Posts Tagged ‘painting’

A Question of Interpretation

Tuesday, May 12th, 2009





    One of the many questions that come to mind exploring Hirst’s body of works concerns the validity of subjective interpretation - does it matter if the viewer comes up with some interpretation that is wildly different from the artist’s intentions? Does that make the interpretation irrelevant?


    These extracts give some of Picasso’s thoughts about the interpretations offered about Guernica. Also interesting to note how his tone changes over a period of years (I would have liked to have known the years he said these remarks but that information was not provided at the Source)




    picassoguernica






    Picasso never committed to a specific explanation of his symbolism: “…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”





    “Picasso made a very poignant personal statement about the horse in Guernica being connected to the idea of the suffering of the people,” adds Failing[1]. “And since it’s an animal with a big lance wound through its center, certainly that’s a connection many people would find quite plausible. But Picasso was maddeningly inconsistent about what he had to say about these particular characters, although he didn’t like to say very much at all about them. He knew that it’s better to not say something and allow the interpreters to fill in the space. That gives them something to do. It makes them think about you more.”




    Years after the completion of Guernica, Picasso was still questioned time and time again about the meaning of the bull and other images in the mural. In exasperation he stated emphatically: “These are animals, massacred animals. That’s all as far as I’m concerned…” But he did reiterate the painting’s obvious anti-war sentiment: “My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. In the picture I am painting — which I shall call Guernica — I am expressing my horror of the military caste which is now plundering Spain into an ocean of misery and death.”



    [1] Failing, Patricia. “Picasso’s ‘Cries of Children…Cries of Stones.’” Art News 126, 7 (Sept 1977): 55-64.





The Cyclops and the Butterfly

Friday, May 8th, 2009





    Damien HIRST  Papilio Ulysses 213.4 by 213.4cm.; 84 by 84in Copyright © Damien Hirst

      Damien HIRST
      Papilio Ulysses (detail)
      213.4 by 213.4cm.; 84 by 84in
      Copyright © Damien Hirst







    Book IX

    Odysseus relates [...] how he was used by the Cyclops Polyphemus.




    ‘So soon as early Dawn shone forth, the rosy-fingered, then did the rams of the flock hasten forth to pasture, but the ewes bleated unmilked about the pens, for their udders were swollen to bursting. Then their lord, sore stricken with pain, felt along the backs of all the sheep as they stood up before him, and guessed not in his folly how that my men were bound beneath the breasts of his thick-fleeced flocks. Last of all the sheep came forth the ram, cumbered with his wool, and the weight of me and my cunning. And the strong Polyphemus laid his hands on him and spake to him saying:




    ‘”Dear ram, wherefore, I pray thee, art thou the last of all the flocks to go forth from the cave, who of old wast not wont to lag behind the sheep, but wert ever the foremost to pluck the tender blossom of the pasture, faring with long strides, and wert still the first to come to the streams of the rivers, and first did long to return to the homestead in the evening? But now art thou the very last. Surely thou art sorrowing for the eye of thy lord, which an evil man blinded, with his accursed fellows, when he had subdued my wits with wine, even Noman, whom I say hath not yet escaped destruction. Ah, if thou couldst feel as I, and be endued with speech, to tell me where he shifts about to shun my wrath; then should he be smitten, and his brains be dashed against the floor here and there about the cave, and my heart be lightened of the sorrows which Noman, nothing worth, hath brought me!”





    ‘Therewith he sent the ram forth from him, and when we had gone but a little way from the cave and from the yard, first I loosed myself from under the ram and then I set my fellows free. And swiftly we drave on those stiff-shanked sheep, so rich in fat, and often turned to look about, till we came to the ship. And a glad sight to our fellows were we that had fled from death, but the others they would have bemoaned with tears; howbeit I suffered it not, but with frowning brows forbade each man to weep. Rather I bade them to cast on board the many sheep with goodly fleece, and to sail over the salt sea water. So they embarked forthwith, and sate upon the benches, and sitting orderly smote the grey sea water with their oars. But when I had not gone so far, but that a man’s shout might be heard, then I spoke unto the Cyclops taunting him:




    ‘”Cyclops, so thou wert not to eat the company of a weakling by main might in thy hollow cave! Thine evil deeds were very sure to find thee out, thou cruel man, who hadst no shame to eat thy guests within thy gates, wherefore Zeus hath requited thee, and the other gods.”




