Archive for the ‘Artists’ Category

Presenting… Li Pei

Friday, March 6th, 2009







    Record of Stone Bell Mountain

    by Su Shi




    painting-li-pei-01-ag1

      Li Pei, Landscape; Qing to Republic Period.






    The Water Classic says: At the mouth of [Lake] Pengli there is a Stone Bell Mountain.



    Li [Dao] yuan held that ‘below it, near a deep pool, faint breezes drum up waves, and water and rocks striking one another toll like huge bells.’ Others have often doubted this claim. Today, if one takes a bell or a lithophone and places it into the water, even if there is great wind and waves, he cannot make it ring. How much the less, then, for [common] rocks?



    It was not until the time of Li Bo [fl. early 9th century] of the Tang that someone searched for a surviving trace of the phenomenon. Upon finding a pair of rocks by the bank of a pool, he ‘knocked them together and listened. Their southern tone was mellow and muted; their northern timbre was clear and shrill. When the clang ceased, its resonance mounted; the remnant notes then gradually came to rest.’ Li Bo then held that he had found the ‘stone bells.



    I am, however, especially doubtful of this claim. The clanking sounds made by rocks is the same everywhere. And yet, this place alone is named after a bell. Why, indeed, is that?




    On Dingchou day of the sixth lunar month in the seventh year of the Prime Abundance [Yuanfeng] period (14 July 1084), I was traveling by boat from Qi’an to Linru. My oldest son [Su] Mai was just about to leave for Dexing [township] in Rao [county] to take up the post of Pacificator (wei). Since I accompanied him as far as Hukou, I was able to observe the so-called stone bells. A monk from a [nearby] monastery dispatched an apprentice, who carried an ax, to select one or two of the scatttered rocks and knock them [with the ax], upon which they would make a ‘gong-gong’-like sound. I laughed just as I had done before, still not believing the legend.



    That evening, the moon was bright. Alone with Mai, I rode a little boat to the base of a steep precipice. The huge rocks on our flank stood a thousand chi high. They looked like fierce beasts and weird goblins, lurking in a ghastly manner and getting ready to attack us. When the roosting falcons on the mountain heard our voices they, too, flew off in fright, cawing and crying in the cloudy empyrean. Further, there was something [that sounded] like an old man coughing and laughing in a mountain ravine. Someone said: ‘That is a white stork,’ I was shaking with fear and about to turn back, when out from the surface of the water rang a loud noise that gonged and bonged like bells and drums unceasing in their clamor. The boatman became greatly alarmed.



    I carefully investigated it, only to discover that everywhere below the mountain were rocky caves and fissures, who knows how deep. Gentle waves were pouring into them, and their shaking and seething and chopping and knocking, were making this gonging and bonging. When our boat on its return reached a point between the two mountains, and we were about to enter the mouth of the inlet, [I saw that] in the middle of the channel was a huge rock that could seat a hundred people. It was hollow in the center with numerous apertures, which, as they swallowed and spat with the wind and water, made a bumping and thumping and clashing and bashing that echoed with the earlier gonging and bonging. It seemed as if music were being played. Thereupon, I laughed and said to Mai: ‘Do you recognize it? The gonging and bonging are the Wuyi bells of King Jing of Zhou; the bumping and thumping and clashing and bashing are the song-bells of Wei Zhuangzi. The ancients have not cheated us!’



    Is it acceptable for someone who has not personally seen or heard something to have decided views on whether or not it exists? Li [Dao] yuan probably saw and heard the same things I did, yet he did not describe them in detail. Gentlemen-officials have always been unwilling to take a small boat and moor it beneath the steep precipice at night. Thus, none was able to find out [about the bells]. And, although the fishermen and boatmen knew about them, they were unable to describe them [in writing]. This is the reason that [such a record] has not been passed down through the generations. As it turns out, imbeciles sought the answer by using axes to beat and strike the rocks. Then they held they had found out the truth of the matter. Because of this I have made a record of these events, for the most part to sigh over Li [Dao] yuan’s naivete and to laugh at Li Bo’s shallowness.






    Trans. James M Hargett,
    On the Road in Twelfth Century China, pp. 46–47








    About the painting, extracts from the page…


      Chinese-painting-pre 1930-item #1006

        Painting, ink on paper. Mountains and rivers landscape with pavilions. Entitled, inscribed and signed, with two seals of the artist; 1920 to1930
        80.5 x 36 cm (31.7 x 14.1 inches).









Indelible Impressions – Vincent

Thursday, March 5th, 2009






    Marshall Cavendish issued a series about the great artists when I was younger, which I religiously collected – and still have. Every issue was just as religiously studied and with some of the artists, Van Vogh amongst them, I struggled to understand just what was special about their work.








Wheat Field with Crows, 1890

Wheat Field with Crows, 1890





“In both figure and landscape … I want to get to the point where people say of my work: that man feels deeply, that man feels keenly.”


Letter to Theo van Gogh
21 July 1882








    This particular painting, Wheat Field with Crows was a ‘milestone’ for me. I studied the colour plate for all the aspects I could think of – in the end I just sat and looked at it, allowing my eye to wander around the surface. I expect I filled in with many suppositions and assumptions, adding my own cultural interpretation about the ‘murder of crows’ but as I looked, there was so much sadness in this painting that it brought tears to my eyes; I didn’t know paintings could do that. It was many years before I stood before another painting that moved me as powerfully again, after I’d mistakenly thought that that effect was unique to this particular painting.








