same time a clear, bold and pioneering conceptual attitude. Giacomelli’s art is always a rebellion against the impositions of human existence. The bitter irony of the transience of life, he meets by means of photography. His singular style caused him to remain beyond photographic fashions. In the five decades of his work, he created a body of work that is unparalleled in its aesthetic and thematic consistency.”

 

Mario Giacomelli

Mario Giacomelli was born in 1925 in Senigallia. The small town on the Italian Adriatic coast in the province of Ancona remained until his death in 2000, the center of his life. Giacomelli grew up in poverty. His father he lost before he was nine years old, his mother worked as a laundress in a retirement home. At thirteen, he left school and began an apprenticeship as a printer. With a partner, he opened after the war in Senigallia his own printing business. Inspired by photography magazines and the neo-realist film, he discovered at the beginning of the 1950s photography for himself and bought his first camera. He successfully participated in a number of photo contests and regional exhibitions. He received an important impetus in this period by Giuseppe Cavalli, with whom he founded the Photo Group Misa in 1954. In the same year he began his work on Verrà la morte. In 1957 he undertook trips to Scanno and Lourdes, from which emerged the first images of the same series. International presentations of his photographs – the Subjective Photography 3 exhibition, 1959 organized by Otto Steinert in Brussels, at Photokina in Cologne, or the George Eastman House, Rochester (both 1963) – made Giacomelli known beyond Italy. An exhibition curated by John Szarkowski at MoMA in New York meant an international breakthrough for Giacomelli 1964.”

Translated from the German press release

 

Installation view of the exhibition 'Mario Giacomelli. Against Time' at Fotomuseum WestLicht© WestLicht / Sandro E. E. Zanzinger

Installation view of the exhibition 'Mario Giacomelli. Against Time' at Fotomuseum WestLicht© WestLicht / Sandro E. E. Zanzinger

Installation view of the exhibition 'Mario Giacomelli. Against Time' at Fotomuseum WestLicht© WestLicht / Sandro E. E. Zanzinger

Installation view of the exhibition 'Mario Giacomelli. Against Time' at Fotomuseum WestLicht© WestLicht / Sandro E. E. Zanzinger

 

Installation views of the exhibition Mario Giacomelli. Against Time at Fotomuseum WestLicht
© WestLicht / Sandro E. E. Zanzinger

 

Mario Giacomelli. From the series 'Slaughterhouse' Italy 1961

 

Mario Giacomelli (1925-2000)
From the series Slaughterhouse
Italy 1961

 

Mario Giacomelli (1925-2000) From the series: 'Verrà la morte e avrà i Tuoi Occhi / Death will come and have your eyes' Italy 1954

 

Mario Giacomelli (1925-2000)
From the series: Verrà la morte e avrà i Tuoi Occhi / Death will come and have your eyes
Italy 1954

 

Mario Giacomelli (1925-2000) 'Mia Madre / Mother' Italy 1959

 

Mario Giacomelli (1925-2000)
Mia Madre / Mother
Italy 1959

 

Mario Giacomelli (1925-2000) From the series: 'Verrà la morte e i Tuoi Occhi avrà / Death will come and your have eyes' Italy, 1955-1958

 

Mario Giacomelli (1925-2000)
From the series: Verrà la morte e i Tuoi Occhi avrà / Death will come and your have eyes
Italy, 1955-1958

 

 

WestLicht
Westbahnstraße 40
A-1070 Vienna

Opening hours:
Tue, Wed, Fri 2 – 7 pm
Thu 2 – 9 pm
Sat, Sun 11 am – 7 pm
Mon closed

WestLicht website

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14
Jul
15

Thomas Eakins photography

July 2015

 

Please click on the photography for a larger version of the image.

Marcus

 

 

For Eakins, the camera was a teaching device comparable to anatomical drawing, a tool the modern artist should use to train the eye to see what was truly before it.

 

.
In the 1880s, through a series of technical advances that greatly simplified its practice, photography had expanded from being the province solely of the specialist into an activity accessible to the millions. To define photography as a discipline distinct from its casual, commercial, and scientific applications became the overriding goal of many American artists in the last two decades of the century, who claimed for it a place commensurate with those artistic endeavors that celebrated the complex, irreducible subjectivity of their makers. The photographs of Thomas Eakins are a perfect example of this development.

In addition to being an accomplished painter, watercolorist, and teacher, Thomas Eakins was a dedicated and talented photographer. Working with a wooden view camera, glass plate negatives, and the platinum print process, he distinguished himself from most other painters of his generation by mastering the technical aspects of the new medium and requiring his students to do the same. For Eakins, the camera was a teaching device comparable to anatomical drawing (43.87.23; 43.87.19), a tool the modern artist should use to train the eye to see what was truly before it.

