Posts Tagged ‘Max Adrian’

Blackpaint 547 – Knees, Neon, Ken and Viagra

May 28, 2016

green thing1

Green Thing, Blackpaint

28/5/16

Today’s blog is about exhibitions in the West End, two of which have just ended- but you can investigate the work further online.  I just didn’t get round to going soon enough…

Jenny Savile,  Gagosian

This exhibition finished today, I’m afraid, but the drawings on show were stunningly good, as can be seen from the example below – just look at those knees coming out at you.  They are huge, by the way (the drawings, not the knees; but then again, the knees are huge too, of course, because the drawing is).  They are executed with a variety of mark makers, charcoal, pastel, ink too, I think, and most are covered with Twombly-like scribbles in pastel (the drawing below is an exception).  What the purpose of the scribbling is, I’m not sure; I saw her interviewed on TV and she was talking about how children see and draw things, so maybe it’s something to do with that.  Whatever the reason, the drawings are so bold, sure and strong that the scribbles don’t detract from the basic structure – although to my eyes, they don’t enhance it either.

An essential little exhibition, then; unmissable, as they say.

jenny savile

 

Francois Morellet, Annely Juda, Dering Street W1

This one is on until 24th June.  Morellet is French and is now 90 years old.  He founded the GRAV group in the 60’s, which believed that (I quote from the leaflet) “the notion of the sole artist was outdated and which focused on the direct participation of the public.”  He uses materials like neon and sticky tape and his pieces are symmetrical, geometric and slightly off-kilter.  Take the piece below – you want to push the two pairs of rectangles so that they line up to make a big one and the heavy black lines form a cross.  Or at least, I do.

The pieces are neat, succinct, attractive in a passing way.  Nice contrast to the nearby Savile.. until today, of course.

francois

 

Michelle Dovey, The Colourful Sausage Trees, Gimpel Fils, Davies Street… until yesterday.

dovey,

Done it again, I’m afraid – visited it in the last week.  What you would have seen would have been a dozen? or so paintings like the one above, in bright colours, yellows, pinks, of her “sausage trees”.  they are quite small – 36*48 inches, that sort of size.  But now they’ve gone, planted out again.

 

The Music Lovers, Ken Russell, 1970

I’m on a Ken week at the moment, my appetite having been renewed by the fabulous series of TV films he made for Monitor and Omnibus, three of which have just come out on DVD.

The best of these was the one on Delius, “Song of Summer”, and I was delighted to see Max Adrian back as Rubinstein and Christopher Gable, Fenby in the Delius film, as Chiluvsky, Tchaikovsky’s male lover – that’s him on the right below, a far cry from his portrayal of Eric Fenby.  I didn’t recognise him until the credits rolled.  I thought Richard Chamberlain as Tchaikovsky was weak but Glenda Jackson as Nina riveting; beautiful, strong featured, able to transform to bleared, blasted and grotesque for the madhouse scenes.  There’s a lot of Jackson in Maxine Peake, I think.  Forgot to mention Maureen Pryor, Jelka in “Summer”, Nina’s procurator mother in “Music Lovers”

music-lovers

Elena, Zvyagintsev (2011)

This was on TV the other night; a murder story strangely unresolved at the end, it reminded me strongly of Chabrol.  I was very pleased with this insight, until I looked the film up on Wikipedia and found that same comparison.  Viagra as a murder weapon, though – that must be a first??

 

the ring

The Ring – don’t insert the video!!

A life painting that went wrong; the head was strange so I painted it out and put another one on – and got that malevolent Japanese girl from “The Ring”.  Head’s now right, though.

Blackpaint

28.05.16

 

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Blackpaint 546 – Venus, Golgotha, Ken Russell and Delius

May 21, 2016

Still Life with Green Glass

still life with green glasss 2

Blackpaint – continuing with my new policy of putting my painting at the start of the blog, in case you log out without reading on (unlikely, I know).

