Blackpaint 231


Norman Rockwell

Wrote about him in last-but-one blog (Blackpaint 229) and now I hear there is an exhibition at Dulwich Picture Gallery, on now.  I compared him to the Soviet Socialist Realists, in regard to his presentation of American life – fine and dandy, the American Dream – just as the communists portrayed life in the Soviet Union.  Jonathan Jones in the Guardian, however, recalls his 1964 painting of the black girl Ruby Bridges, going to her school, defying the rotten vegetables thrown at her by southern whites opposed to desegregation.  So I was being a little unfair to Rockwell; the Dulwich show leaves this picture out, according to Jones, and sticks to the conservative stuff prior to 1964.  In these Evening Post covers, American life is shown in a glowing, nostalgic light.

Doris Seidler

She has died in the US, aged 97.  Never heard of her until I read the Guardian obituary and saw that beautiful, rectangular, black, ochre and grey collage entitled “Comp with Etched Fragment”, they used to illustrate it.  Its a shame to find out about these artists only when they die.  Not much on the web, either.

Sandra Blow

On the other hand, there are several great paintings by the above, if one goes to Google images.  Right in the middle of page 4, however, there is an interesting image that has nothing to do with the artist, but clearly relates to her surname; there are more throughout the rest of the entry.   Lovers of abstract art should not be deterred by this.

Tate Britain rehang

Some of the rooms have been reorganised on chronological lines.  In the Sickert “end of the pier” room, there is one of the geometric Bombergs entitled “Ju Jitsu” – can make out the interaction of the fighters, but not what the moves are.  There is a nude Spencer on a bed with his nude wife and a joint of lamb, I think – could be beef, though.  Also, his remarkable “Woolshop”, in which the hanks of wool seem to intertwine with the women’s hair.   There is a four panel Eileen Agar, shades of Miro a bit, something to do with the development of an embryo; and a lovely Tunnard, mustard yellow, geometric, entitled “Fulcrum”.  Finally, a picture by Winifred Knights, called “Deluge”, in which women and girls are doing some sort of slanting eurythmic dance.  All vthese pictures are very distinct from each other, the beauty and drawback of a chronological approach.

A large Keith Vaughan in the next room attracts the attention; There’s a reclining and a standing figure, rather featureless and flabby pink – it’s Theseus and the Minotaur, although can’t see it myself.  Not a patch on his de Stael – type pictures.  There’s an Alan Davie, “Black Mirror”, in which the brushwork is very like Bacon’s, say, on his black ones with writhing figures and metal rails; a Hockney pyramid and giant palm in front of it; and a beautiful Auerbach building site in jewel-encrusted orange.  There’s a Heron, one of those in which he uses straight white lines to delineate figures and a Bacon dog, a little, fizzing grey ball of energy, in a frame of course.

Blake

Adjoining these rooms, there is a Blake room, with Nebuchadnezzar crawling, Newton measuring and the Good and Bad Angels, all instantly recognisable and fantastic (in every sense).  There are also several paintings that formed illustrations for Dante’s “Divine Comedy”.  Plutus, the guardian and tormentor of those who have committed sins of avarice, has distinctly Jewish features says the label – although I must say, I couldn’t make this out clearly.  Apparently Blake had an interest in phrenology, which was fashionable at the time.  Thieves are being tormented by snakes, one of which appears to be emanating from a woman’s vagina (this is not just me; the label points it out) – a reminder of Michelangelo’s linkage of snakes and sexuality on the Sistine wall.  There is Brunelleschi being tormented by a 6 footed serpent and a barrator (political power broker) having his skin torn off in lumps; all good stuff – but dodgy on the phrenology front.

Blackpaint

16.12.10

 

 

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