    ‘So I spake, and he was mightily angered at heart, and he brake off the peak of a great hill and threw it at us, and it fell in front of the dark-prowed ship. {*} And the sea heaved beneath the fall of the rock, and the backward flow of the wave bare the ship quickly to the dry land, with the wash from the deep sea, and drave it to the shore. Then I caught up a long pole in my hands, and thrust the ship from off the land, and roused my company, and with a motion of the head bade them dash in with their oars, that so we might escape our evil plight. So they bent to their oars and rowed on. But when we had now made twice the distance over the brine, I would fain have spoken to the Cyclops, but my company stayed me on every side with soft words, saying:


    {* We have omitted line 483, as required by the sense. It is introduced here from line 540.}




    ‘”Foolhardy that thou art, why wouldst thou rouse a wild man to wrath, who even now hath cast so mighty a throw towards the deep and brought our ship back to land, yea and we thought that we had perished {*} even there? If he had heard any of us utter sound or speech he would have crushed our heads and our ship timbers with a cast of a rugged stone, so mightily he hurls.”


    {* Neither in this passage nor in B ii.171 nor in B xx.121 do we think that the aorist infinitive after a verb of saying can bear a future sense. The aorist infinitive after [Greek] (ii.280, vii.76) is hardly an argument in its favour; the infinitive there is in fact a noun in the genitive case.}




    Ulysses deriding Polyphemus - Homer's Odyssey  1829  TURNER, J M WOil on canvas 132.5 x 203 cm.copyright National Gallery London


    TURNER, J M W
    Ulysses deriding Polyphemus - Homer's Odyssey
    1829
    Oil on canvas 132.5 x 203 cm.
    copyright National Gallery London



    ‘So spake they, but they prevailed not on my lordly spirit, and I answered him again from out an angry heart:


    ‘”Cyclops, if any one of mortal men shall ask thee of the unsightly blinding of thine eye, say that it was Odysseus that blinded it, the waster of cities, son of Laertes, whose dwelling is in Ithaca.”




    ‘So I spake, and with a moan he answered me, saying:


    ‘”Lo now, in very truth the ancient oracles have come upon me. There lived here a soothsayer, a noble man and a mighty, Telemus, son of Eurymus, who surpassed all men in soothsaying, and waxed old as a seer among the Cyclopes. He told me that all these things should come to pass in the aftertime, even that I should lose my eyesight at the hand of Odysseus. But I ever looked for some tall and goodly man to come hither, clad in great might, but behold now one that is a dwarf, a man of no worth and a weakling, hath blinded me of my eye after subduing me with wine. Nay come hither, Odysseus, that I may set by thee a stranger’s cheer, and speed thy parting hence, that so the Earth-shaker may vouchsafe it thee, for his son am I, and he avows him for my father. And he himself will heal me, if it be his will; and none other of the blessed gods or of mortal men.”




    ‘Even so he spake, but I answered him, and said: “Would god that I were as sure to rob thee of soul and life, and send thee within the house of Hades, as I am that not even the Earth-shaker will heal thine eye!”




    ‘So I spake, and then he prayed to the lord Poseidon stretching forth his hands to the starry heaven: “Hear me, Poseidon, girdler of the earth, god of the dark hair, if indeed I be thine, and thou avowest thee my sire,–grant that he may never come to his home, even Odysseus, waster of cities, the son of Laertes, whose dwelling is in Ithaca; yet if he is ordained to see his friends and come unto his well-builded house, and his own country, late may he come in evil case, with the loss of all his company, in the ship of strangers, and find sorrows in his house.”




    ‘So he spake in prayer, and the god of the dark locks heard him. And once again he lifted a stone, far greater than the first, and with one swing he hurled it, and he put forth a measureless strength, and cast it but a little space behind the dark-prowed ship, and all but struck the end of the rudder. And the sea heaved beneath the fall of the rock, but the wave bare on the ship and drave it to the further shore.






    THE ODYSSEY OF HOMER DONE INTO ENGLISH PROSE


by S. H. Butcher, M.A. & A. Lang, M.A.


