Friday, June 23, 2017
Instead of the polished urban vistas for which he is famous, this painting by the Venetian master of Enlightened views portrays a hardworking corner of the city where huge chunks of hewn stone show how Venice got built. Canaletto takes us behind the scenes of his city to expose the work that went into it. Beauty is born from the artisan’s sweat. Yet the scene is quiet, as if work has stopped, and Venice is no longer growing. It is now, in the 18th century, frozen and beginning to decline.
•National Gallery, London (Via the Guardian on line).
Take an 18th century Grand Tour courtest of the National Gallery: https://www.nationalgallery.org.uk/paintings/learn-about-art/paintings-in-depth/the-grand-tour
Tuesday, June 20, 2017
|Das Undbild, 1919, Staatsgalerie Stuttgart.|
June 20, 1887. Kurt Hermann Eduard Karl Julius Schwitters was a German painter who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
|Berkeley Art Museum and Film Archive. Reproduction of"Merzbau: installation in Schwitter's house in German, Destroyed during WWII|
From a review I wrote in 2011 when the Berkeley Art Museum and Film Archive had an exhibit of Schwitter's work. “Kurt Schwitters, Color and Collage” which opens Wednesday at the Berkeley Art Museum is the first major overview of the legendary German artist’s work presented in the United States in twenty-six years. The exhibition includes approximately eighty assemblages, sculptures, and collages made between 1918 and 1947 that elucidate the relationship between collage and painting—as well as color and material—in Schwitters’s work.
|Cover of Anna Blume, Dichtungen, 1919|
It also features the reconstruction of part of the artist’s monumental walk-in installation piece, Merzbau, which was bombed by the Allies in 1943. Originated by the Menil Collection in Houston, Texas, BAM/PFA’s presentation is the only West Coast stop for the exhibition.
Kurt Schwitters was a man of contradictions. He was born, raised and lived in Hanover which was the epitome of German bourgeois life
He was conventionally trained, could and did paint academic portraits and landscapes all his life. He had a bourgeois marriage and lived from the rents of property owned by his bourgeois parents.
Yet, he was one of the most original artists of the 20th century. In 1919 Kurt Schwitters cut four letters from an advertisement, for use in a collage. He concocted the nonsense word"Mertz" from the combination of letters in the collage. He used that nonsense syllable for the rest of his career.
He was a poet, an artist who collaborated with the Dadaists and other cutting edge art movements of the post WW I period, a typographer, a writer who produced his own magazine called, (what else), “Mertz.”
Merz also amounts to type on paper, a sign without a signified, an artist's book without image or story. Schwitters experimented with repeated strings of typewriting as poetry. Conversely, the constructions could pass for real papers, the material behind a still life. Think of each work as a tray, like an in-box today. Schwitters, were he alive, could present the tray each morning to a businessman.
Merz also takes on the real world, between the disasters of World War I and the Great Depression. Part of a company name, "Commerz- und Handelsbank," it accepts the anonymity of advertising, printing, mass reproduction, and corporate power. It accepts the aging and decay of these tarnished rituals, along with the dirt and broken wire left over from war. For all his care, Schwitters does not allow an easy escape into fine art.
Train tickets, chocolate wrappers, bits of paper, any material that was soiled, abraded, crumpled was used for his constructions. He used these materials in a painterly fashion. Gauze, netting, transparent cellophane were also among his favorite materials. The nuances of gray and brown that are so prevalent in the his works (and in the show) is partially due to his choice of materials but also caused by exposure to light and the natural disintegration of materials that were never meant to last.
Schwitters' collages were not meant merely to shock, annoy, puzzle or defy the conventions of society. "What we are expressing in our work," he once said, "is neither idiocy nor subjective play, but the expression of our time as dictated by the time itself."
Looking carefully at the pieces, one picks out text which is juxtaposed into the pieces which are by turns playful, visually beautiful, puzzling, an unexpected piece of social commentary in a cancelled stamp of the deposed Hohenzollerns dynasty or a fragment of an English ration book, all arranged with the exquisite precision of a Persian miniature.