Garden with Arbor, June, 1881

Garden with Arbor, June, 1881












    “What I like so much about painting is that with the same amount of trouble which one takes over a drawing, one brings home something that conveys the impression much better and is much more pleasant to look at … it is more gratifying than drawing.


    But it is absolutely necessary to be able to draw the right proportion and the position of the object pretty correctly before one begins. If one makes mistakes in this, the whole thing comes to nothing.”


    Letter to Theo van Gogh
    20 August 1882








    It didn’t convert me into an admirer of Vincent’s work but I wasn’t going to dismiss him when he was the only artist I knew of that could create that effect on me. I’ve ‘bumped up’ against some of his oils since, usually reluctantly, and it’s always been rewarding for what I’ve learnt, if not a totally pleasant experience.


    I’d seen a few of his drawings over the years and knew of course, of his reputation as a draughtsman and of all his letters to his brother Theo – but I’d never read any quotations or had any idea of the volume of drawings and sketches he produced – so the examples and quotations here were a delightful surprise to me. I thoroughly enjoyed the glimpses into how he thought about his work from the quotations.


    So, in his own words…








Landscape with Willows and Sun Shining Through the Clouds, mid-March 1884

Landscape with Willows and Sun Shining Through the Clouds, mid-March 1884






      ”Corot drew and modelled every tree trunk with the same devotion and love as if it were a figure.”


      Letter to Theo van Gogh
      c.September 1881







      ”If one draws a pollard willow as if it were a living being, which after all is what it really is, then the surroundings follow almost by themselves, provided only that one has focused all one’s attention on that particular tree and not rested until there was some life in it.”


      Letter to Theo van Gogh
      c.15 October 1881











Haystacks near a Farm, 12-13 June 1888

Haystacks near a Farm, 12-13 June 1888














    “… you will see when you come to the studio that besides the seeking for the outline I have, just like everyone else, a feeling for the power of color. And that I do not object to doing watercolors; but the foundation of them is the drawing, and then from the drawing many other branches beside the watercolor sprout forth, which will develop in me in time as in everybody who loves his work. …”



    Letter to Theo van Gogh
    31 July 1882












Olive Trees, Montmajour 1888

Olive Trees, Montmajour 1888




      ”I have been knocking about in the orchards, and the result is five size 30 canvases, which along with the three studies of olives that you have, at least constitute an attack on the problem.


      The olive is as variable as our willow or pollard willow in the North, you know the willows are very striking, in spite of their seeming monotonous, they are the trees characteristic of the country.


      Now the olive and the cypress have exactly the significance here as the willow has at home.


      What I have done is a rather hard and coarse reality beside their abstractions, but it will have a rustic quality, and will smell of the earth. ”




      Letter to Theo van Gogh
      c.21 November 1889


















Presenting… Henri-Edmond Cross

Tuesday, March 3rd, 2009







    Once I Heard You




    Once, I heard You
    Insisting with the Moon to bring the light;
    Once I heard You
    With that light, a voice so clearly true
    All Stars then stopped their turns at just how bright
    The World beneath was made to seem that night.



    (c) Intrepid Dreamer Poetry







    cross-landscape-with-stars



    Landscape with Stars


    Henri-Edmond Cross
    (Henri-Edmond Delacroix 1856–1910)






Three Gentlemen in Venice

Monday, March 2nd, 2009







ruskin-grand-canal











      “You do not see with the lens of the eye. You see through that, and by means of that, but you see with the soul of the eye.”


      John Ruskin
      (1819-1900), English art critic.


    The Grand Canal, Venice
    John Ruskin







    Childe Harold’s Pilgrimage



    [I stood in Venice]
    George Gordon Byron



    I stood in Venice, on the Bridge of Sighs,
    A palace and a prison on each hand:
    I saw from out the wave her structures rise
    As from the stroke of the enchanter’s wand:
    A thousand years their cloudy wings expand
    Around me, and a dying Glory smiles
    O’er the far times, when many a subject land
    Looked to the wingéd Lion’s marble piles,
    Where Venice sate in state, throned on her hundred isles!



    She looks a sea Cybele, fresh from ocean,
    Rising with her tiara of proud towers
    At airy distance, with majestic motion,
    A ruler of the waters and their powers:
    And such she was–her daughters had their dowers
    From spoils of nations, and the exhaustless East
    Poured in her lap all gems in sparkling showers:
    In purple was she robed, and of her feast
    Monarchs partook, and deemed their dignity increased.



    In Venice Tasso’s echoes are no more,
    And silent rows the songless gondolier;
    Her palaces are crumbling to the shore,
    And music meets not always now the ear:
    Those days are gone–but Beauty still is here;
    States fall, arts fade–but Nature doth not die,
    Nor yet forget how Venice once was dear,
    The pleasant place of all festivity,
    The revel of the earth, the masque of Italy!







turner-piazzetta-6019

The Piazzetta, Venice

JMW Turner
Photograph: National Gallery of Scotland






Presenting… ArtPassions – Dulac

Sunday, March 1st, 2009






    Lone Dove
















    Rubaiyat



    by Omar Khayyam
    Trans by Edward Fitzgerald




        LXXI.



        The Moving Finger writes; and, having writ,
        Moves on: nor all your Piety nor Wit
        Shall lure it back to cancel half a Line,
        Nor all your Tears wash out a Word of it.















      ** Lone Dove image from ArtPassions’ Dulac gallery