April, 1999 [Etext #1728]
[Date last updated: June 5, 2004]






St Benet’s Abbey, Norfolk

Wednesday, April 15th, 2009






    Here is a place that turns up as a subject several times amongst The Norwich School of Painters. It’s a place steeped in interesting history. The Norfolk Archeological Trust state that “It was the only Anglo-Saxon monastery in the county which continued in use throughout the Middle Ages” and that “… the site was left undisturbed after the Dissolution because of its inaccessible location.” They have more details, art, site plans and photos on their St Benet’s Abbey page




    I’ve been here about three times; two of those occasions were more memorable for disappointments. The first was a picnic plagued by flies and inquisitive cows; the second was a bitterly cold and windy day early in the year. This is one of those places that leaves me feeling great sympathy for anyone who ever had to live there. The surrounding landscape is as flat as Noel Coward said; almost the only objects above the horizon are clouds; virtually the only noticeable change of view anywhere around the ruins is which side of the Abbey you’re looking at - at least, this is how I recall it.



    In short, this is the last place on earth I would choose as a subject. But look what the Norwich School could do with this ‘back of beyond’.





'Remains of St Benedict's Abbey on the Norfolk Marshes - Thunderstorm clearing off 1847' by Henry Bright (1810-1873), oil on canvas, 1847; 80.3 cm x 132.9 cm; Castle Museum number NWHCM : 1947.172.1 : F © 2007 Norwich Castle Museum and Art Gallery


Remains of St Benedict's Abbey on the Norfolk Marshes - Thunderstorm clearing off 1847
Henry Bright
(1810-1873)
oil on canvas 1847
80.3 cm x 132.9 cm
Castle Museum number NWHCM : 1947.172.1 : F
© 2007 Norwich Castle Museum and Art Gallery







‘…As the following pages will prove, Henry Bright’s life was one of honourable distinction in his calling. He had Royalty, his brother brushes, and, if the numerous cuttings I have inspected are any criterion, the Press on his side. He was a highly successful art-master, a member of the New Society of Painters in Water-Colours, and a familiar exhibitor at the Royal Academy and British Institution. To crown all, he enjoyed the friendship of Turner. Despite all these advantages, the public passed to something fresh, but I am happy in the belief that my own efforts at restoring his laurels are taking effect, and that Henry Bright will be a name to recognise in future text-books.’



Augustus Walker



from Henry Bright of the Norwich School by Frederic Gordon Roe
(link to article currently broken - awaiting notification of repair)





St. Benet's Abbey, Norfolk' by John Sell Cotman (1782-1842), watercolour on paper, 1831; 32 cm x 47 cm; inscription in red bottom left signed and dated 'J.S. Cotman 1831'.








A brief biography of John Sell Cotman mentions that “… in 1799 he left to work with the patron Dr Thomas Monro (1759-1833) … Cotman became a prominent member of the Sketching Club founded by Thomas Girtin (1775-1802)”





Maybe that could contain the germ of some explanation why this was such a popular subject as J.M.W. Turner, Tintern Abbey, the transept, a watercolour at the British Museum states that “From 1795 to 1798 Turner was employed by Dr Monro in the evenings to paint washes over copies of watercolours by J.R. Cozens, for which Thomas Girtin drew the outlines.”

St. Benet’s Abbey, Norfolk
John Sell Cotman (1782-1842)
watercolour on paper
1831
32 cm x 47 cm
inscription in red bottom left signed and dated ‘J.S. Cotman 1831′







    And finally as you might expect, the ruined Abbey also features in local folklore as part of the legend of a ‘wyrm’…



      “A fire-breathing dragon struck fear into the hearts of the Ludham residents. Upon discovering its cave they tried blocking the entrance, but the dragon merely tore away the rubble. Finally one man found a boulder that was the exact shape of the cave entrance and blocked it up whilst the dragon was out.




      On finding its cave blocked the dragon moved to the vaults under the ruins of the Abbey of St Benadict.”




    A very pragmatic dragon!





    More dragon legends from around the UK at The British Dragon Gazetteer







Presenting… John Middleton

Tuesday, April 14th, 2009






    These are three of my favourites that I make a beeline for when I visit Norwich Castle.






    John Middleton Lane Scene Watercolour 32.2 - 47.6 cms Norfolk Museums Service Norwich Castle Museum

      John Middleton
      Lane Scene
      Watercolour
      32.2 - 47.6 cms
      Norfolk Museums Service
      Norwich Castle Museum







    It may seem a strange thing to say but I have learnt so much about drawing from studying his delightful watercolours. The way he balances the elements of strong dark passages with loosely defined areas and brings his paintings into focus by using sharply defined edges sparingly.


    Overlaid on this foundation, he adds suggestions of texture. He combines these elements to form paintings that give a sense of depth and light, yet surprisingly, there is very little ‘white paper’ left visible in the completed works. He avoids this becoming gloomy by using the opacity of the darker passages to contrast the translucency of the lighter tones so that the light reflecting back through the pigment glows.