In his collages, spatial relationships are suggested, images shift against text, and fragments are overlaid with color or more textured materials. There is no story, there is only (usually) - as if only were an adequate word - of the direct experience of art without narrative, politics or message.
He works with and against the picture plane to create shifting surfaces, ostensibly abstract but often layered with text. "His collages," wrote Critic Diego Valeri, "are little miracles—tasteful, sensitive, communicative, and even touching. To the unwary eye, they may seem mere exercises in patience. But to the discriminating onlooker, they turn out to be small but exquisite works of art.”
Then, too, Merz makes no sense at all, and its very nonsense leaves room once more for play. His newsprint rarely spells out political points or puns. German Expressionism and Dada knew herz and schmertz, heart and pain, all too well. In place of their pessimism, Schwitters evokes their sounds as a comforting cliché, like moon and June. Life goes on somehow, and so, after all, does painting. (John Haber reviews).
After the Nazis came to power, Schwitters' situation became desperate. In 1937, waiting an "interview" with the Gestapo, he fled to Norway and from there to England, where he was interned for part of the war. Even in the internement camp , he taught and produced over 200 works. He died in England in 1948.
Images from the Berkeley Art Museum, 2011 exhibit, Used with permission
In Search of Lost Art here
NY Times here
Sunday, June 18, 2017
From the British Museum: Tomorrow is the start of
#MuseumWeek! We’ll be sharing interesting stories & objects from around the world that celebrate each day’s theme
Follow your favorite museum on twitter - more treasures than a dragon's horde.
Follow your favorite museum on twitter - more treasures than a dragon's horde.
Saturday, June 17, 2017
Born on June 17th in 1681. He was painter and architect, who worked in Rome and is mainly known as one of the vedutisti ("view painters"). As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are his view of the interior of the Pantheon (on behalf of Francesco Algarotti), and his vedute—paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins, have a fanciful and unreal embellishment characteristic of capriccio themes.
|Interior of St. Peter's, Rome. 1754. National Gallery, Washington DC|
|Rome as an art gallery, 1759. Wild but wonderful idea from Giovanni Paolo Panini, who was born on this day in 1691. At the Louvre|
|On Piazza Navona, Rome, they're preparing festivities for birth of Louis, Dauphin of France, 1729. By Giovanni Paolo Panini, born OTD 1691|
|Faith among the ruins: sermon of an apostle in ruins of fantasy ancient temple by Giovanni Paolo Panini, born OTD 1691.|
Friday, June 16, 2017
|from the Anderson Collection|
New additions to the Anderson Collection at Stanford: The new acquisitions are in keeping with the original collection of 121 works of post-World War II modern and contemporary American art by 86 artists given to Stanford by Harry W. “Hunk” and Mary Margaret “Moo” Anderson and their daughter, Mary Patricia “Putter” Anderson Pence, the Bay Area family which has been collecting art for over 50 years.
by Robin Wander
John Seed: Here are three "Arts and Culture" headlines I came across this morning on the web (from the LA Times, Huffpost and Artnet.com) Is anyone else getting depressed about the realities of art and culture coverage on the net?
Two of the comments: Call me old-fashioned, but when it comes to art criticism, I want to read/hear art historically-informed voices of authority and experience - not post grad school critical theorizing, or multi-syllabic subjective gobbledy-gook....And And I will not and do not accept the way things are now in the art world. I'll do my part to point out the emperors new clothes. I'm not alone. Perhaps you feel you don't have a right to openly dislike conceptual art, performance art, and art videos. I feel I have that right and they're in my world. (If you are on Facebook, check out the discussion. Art may not matter to a lot of people but it matters to these people and their comments are passionate and informed).
The Modern Art Notes Podcast: MoMA's Leah Dickerman discusses the Robert Rauschenberg retro she co-curated, then Ken Ashton on his new photobook on Portsmouth, Ohio.
|Not Kermit the Frog. What the experts at the British Museum think that ancient painting looked like.|
My comment: We have known for some time that the old sculptures were painted but those clumsy, garish colors do not do justice to the skill of the ancient artists. We have frescoes, mosaics, the Fayum portraits to show us how the ancients used colors and it wasn't that g-awful slathering of ugly colors.