Although it is not known from whom or when Eakins learned photography, it is clear that by 1880 he had already incorporated the camera into his professional and personal life. The vast majority of photographs attributed to Eakins are figure studies (nude and clothed) and portraits of his pupils (43.87.17), extended family (including himself) (43.87.23), and immediate friends (41.142.2). More than 225 negatives survive in the Bregler collection at the Pennsylvania Academy of the Fine Arts and approximately 800 images are currently attributed to Eakins and his circle – ample proof of the intensity with which Eakins worked with the camera.

Eakins did not generally use photographs as a preparatory aid to painting, although there are a small number of oils which have direct counterparts in existing photographs: the Amon Carter Museum’s The Swimming Hole [below] and the Metropolitan’s Arcadia [below] being the foremost examples. To the contrary, Eakins saw a different role for photography – one related to his extraordinary interest in knowing the figure and improving his sensitivity to complex figure-ground relationships. Committed to teaching close observation through the practice of dissection and preparatory wax and plaster sculpture, Eakins introduced the camera to the American art studio. At first his photographs were likely quick studies of pose and gesture; later, perhaps during the process of editing and cropping the negatives, and then making enlarged platinum prints, he saw the photographs as discrete works of art on paper, at their best on equal status with his watercolors.

The artistic freedom of the classical world that Eakins strove to bring to life in his academic programs at the Pennsylvania Academy of the Fine Arts (and in his Arcadian paintings) also appears as an important element in many of his nude studies (43.87.19) with the camera. These photographs, far more than the paintings, celebrate the male physique; even today, more than a century after their creation, their unabashed frontal nudity still has the power to shock contemporary eyes.

Text from The Metropolitan Museum of Art website

 

Thomas Eakins 'Thomas Eakins and J. Laurie Wallace at the Shore' 1883

 

Thomas Eakins (American, 1844-1916)
Thomas Eakins and J. Laurie Wallace at the Shore
1883

 

Thomas Eakins 'Thomas Eakins and J. Laurie Wallace at the Shore' 1883

 

Thomas Eakins (American, 1844-1916)
Thomas Eakins and J. Laurie Wallace at the Shore
1883

 

 

The great American painter and photographer Thomas Eakins was devoted to the scientific study of the human form and committed to its truthful representation. While teaching at the Pennsylvania Academy of the Fine Arts, Eakins made at least two excursions with his students in order to make a series of nudes out of doors. This photograph was probably made during the summer of 1883 at Manasquan Inlet at Point Pleasant, New Jersey. Although neither of the figures in this study play the pipes, the photograph seems related to the unfinished oil Arcadia, in the Metropolitan’s collection [below]. Posed at the edge of a lake, with hands behind their backs, or dangling, the figures seem to float, lost in thought. They are neither athletes nor swimmers contemplating a dip in the water, but two common men – professor (Eakins) and student (J. Laurie Wallace) – each an Adam. Direct and revealing, such photographs celebrate the body and increase our understanding of Eakins’ refined naturalism and his respect for the essential beauty and complexity of the human form. (Text from The Metropolitan Museum of Art website)

 

Thomas Eakins (1844-1916) 'Arcadia' c. 1883

 

Thomas Eakins (American, 1844-1916)
Arcadia
c. 1883
Oil on canvas
98.1 × 114.3 cm (38.6 × 45 in)
Metropolitan Museum of Art

 

Thomas Eakins 'Thomas Eakins and J. Laurie Wallace at the Shore' 1883

 

Thomas Eakins (American, 1844-1916)
Thomas Eakins and J. Laurie Wallace at the Shore
1883

 

Thomas Eakins (1844-1916)  'Swimming / The swimming hole' 1885

 

Thomas Eakins (American, 1844-1916)
Swimming / The swimming hole
1885
Oil on canvas
27.625 × 36.625 in (70.2 × 93 cm)
Amon Carter Museum of American Art

 

Thomas Eakins 'Unidentified model, Thomas Anschutz and J. Laurie Wallace' 1883

 

Thomas Eakins (American, 1844-1916)
Unidentified model, Thomas Anschutz and J. Laurie Wallace
1883

 

Thomas Eakins 'Unidentified model, Thomas Anschutz and J. Laurie Wallace' 1883

 

Thomas Eakins (American, 1844-1916)
Unidentified model, Thomas Anschutz and J. Laurie Wallace
1883

 

Thomas Eakins. 'Wrestlers' 1899

 

Thomas Eakins (American, 1844-1916)
Wrestlers
1899
Oil on canvas
48 3/8 x 60 in. (122.87 x 152.4 cm)
Image: Museum Associates/LACMA
Los Angeles County Museum of Art (LACMA) Image Library

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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