Posts Tagged ‘Irvin’

Blackpaint 462 – Constable, John and Albert, Turtle Burners’ Best

September 18, 2014

Alastair Sooke on Constable

Two things surprised me in this programme:  first, the fact that Turner was established as a Royal Academy member before Constable; I’d always thought it was the other way round (I suppose because Turner strikes me as the more “modern” of the two); second, the great enthusiasm for Constable in France.  Delacroix apparently repainted one of his own works after seeing a Constable.  The latter treated this adulation with contempt and steadfastly refused to go to France to promote his work.

Still not convinced by Sooke’s case that Constable was a revolutionary figure in the art world, however.

Programmes on Abstract Art, BBC4

I found the Matthew Collings prog great – an hour and a half on abstract art, what could be wrong? – but inevitably, some omissions.  Nothing, I think, on Lanyon, Frost, Hilton, Blow or any of the other St.Ives painters.  Hoyland was there, but not enough and the fabulous Albert Irvin surely was worth another ten minutes.  I like Collings’ own paintings – they always remind me of Festival of Britain motifs – but they don’t look much fun to produce.

High time Hoyland and Irvin had books on them produced by Tate.

hoyland

 

 

Hoyland

irvin empress

 Irvin

Virginia Woolf at the National Portrait Gallery

Not that many paintings – lots of photos, diary extracts etc. – but the few that are there are great.  There’s the Duncan Grant portrait of Virginia that looks like a Toulouse Lautrec, the Vanessa Bell portrait of her with the features practically omitted, except for the mouth and the Grant portrait of a Strachey (I think), sprawled along or across a red sofa.  The best to my mind though, is the little Bell portrait of Saxon at the piano; looks like a Gwen John to me.

vanessa bell saxon

BP Portrait Exhibition, National Portrait Gallery

The two paintings that I thought stood out at the Turtle Burners’ prize this year were by Richard Twoze and William Kloze – I hope I have spelt them correctly.  I didn’t pick them because the names rhyme; didn’t even notice until later.

Twoze painting of Jean Clark got second prize; the Kloze one, of his wife at home in Thailand, has that thing that Freud was so keen on – everything in picture is given equal attention (almost); the metal lamp, the copper-lit doorway; the rendition of the wife has something of Euan Uglow.

richard twose jean woods

 

Twoze

william klose

 

Klose

 

I am in Crete at the moment, but back next week.  Until then, old ones will have to suffice.

001

 

 

Blackpaint

18.09.14

 

 

Blackpaint 358 – Bach, Charcoal, Chalk and Tracer

September 13, 2012

As Promised:

Top 10 uses of music in films (excluding musicals – to come later):

1.  The Gospel According to St. Matthew (Pasolini) – Blind Willie Johnson, Missa Luba and the last movement of the Matthew Passion; no contest for no.1, I think –

UNLESS it is 2.  Satantango (Bela Tarr) – that sobbing, throbbing accordion across the darkening plain;

3. 2001 (Kubrick) – Also Sprach Zarathustra, as awareness glimmers in the hominid’s eye, and he begins crushing the skull with the bone (could also have the jazz crooner over the still of Nicholson at the end of The Shining, or Beethoven’s 9th in The Clockwork Orange);

4.  Any Fellini film with Nino Rota music, but especially La Strada and the parade music at the end of 81/2 (eight and a half – don’t know how to do halves on laptop) – also the Godfather, of course;

5.  Russian Ark (Sokurov) – the Glinka mazurka;

6.  Death in Venice (Visconti) – the Mahler, 5th I think, when he decides to return to the hotel and is smirking to himself in the gondola;

7.  Performance (Roeg) – Sympathy with the Devil sequence;

8.  The Wicker Man (Robin Hardy) – naked Britt slapping the wall, driving poor Edward crazy and singing that gauche “folk” song; also the Summerisle population doing Sumer is a-coming in while Edward is roaring out his defiant Prot hymn as the flames climb higher….

9.  Fitzcarraldo (Herzog) – Caruso belting out of the gramophone on the boat, into the Amazon jungle; Kinsky with his cigar clenched in his teeth, serenaded by the chorus of I Puritani, as the boat sails back into Iquitos;

10.  Gallipoli (Peter Weir) – another boat, this time the troopship – the abrupt shift from patriotic song to Albinoni, as the ship glides in to the embattled beach, shells and tracer sailing overhead in the night sky…

Albert Irvin

I’ve bought a book of his stunning prints and was pleased to read that he thinks his flying experience contributes to his work.  He was a navigator and rear gunner in RAF  Bomber Command during the war and says that the awareness of motion and speed feeds in – I’d thought that some of the marks he makes resemble bomb bursts and tracer bullets, as well as the general coloration of the pieces – but no doubt that’s pushing it too far.

Kings Place, Sculptors’ Drawings

A huge, fantastic and free exhibition, with some brilliant drawings.  I especially liked Michael Kenney’s for the way he drives chalk marks into the charcoal, Alison Wilding’s lovely, messy ink storm, the beautiful head by Glyn Williams and Anthony Caro’s great nude – look at that right knee!

P:atrick Kieller at the Tate B (Robinson exhibit)

There’s a Kieller photograph of a gate below Graham Sutherland’s “Entrance to a Lane”; the deep, louring, black/blue of the sky is stunning and it looks just like a little painting.  Also at the Tate, I noticed for the first time how Lanyon’s “Porthleven” has been positioned with the Reg Butler insect woman and the Graham Sutherland biomorphic shapes to its left; all three pieces echoing each other visually.

Figure drawing

Bray Dunes

Blackpaint

12/09/12