From Mary Beard, Professor of Classics at Cambridge: "Were the sculptures painted? The short answer is ‘yes’. Much of the pure, gleaming white marble sculpture that we now admire was certainly coloured in some way. The question is how was it coloured: a delicate wash, or bright, glaring hues?" ...
"It’s a great, garish multi-colour spectacular. My question is quite how far you believe the details. Does the colouring of ancient statuary really mean this kind of bright, in-your-face, dazzle"….As always, the comments on her page are thoughtful and erudite.
Thursday, June 15, 2017
|Dance to the Music of Time, Wikipedia|
Nicolas Poussin (French: [nikɔlɑ pusɛ̃]; June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
He worked in Rome for a circle of leading collectors from there and elsewhere, except for a short period when Cardinal Richelieu ordered him back to France to serve as First Painter to the King. Most of his works are history paintings of religious or mythological subjects that very often have a large landscape element.
...Poussin brought a new intellectual rigor to the classical impulse in art, as well as a unique, somewhat reticent poetry. His sensitivity to the nuances of gesture, design, color, and handling, which he varied according to the theme at hand, permitted him to bring a very focused expression to his art and to create for each narrative a memorable and enduring form. The wide range of his oeuvre includes scenes of subdued tenderness, bacchic revelry, mourning, righteous civic virtue, and other more difficult to identify states of mind or being.
|The Shepherds of Arcadia (Et in Arcadia ego) Louvre|
|Four Seasons, Autumn, Public Domain|
|Self Portrait, 1650 Web Gallery of Art|
List of paintings: https://en.wikipedia.org/wiki/List_of_paintings_by_Nicolas_Poussin
Wednesday, June 14, 2017
Born #OTD in 1904, Margaret Bourke-White revolutionized the photography profession by being the first female photographer for Life.com and Fortune, the first authorized Western photographer allowed into the Soviet Union and the first female war photographer to work in combat zones during World War II. She captured the brutality of the Nazi concentration camps, the despair of the Great Depression, the final years of Mahatma Gandhi and the architectural magnificence of the Chrysler Building.
Read more about the “Great Lady with a Camera” via TIME: ti.me/2tdiuzY
Photo by National Archives on Getty Images
|Sir John Luttell, very odd allegorical portrait|
Hans Eworth (or Ewouts; c. 1520–1574) was a Flemish painter active in England in the mid-16th century. Along with other exiled Flemings, he made a career in Tudor London, painting allegorical images as well as portraits of the gentry and nobility. About 40 paintings are now attributed to Eworth, among them portraits of Mary I and Elizabeth I. He moved to England & made it big painting Tudor nobility.
Peter Paul Rubens (https://twitter.com/PP_Rubens) has posted some gorgeous images so I will not be selfish and keep them all to myself.
Tuesday, June 13, 2017
|Pont Neuf wrapped up|
Valley Curtain 1972 (USA)Bruce McAllister, 1936-, Photographer (NARA record: 3823134) - U.S. National Archives and Records Administration
The Floating PiersMarcio De Assis - Own work
Christo Vladimirov Javacheff and Jeanne-Claude were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the same day, June 13, 1935; Christo in Gabrovo, Bulgaria, and Jeanne-Claude in Morocco. They first met in Paris in October 1958 when Christo painted a portrait of Jeanne-Claude's mother. They then fell in love through creating art work together.
Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City's Central Park.
Credit was given to "Christo" only, until 1994, when the outdoor works and large indoor installations were retroactively credited to "Christo and Jeanne-Claude.” They flew in separate planes: in case one crashed, the other could continue their work.
Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm.
Sunday, June 11, 2017
John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home — now known as "Constable Country" — which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling"
Heilbrun Timeline of Art History: http://www.metmuseum.org/toah/hd/jcns/hd_jcns.htm
Saturday, June 10, 2017
Unpacking the archive:
"To mark Frank Lloyd Wright’s 150th birthday, many will pay tribute to the architect’s unique gifts and contributions to the field."
"But Wright also had a rare nonarchitectural passion that set him apart from his mentor, Louis Sullivan, and his peers: Japanese art. Wright first became interested in his early 20s, and within a decade, he was an internationally known collector of Japanese woodblock prints."