 

Botticelli Re-imagined at Victoria and Albert

This exhibition falls into three sections:

1. 20th and 21st century works inspired by Botticelli, one of which is the clip from the Terry Gilliam film below (1997):

 

botticelli Thurman

Uma Thurman, coming out of her shell in the Adventures of Baron Munchausen (dir. Terry Gilliam, 1988)

There is also the inevitable Dr. No clip of Ursula Andress, wading out of the waves to Sean (James Bond) Connery’s astonishment and appreciation;  Warhol’s Ribena/raspberry- coloured graphic of the head of B’s Venus; a Magritte, in which Flora from Primavera accompanies a bowler-hatted man;  David laChappelle’s Koons-ish psychedelic Venus, with two unclothed men holding suggestive conches; and a Munoz, in which Venus, a drawing collaged with nuts and washers rises from a sea of modern detritus.

2.  19th century works inspired by Botticelli:

Several works by Burne-Jones of the rich brown tones; a couple by Gustave Moreau (I like the scrapy one); an Ingres nude with a large vase, on which he worked with someone else whose name escapes me and which took him 36 years to finish; several Mucha-like pictures that reminded me of posters advertising fruit and veg, that I used to see in Mrs. Dean’s greengrocers round the corner in the 1950’s; a lovely, freshly- coloured tapestry by William Morris.  And-

3.  Works by Botticelli himself and “Workshop of..”:

Loads of Virgins with baby Christs, mostly hugely fat or nearly as big as the mother, often accompanied by a young John the Baptist.  Virgins usually good, Christs decidedly not so.  The faces have a very graphic, flat, drawn quality (see Simonetta below), maybe something to do with the use of tempera?  Also gives them a very modern look, somehow.

 

Botticelli Vespucci 1

Simonetta Vespucci, Botticelli

Two versions of the same woman, B’s decidedly more glamorous (compare nose, forehead, chin and figure) but del Garbo’s more convincing to my mind – she looks skeptical and rather bored.

Botticelli del Garbo

Simonetta Vespucci, del Garbo

Some great tondos, two portraits of a Medici man, the Mystical Nativity and B’s great (but difficult to make out) drawings of Dante’s circles of hell are the best things on show.

The Cast Rooms at V and A

The strangest sight in these stunning rooms is, of course, still the 12th century Shobdon Tympanum, with its hippy, androgynous Christ in the skirt and stripey sweat shirt-

shobdon tympanum

 

…but these two German Golgothas, the first the size of an old TV, the second a huge plaque, are also of interest, for the odd headgear as well as the brilliant carving:

 

Cast Room 1

Cast of Oak Altarpiece by Hans Bruggemann C.1514 – 21, Schleswig Cathedral

 

Cast Room 3

 

 

And the main event…

Cast Room 4

I don’t know who executed this – took a photo of the wrong label.

 

Song of Summer – Ken Russell’s 1968 Omnibus film on DVD

Russell’s Omnibus films on Elgar, Debussy and Delius (pictured) are out on DVD/BluRay at last; I got them in FOP, Charing Cross Road for £18 – they’re £29 odd in the BFI on the South Bank.  The early rules for art docs on the BBC seem  extraordinary now, and evolved as Russell made them, as a result of his pushing, I guess.  At first, he wasn’t allowed to have actors at all; for his Prokofiev he could only use archive.  For Elgar, he had a boy riding a horse and actors representing Elgar and his wife – but NO dialogue.  For Debussy, he had to do a film about Oliver Reed et al making a film about Debussy, with a fictional director.  Finally, for Delius, he managed actors and dialogue.  Why these restrictions?  I suppose a ferocious regard for accuracy and authenticity on the part of the BBC.

 

Delius 1

Christopher Gable (left) as Eric Fenby and Max Adrian as Delius – or is it Keith Richards in younger days?

 

delius 2

Fenby writing, Delius dictating

Russell based the Delius film on Eric Fenby’s book “Delius as I Knew Him” and on meetings with Fenby himself.  He (Russell) thought it was his best work and said that it was absolutely accurate; Fenby was reduced to tears on visiting the set, as it all came back to him – he’d had a nervous breakdown in the 20s after four years as a willing slave to the blind and paralysed composer-dictator.

The performances of Christopher Gable – a prominent ballet dancer – as Fenby, Maureen Pryor as Jelka, Delius’ wife and especially Max Adrian as the “monster” himself are stunning.   David Collings is also good as the irritating Percy Grainger, chucking his tennis ball over the house and tearing through to catch it on the other side – impossible, surely.  Fantastic film; Russell was a genius.  I could remember nearly every detail from seeing it on TV in 1968.

Blackpaint

21.05.16