Posts Tagged ‘Jock McFadyen’

Blackpaint 386 – Abstract and Figurative; Painting the Churches

March 21, 2013

Lanark

The Alasdair Gray trilogy; I’ve arrived at the part where Thaw (I’m assuming this is at least semi-autobiographical) paints a giant Genesis on the ceiling and altar wall of the church.  It’s an echo of Michelangelo’s Sistine ceiling and wall, of course, but without the 30 year gap – but it also closely recalls the sequence in Joyce Cary’s “The Horse’s Mouth”, with it’s appropriately Apocalyptic denouement.

The descriptions of the paintings in both books would seem to place both Thaw and Gulley Jimson in a stylistic line of British figurative painters including Stanley Spencer, the two Roberts (Colquhoun and MacBryde), Jock Mcfadyen, John Bellany, Peter Howson and Paula Rego; figurative but distorted, surrealistic..  Alasdair Gray too, of course, but not so much.. more illustrative.

Figurative and Abstract

The British figurative tradition of which the above list may be considered the extreme – left? – wing, is very strong and pervasive, having dominated movements in Britain through to street or Grafitti or Urban art whatever you like to call it.  Auerbach, Freud, Bacon, Uglow, Hockney, Blake, Doig, Shaw, Ofili, Dalwood..  OK, non-figurative; Riley, Davenport, McKeever, Ayres, Blow, Lanyon, Hilton, Heath, Feiler, Denny, Hodgkin – fair enough, just as many, if not more.. Hoyland, Wynter, Frost (Terry and Anthony), Turnbull…  What is it, then, that makes me think that abstraction is somehow not quite perceived as the British way?

Maybe it’s to do with exhibitions.  Recent big blockbusters for foreign abstractionists – Schwitters, Richter, Boetti.. when was the last big exhibition of  a British non-figurative painter?

Tate at yourpaintings

Carrying on with my trawl, there’s Albert Irvin‘s Empress (1982)

irvin empress

Sickert’s Ennui (1914) – just a fantastic image; and

Robin Denny’s Golem I (1957 – 8)

Robyn Denny; (c) Robyn Denny; Supplied by The Public Catalogue Foundation

 

There Will Be Blood

Glad to see this again on TV, a chance to compare Day Lewis’ Plainview with his Lincoln.  I preferred the Plainview with his John Huston voice, sudden bursts of violence and cruelty and the moustache – but you could see glimpses of Plainview in the Lincoln.

I’ve Been Loving You So Long

Far be it from me to criticize anything Kristen Scott Thomas is in – apart from the English Patient – but the ending is a cop-out.  She killed her kid as an act of mercy; he was dying from some horrible, painful disease.  At the trial, she refused to explain or defend herself and consequently, was regarded as some sort of monster.  Why resolve it like this?  Better to leave it unexplained.  Same with Festen – the father is eventually condemned for incest and rape; better if the family had continued to rally round him.  Same with The Hunt – the community re-absorbs the “molester” when he is proved innocent; better (and more true) if they’d continued to persecute him anyway.   There’s no redemption, except for celebs and politicians.  The worst cop-out was Ordet though; the religious obsessive actually manages to bring back the daughter-in-law from the dead!  What are we to make of that?

OK, here’s a couple of my pictures – not comparable to those above,I know, but it’s my blog…

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Blackpaint

21.03.13

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Blackpaint 122

April 27, 2010

Tanning and Carrington

What I should have pointed out yesterday, once I had cleared up my own confusion about these two artists, is that they are both living:  Carrington in Mexico, aged 93 and Tanning in the USA, 100 years in August.

As to their work, Tanning does little girls, giant cockroach/grasshoppers in deserted ballrooms, with giant artificial-looking flowers, flights of birds that attack windows and fall as fishes.  Carrington does elongated, wild-haired women (self portraits, I  think), sometimes naked, often beset by white horses and once, attended by a strange half-hyena, half-zebra creature – or maybe it’s wearing its ribs on the outside…

Paul Feiler

I got a fine little Austin/Desmond catalogue from the shop near the Tate Modern, of works by this artist.  Born 1917,  a St.Ives artist who, for some reason, did not get a Tate paperback written about him.  He uses a palette of milky, curdled whites, ochre, browns, greys, blues and blacks.  His surfaces are often scraped and nubbly, his motifs are scored arcs, ovals, circles and stripes, always scratchy and rough.  Some works are semi-figurative; a window frame, for instance.  They have place names mostly, like Porthgwarra and Gwithian.  William Scott compared him to de Stael and in one painting, “Botallack, grey and black”, you can see what he means.  There are some smartly executed little figure sketches too.  It’s fascinating and instructive to see how much variation and beauty can be wrung from a fairly restricted palette and range of marks.

Jock McFadyen

Another cheap book from the same place.  Born in 1950, a youngster compared to today’s other features, McFadyen lives and works in the East End and does scenes of life in the area in the 80s.  A line of prostitutes lean against  wall, three hard-looking men with a forlorn pit bull, a one-legged woman on a crutch, a couple of girls in a park, waiting for “the Cortina Boys”, graffiti, yobs, market scenes.  And a portrait of Harry Diamond, the photographer, dancing to jazz, no doubt, in “Paul Tonkin’s prefab”.  Harry Diamond was known both for his great photography and for having been a model several times for Lucian Freud.  That’s him in Freud’s portrait of the young man next to an aspidistra.  I can attest that McFadyen’s portrait is excellent, having met Harry several times in the last ten years through my dear friend, Bob Glass.

Listening, appropriately, to the Duke Ellington 40’s band, the so-called Blanton band, doing “Harlem Air-Shaft” and “Diminuendo and Crescendo in Blue”

Blackpaint

27.04.10