Blackpaint 543 – The oranges are not the only fruit…


Delacroix and the Rise of Modern Art at the National Gallery

Gauguin still life

Gauguin, Still Life with a Delacroix

I have to say that I thought the Delacroixs (is that the proper plural?) were awful, on the whole.  They were melodramatic, exotic in a bad way and somehow dowdy; the brushwork looked dry and the colours lurid.  Then I looked at the work online and it was brilliant – luscious brushwork, fervid energy, piercing colour.  Just shows how photography has a glamorising effect on paintings, something I’ve noted before.

Then again, it could be I’ve been corrupted by all those repros you used to get in furniture shops in the 50s and 60s; Arab boys, Spanish flamenco dancers, harbour scenes – Delacroix is just too exotic for me.

The stunning Gauguin still life above is, for my money, the best thing on show, but there are great paintings by Degas, Redon, Moreau (not so great), Cezanne, two more Gauguins (one brilliant, the other terrible) and some awful Renoirs – but I have a blind spot about the latter, can’t stand his work.

Better show a Delacroix, after all, it’s his show, so:

delacroix algerian women

Algerian Women in their Apartments

See, it looks great as a photo.

Making your Ears Tingle

I’m reading Kings II in the King James Bible at the moment and here are three quotations that made me sit up:

Hath he not sent me to the men which sit on the wall, that they may eat their own dung, and drink their own piss with you? (2 Kings 18, 27)

Behold, I am bringing such evil upon Jerusalem and Judah, that whosoever heareth of it, both his ears shall tingle. (2 Kings 21, 12)

…and I will wipe Jerusalem as a man wipeth a dish, wiping it, and turning it upside down. (2 Kings 22, 13).

Pithy, eh?

The Hollow Crown – Richard II

hollow crown

Ben Whishaw perfectly cast, in my view; not an easy play to make work with all that rhyming verse – brilliant poetry, but it can sound quaint as dialogue, which it never does in this version.

The director does three art things in the murder scene at the end:

He has Richard, naked except for a loincloth, clamber to his feet, first sticking his rear high in the air in a direct echo of the Bacon/Muybridge boy;

Richard is slaughtered by crossbow arrows – up to now, he’s been Christ, now he’s St. Sebastian;

His body is dragged in a coffin before the usurper, Henry IV.  The corpse is twisted in the manner of those curving Christs on the crucifix by Cimabue et al.

 

Conceptual Art in Britain 1964 – 1979 (Tate Britain)

keith arnatt

I was determined to go round this without spending hours reading.  Consequently, I was round it in about fifteen minutes; there’s not much to look at apart from words.

A pyramid of oranges by Roeloff Louw from which you are supposed to help yourself (I presume they replace them);

oranges

A photo sequence of Keith Arnatt eating his own words (above);

A photo sequence of KA gradually disappearing into a hole in the ground;

Bruce McLean (in a photo sequence), performing contortions in spaces between plinths;

Michael Craig – Martin‘s glass of water/oak tree;

A long rolled-up fabric “machine” in the colours of the stars and stripes by John Latham – didn’t find out what it did;

A heap of builder’s sand by Barry Flanagan;

Some vitrines with magazines in them, some about the Singing Sculpture by Gilbert and George, in which they painted themselves gold – very influential maybe, given the resemblance to the living sculptures outside the National Gallery.

The rest was writing, including much work by Art & Language – strong on the latter, not much of the former.  Some quite turgid Marxism on one wall – turned out to be Trotsky.  I don’t scorn conceptual work, I should say; I just don’t see it as useful for me to speculate on the concepts which may or may not be involved; probably get them wrong, anyway.

Two of mine, to finish:

St.George

St.George Death Stroke (WIP from last blog)

And my attempt at a still life, in homage to Gauguin:

still life

Still Life with Pomegranate 

Blackpaint 

30.04.16

 

 

 

 

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