Kimmelman Review at the NY TImes
From the Smithsonian: "It was an unusual turn of events for a young college dropout from rural Wisconsin. Because Wright was never actually formally trained as an architect, the inspiration he found in Japanese art and design arguably changed the trajectory of his career – and, with it, modern American architecture." ,,,
In his 1910 rendering of the Winslow House, Wright seems to mimic Ando Hiroshige’s use of vegetation as a frame. ((author provided))
More at: http://www.smithsonianmag.com/arts-culture/frank-lloyd-wrights-japanese-education-180963617/
Thursday, June 8, 2017
June 08, 1867. RICHLAND CENTER, WI.- Frank Lloyd Wright was an American architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works. In this image: Frank Lloyd Wright (American, 1867-1959). Gordon Strong Automobile Objective and Planetarium, Sugarloaf Mountain, Maryland. Project, 1924-25. Perspective. Pencil and colored pencil on tracing paper, 19 3/4 × 30 3/4 (50.2 × 78.1 cm). The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York).
He's also famous for desgning buildings which look wonderful but are difficult to live in - poorly ventilated, uncomfortable and expensive to keep up.
Fifteen things you didn't know: here
Criticisms of Falling Water: http://www.wright-house.com/frank-lloyd-wright/criticism_fallingwater.html
"Study nature, love nature, stay close to nature. It will never fail you." Frank Lloyd Wright, b. #OnThisDay in 1867 http://art.famsf.org/frank-lloyd-wright …
"I know I'm committing art-fan-heresy if not actual art-fan-treason by admitting this, but I'm not a Frank Lloyd Wright fan. Yesyesyes, he was a giant and a mega-talent, and his buildings are often beautiful. (I'm not blind.) But while they're beautiful as structures, they're often absurd as buildings...."
"Simple question: Would you want to live in one of his houses? I wouldn't, for two main reasons. Most important is the way a Frank Lloyd Wright house never becomes your home; instead, you move in and become the curator of one branch of the Frank Lloyd Wright museum. You're just the custodian in a monument to his genius. For the other, I wouldn't want to be in charge of (let alone pay for) the upkeep. Wright couldn't resist trying out innovative building techniques -- which has meant in practice that many of his houses are in semi-constant need of expensive repair. " More at: http://www.2blowhards.com/archives/000993.html
The Guggenheim: Looks great but not so great for viewing the art. As always, any building that Wright designed was about him, not about the building's use.
Wednesday, June 7, 2017
Paul Gauguin, renowned for his paintings of exotic idylls and Polynesian beauties, was a sadist who battered his wife, exploited his friends and lied to the world about the erotic Eden he claimed to have discovered on the South Sea island of Tahiti.
The most exhaustive study ever of Gauguin's life has revealed a brutal man who falsely cast himself as a creature of exotic sexuality, a defender of women's rights and a bastion of socialist ideals.
'No one has ever questioned Gauguin's own version of the man he was and the life he lived,' said Nancy Mowll Mathews, author of Paul Gauguin, An Erotic Life, to be published this week. 'But the reality couldn't be more different.'
Until now, the received opinion has been that Gauguin's wife was a bullying harridan who chased her husband from the family home. But Mathews has discovered letters that prove that Matte Gad was in fact a kind, clever woman who was victimised physically, verbally and emotionally by her husband.
Life’s not easy as a Paul Gauguin fan. You are on the defensive too much to be effusive. Gauguin was both a syphilitic pedophile and an artist more important than Van Gogh. See the problem? Foul man, fine artist. Some say our knowledge of the former should change our opinion on the latter. Others, myself among them, think otherwise.
The trouble we aesthetes have, though, is that in Gauguin’s case – just like Van Gogh’s – his life was so dramatic it’s hard not to read the biography on to the art. Indeed, much of the power of his most famous works – the Polynesian-babe paintings – derives from our uncomfortable knowledge of the context they were created in. Although rendered innocent and unerotic, these brown-skinned nudes were more than just Gauguin’s models; they were his sex slaves, too. ...No mater how majestic Gauguin's canvases, it's hard finding sympathy for the devil.
Images from Wikipedia/Creative Commons