    John Middleton Blofield, Norfolk 1847 Watercolour 33 - 48.2 cms Norfolk Museums Service Norwich Castle Museum

      John Middleton
      Blofield, Norfolk 1847
      Watercolour
      33 - 48.2 cms
      Norfolk Museums Service
      Norwich Castle Museum







    Middleton is often overlooked in the rush to see the major names of John Sell Cotman and John Crome from the Norwich School. There appears to be nothing about him or his life anywhere online - his name turns up in connection with The Norwich School but apart from the few works available online there is nothing I can find, beyond the record of his tragically short lifespan 1827-1856.





    John Middleton Alby Norfolk 1847 Watercolour 31.7 - 48.2 cms Norfolk Museums Service Norwich Castle Museum

      John Middleton
      Alby Norfolk 1847
      Watercolour
      31.7 - 48.2 cms
      Norfolk Museums Service
      Norwich Castle Museum









    The pictures all link to an online collection of his works. The images above are inexpert scans made from my postcards; the scanning has added a red cast to the images which is strictly inaccurate. Copyright information is not included on the cards but probably belongs to Norwich Castle Museum or the Norfolk Museums Service.







Portfolio - Bluebells

Friday, April 10th, 2009





Bluebells















    Bluebells was recently featured at CafePhilos when Paul’s comment reminded me about drawing this piece.





    ‘I’m very attracted to this work for its wonderful description of sunlight, which the artist has made almost tangible. It is also a beautifully balanced composition, and the only thing I can discern missing from the work is a nude or two romping towards us through the flowers. Of course, I firmly believe all art should have a romping nude or two somewhere in the composition, so my opinion on that might not be quite so rational as I could wish.’






    The trunks and branches of trees have often seemed to have a vaguely human shape to me, with their boughs reaching skyward. The photo I worked this piece from had very strong resemblances to human forms in the two most prominent trees, emphasised by the strong light. I made definite efforts to soften this resemblance whilst I was drawing although I still recognise them as being there. It’s never occurred to me to wonder whether they are clothed though.





    I’ve read or heard that the subconscious notices everything whether the conscious brain brings that into awareness or not - as that’s how subliminal advertising works, it seems an accurate statement. A technique to stimulate creativity known during the renaissance was recorded in two major records from the time.




    Leonardo da Vinci Young Woman (so-called pointing Lady) c1516 The Royal Collection © 2005, Her Majesty Queen Elizabeth II


    Leonardo da Vinci
    Young Woman (so-called pointing Lady)
    c1516
    The Royal Collection
    © 2005, Her Majesty Queen Elizabeth II













    A WAY OF DEVELOPING AND AROUSING THE MIND TO VARIOUS INVENTIONS.




    I cannot forbear to mention among these precepts a new device for study which, although it may seem but trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, when you look at a wall spotted with stains, or with a mixture of stones, if you have to devise some scene, you may discover a resemblance to various landscapes, beautified with mountains, rivers, rocks, trees, plains, wide valleys and hills in varied arrangement; or again you may see battles and figures in action; or strange faces and costumes, and an endless variety of objects, which you could reduce to complete and well drawn forms. And these appear on such walls confusedly, like the sound of bells in whose jangle you may find any name or word you choose to imagine.




    The Notebooks of Leonardo Da Vinci
    Volume 1


    Trans by Jean Paul Richter 1888





    Portrait of Simonetta Vespucci Portrait of Simonetta Vespucci (Piero di Cosimo)  The Portrait of Simonetta Vespucci is a painting by the Italy Renaissance painter Piero di Cosimo, c.... (c. 1480) Oil on panel, 57 x 42 cm, Musée Condé, Chantilly, France

      Piero di Cosimo
      Portrait of Simonetta Vespucci
      c. 1480
      Oil on panel
      57 x 42 cm
      Musée Condé, Chantilly, France




















    ‘… He would sometimes stop to contemplate a wall at which sick people had for ages been aiming their spittle, and there he descried battles between horsemen, and the most fantastic cities, and the most extensive landscapes ever seen: and he experienced the same with the clouds in the sky.’





    referring to Piero Rosselli,
    known as Piero di Cosimo
    Vasari, 1568


    ‘The Penguin Book of Art Writing’ p446
    ed Martin Gayford & Karen Wright
    ISBN 0 140 25451 X