Posts Tagged ‘Fanny Ardant’

Blackpaint 672 – Bomberg, Deneuve and Angels’ Wings

May 28, 2020

Bomberg

Continuing from last blog on Roy Oxlade and Bomberg, I’ve now finished the Oxlade book “Art and Instinct” and I’m somewhat wiser, but by no means completely clear on Bomberg’s main message – or the “Approach”, as he called it (Bomberg tended to capitalise throughout his writings, most of which, in the Oxlade book at least, were unpublished notes).  Two things are clear – he was regarded as a guru by his students, who tended to make works which obviously reveal his influence (see Creffield and Dorothy Mead, for example) and he had an overwhelming sense of mission, to deliver art, and art teaching,  from the “errors” propounded by William Coldstream and others.  Coldstream was  imposing the LTS (learn to see) system on students, which was based on “accurate” observation, measurement, the rules of perspective and proportion developed during the Renaissance.  This precluded a freshness of approach, strapped students into a visual and practical straitjacket and prevented them from finding “the Spirit in the Mass”, to use Bomberg’s phrase.

What was, or is, the “Spirit in the Mass”?  Not sure.  There’s some religious or at least metaphysical stuff in there, obviously – but is it any more than “forget the rules, respond to the subject as you see fit, try to find the essentials, whatever they are, of the object which you are drawing or painting”?  I was surprised, when I looked into Bomberg’s work, to find how poerful and varied it is.  Some examples below.  I’ve left out the early, semi-abstract ones, “Mud Bath” and “Jiu Jutsu” as I’ve discussed them elsewhere.  Also I left out the Palestine paintings – “accurate”, but flat and boring.

 

 

 

 

 

 

Just a few; I love the way he paints women and I was surprised at the erotic charge in some of the pictures.  And that mountainscape.  Check him out – there’s a great sequence on YouTube.

Coronavirus Updates

We in the UK have, for the last six or seven weeks, had the benefit if a daily update on the progress of the pandemic here, delivered mostly by the government minister of the day, flanked, at a proper distance, by a scientist or two.  Certain idiosyncracies of vocabulary and phraseology have developed over that time, repetitions that maybe have already been noted in the press – I wouldn’t know as I stopped buying papers weeks ago – they can carry the virus.

Of the politicians on offer, my favourite is Dominic Raab, because he resembles  Simon Cadell, who played Mr. Geoffrey in “Hi De Hi”.  Anyway – “Incredible”; everyone is working incredibly hard under incredibly difficult circs, doing an incredible job.  Related to this is ” the clock“, which again, everyone is working round“Granular”; I think Jonathan Van Tam, the scientist, introduced this one.  It’s to do with looking really closely at evidence, getting right down to the real nitty gritty to quote the old song – and coming up with a really close analysis – not smooth, but – well – grainy.

And phrases; the way they evaluate the questions put to them, especially those from the public; “I think that’s an incredibly good question” – Matt Hancock is the master of this – “I really do think that’s a really great question” –  then they proceed to avoid answering it, usually by “paying tribute” to “the incredible work” being done by health care workers, researchers, or whoever it might be.  This sounds snotty – I don’t mean it to be; I’ve less time for the arrogant journalists who think they are the real government.

 

Truffaut’s Films

The Last Metro, Deneuve and Depardieu both on fabulous form in Truffaut’s WW11 piece, about an actor/manager (Deneuve) trying to keep a theatre going in occupied Paris, while her Jewish playwright husband hides in the cellar from the Nazis.

 

The next best in the box set; Fanny Ardant this time, with Depardieu; she moves in next door, not knowing that D, her former lover,  lives there.  Smouldering, as Barry Norman probably said.

Angels’ Wings

Jan van Eyck, Ghent Altarpiece (detail)

This picture appeared in the RA magazine, and my partner was intrigued by the wings.  They look as if they’re cut from a melon, she said – green on the outside and sort of fleshy glistening inside,  I looked at some other examples to see – as far as I can make out, they are a one=off.

 

Ghirlandaio, Coronation of the Virgin (detail)

Nice splash of red, yellow and blue here…

 

Fra Angelico, The Last Judgement (detail)

Beautifully marked – but no recognisable pattern..

 

 

Fra Angelico, The Annunciation (detail)

Butterfly wings, definitely.

 

Dieric Bouts, the Road to Paradise (detail)

Lovely blue ones – and presumably, holes cut into the robes.  Must be difficult to get on.

Raphael, The Archangel Michael (detail)

Hint of snakeskin here – look at that fore-edge.

 

To finish, a revamped painting of mine, which I noticed “after the fact” sort of bore a resemblance to the theme – but not to the quality, of course…

Angel Wings (formerly Lost in the Woods)

Blackpaint

29.5.20

Blackpaint 619 – Milne, Picasso and Truffaut

May 14, 2018

A long gap since I posted last, due to events as Harold MacMillan put it.  More regular from now on, I hope.

Dulwich Picture Gallery – David Milne

Another Canadian artist at Dulwich.  I’m afraid this exhibition finished last week, but I thought it was worth mentioning.  Milne used a limited palette of four or five colours in most of his paintings, but the effectiveness is not diminished, as you can see.  For my money, the best ones were those where figures are set within the surroundings in such a way as they sink into them.  Look closely at the painting below; it’s a seated woman reading, with a cat on her lap.

Picasso 1932 – Tate Modern

I’ve been twice so far.  It’s staggering, if only for the volume and range of work completed in the year.  If you look at the dates of the works, it appears that he was completing a painting or sculpture a day – this is because he dated the work on the day he decide it was finished.  Sometimes, he probably took a few days to finish!

As far as the pictures go, it’s clear that he was generally uninterested in surface or texture; he gets the image down on canvas and moves on to the realisation of his next idea.  There will be a series of variations on a theme (for example The Rescue, in the final room, in which we see several images of a woman saved from drowning).  Most of the images are stunning; in a few, you feel that he is pushing it – perhaps even taking the piss (can’t think of a more delicate way of phrasing it).

Strangely for a big prestige exhibition like this. you can take photos freely – I’ve got more than I can be bothered to post in this blog, so I’ll put a few more up next time.

 

 

Unusually, a bit of texture in this one, around the face…

 

Taking the piss here just a little?

 

I know this picture well, but unbelievably, hadn’t noticed the resemblance to an octopus.  The exhibition helpfully has a film of the – cephalopod, is it? – next to the painting, so you can hardly miss it.

 

Now, a series of tiny octopuses apparently contained in tins, like sardines.

More on Picasso next blog, which will be soon.

Francois Truffaut (DVDs, boxed set of eight)

I’d always thought of Truffaut as a little bit – soft really; bit slushy.  I think it is the hangover of “quirkiness” from the unwatchable “Jules et Jim”, Jeanne Moreau in a “quirky” cap set at a jaunty angle, dressed as a man (she’s got a pencilled-in moustache  for some reason, I think), running across a bridge, pursued adoringly by the two men in her life.  It’s in the box, but I can’t bring myself to watch it.

The other films. however, were a really pleasant surprise, particularly the three mentioned below.  In “Anne and Muriel”, the triangle is reversed; two sisters to one man – but not at the same time.  Or even within the same time frame.

Anne and Muriel

The Last Metro (1980)

Again, two men, one woman – eventually.  And yes, within the same time frame.  Stars the ice queen Catherine Deneuve, displaying emotion with the merest movement of an eyebrow, the pursing of the lips..

The Woman Next Door

Depardieu again, this time with Fanny Ardant.  The best film in the set, I think, as well as the darkest (even though The Last Metro is set in WW2 occupied France).

 

Crouching Pink

Blackpaint 

14.5.18