Blackpaint 409 – Baroque Carrots, Bertolucci and Lautrec in the House


Guggenheim (Cont.) – Riotous Baroque

Concluding last week’s blog on Bilbao; “Riotous Baroque one of those exhibitions that mix modern works with 17th century and Renaissance paintings on “similar” themes (sex, death, supernatural, drunkenness, riot, religious transport, violent death etc., etc…)

The old paintings include Teniers animals aping men, drinking, spewing, fighting, wearing clothes; witches’ sabbaths, flying ghost ships, gaping-mouthed devils, drunken oglings and gropings in Dutch taverns, mythological figures tearing their own innards out – all good stuff.  There are three, big, beautiful paintings of saints in ecstasies on huge dark backgrounds, that could have been Caravaggios or Zurbarans – but turned out to be by de Ribera, de Piola and Jan van Bathurnen.  Never heard of the last two.

The modern stuff:  Jurgen Teller photographs of Charlotte Rampling and Raquel Zimmerman standing naked amidst white baroque statuary – rather like those Richard Hamilton pictures recently at the National Gallery, naked hoovering and the rest; Glenn Brown doing the usual thing of old-style pictures, swirly, sickly, layered paint, simulated decay; several simple, patchy paintings by Dana Schulz that recall Gary Hume; a painting by Urs Fischer of a woman in an Ingres dress, her face and body obscured by an enormous erect carrot, peeled, ridged and glistening – what could it represent?

fischer carrot

Actually, this is one of a number Fischer has done of portraits with face obscured by vegetable or fruits such as bananas and lemon slices, so perhaps I have misread any phallic significance.  Fischer, I find, is a man; I’d thought the Urs was short for Ursula, like a German friend of ours.

Finally, three large white Albert Oelhens.  Sprays and splashes and  swatches of delicious paint, mauve, mint green, crimson, over his beautifully applied CGI images – on one, a metallic, psychedelic starburst; on another, a big “per cent” sign.

albert Oelhen

Toulouse Lautrec Museum, Albi (Southern France)

Stunning town and so are the paintings in the TL museum.  Woman on a Divan,  Comtesse Adele de Toulouse Lautrec (1895) –  my partner says she has Cezanne hands – Carmen la Rousse, tousled hair, startled eyes;

lautrec3

sketches for posters fabulous, with a depth that the posters don’t have; Caudieux the actor; the brothel pictures, women in chemises, lounging on divans, in bed together…

lautrec4

The woman doing her hair – that white and black on brown board; it looks like pastel and charcoal, but it’s paint.

lautrec2

 

Inspired me to try same; results at bottom.

The Conformist

Watched Bertolucci’s great film again, and found it more balletic and operatic – without the singing – than last time.  Trintignant’s gliding walk in the fedora and overcoat, Sanda’s Lady Penelope face, the dance of the two women, the Paris shops by night with the blue windows, the Caesar-esque assassination in the forest, Sanda’s face a blood mask…  great film.

The Dreamers

More Bertolucci; Paris 1968 this time.  Great scene where the three protagonists race through the museum in imitation of “Bande a Part”; the run is intercut with the original film, the runners interchanging, colour to b and w…

Sweet Tooth

Reading McEwan’s last book; marred only by too much local colour.  I’m sure that all the London pubs and bands mentioned are accurate – I know they are, I was there too – but they can be distracting.  BUT – the book is written from the point of view of a woman; I can’t think of any other male writer who has done this, apart from Joyce with the Molly Bloom bit at the end of Ulysses.

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Blackpaint

Life Drawings from Millman Street

31.08.13

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