Posts Tagged ‘Piet Mondrian’

Blackpaint 424 – Lanyon Sketches, Guston, Borgen and Sharks

December 6, 2013

Lanyon Sketches at Gimpel Fils

A fantastic exhibition for Lanyon fans at the above gallery in Davies Street W1, off Oxford Street by Bond Street tube.  There are sketches for the murals at Birmingham and Liverpool Universities and some other studies, all in gouache on thick paper, sometimes several layers.

lanyon4

This is the sketch for the Liverpool work, titled, rather portentously, “The Conflict of Man with Tides and Sands”, done over eight panels of paper; the washed-out colours, white, slate grey shading to blue, ochre, are typical of Lanyon, as is the drawing in heavy black line and sometimes wispy sketchiness, as if done with a nearly dry brush twirled against the surface.

In the Birmingham sketch, Lanyon uses much brighter colours, salmon pink, a bright, almost leaf green, a more vivid blue, a richer ochre; no title for this one.

lanyon5

Those black markings look like calligraphy, like Kline a bit – or maybe mathematical symbols; not sure which faculty the mural was for.  One other example – this one’s called “Yellow Middle”, but it looks like a plough to me.

lanyon2

Morton Feldman, “Give My Regards to Eighth Street”

A very abstruse collection of writings by the avant-garde composer, in which he frequently draws comparisons between music and painting, with particular regard to his favourite trio, Mondrian, Rothko and Guston.  In each little segment, there is maybe one paragraph that I understand.  here he is on finishing a painting:  “Guston tells us he does not finish a painting, but “abandons it”.  At what point does he abandon it?   Is it perhaps the moment when it might become a “painting”?  After all, it’s not a “painting” that the artist really wanted…..Completion is not in tying things up, not in “giving one’s feelings” or “telling a truth”.  Completion is simply the perennial death of the artist.  Isn’t any masterpiece a death scene?  Isn’t that why we want to remember it, because the artist is looking back on something when it’s too late, when it’s all over, when we see it finally, as something we have lost?”  I think he (Feldman) is on to something, but I’m not sure I understand it fully…

guston

Guston, in abstract mode.

Borgen

I thought the episode about criminalising prostitutes’ clients in Denmark and the conflation of prostitution and trafficking was particularly good.  I was astounded to read that Hollande’s government is bringing in similar legislation.  On the characters, I like the way that Birgitte is becoming colder, harder, more pragmatic.  The only way, really, since her new party doesn’t seem to have any policies of its own; on the other hand, it’s not real, is it?

Gravity

When she splashed down, and sank, and then emerged from the capsule and began fighting her way to the surface, did you also think “Shark!” followed closely by, “No, surely they wouldn’t…?”

??????????

In Progress

Blackpaint

6.12.13

Advertisements

Blackpaint 417 – Size Matters; Big it Up

October 18, 2013

Paul Klee at Tate Britain 

Some of these are quite nice.  Not a ringing endorsement, I know, but my genuine reaction.  Klee is a techniques man ; his “oil transfer” drawings are an example – the method produces a yellow-brown, stained background on which the spidery lines of the drawing appear to be roughly scorched in.  Then, there are the dots; tiny, variegated blobs of colour that produce a tapestry or carpet effect – which is tasteful and nice.  There are the dark tiles of midnight blue and grey and black with a disc of bright yellow and a patch of orange; “Full moon and fire”, or some such title – no prize for spotting the moon…

klee1

There are a lot of fish, tastefully drawn and coloured; little imp figures that recall – or maybe prefigure – Victor Brauner and other surrealists; many of the pieces remind one of rock and cave drawings, thick black lines done with a scorched stick, maybe.  Hot air baloon heads, spider web drawings…, there’s a touch of those early Mondrians, with the interlocking lines before he moved on to squares.  And maybe a bit of Asger Jorn, without the texture…

klee2

What I really missed, however, was some size.  They are all small; after five or so rooms, you want to see something by some drunken American abstract expressionist who has crashed his car into the Tate front door, strode in trailing fag smoke and whisky fumes, and started to hurl paint over a five metre square canvas, stretched on the floor (canvas, not drunken ab-ex).

When you look at the catalogue, however, the pictures look beautiful – glowing and luminous.  That’s the way to see them, in a book.

Unrelated

Joanna Hogg’s 2007 film, I think it’s the first of a trilogy, with “Archipelago” and her latest film “Exhibition”, with Liam Gillick, Viv Albertine and Tom Hiddleston.  In “Unrelated”,   Kathryn Worth plays Anna, a middle -aged  woman on a Tuscan holiday with her best friend’s family, including Tom Hiddleston as the eldest son.  She tries to keep up with the “youngs”, swimming naked, smoking dope, fancying Hiddleston, and ultimately being politely rebuffed by him when she makes the offer.  Anna is taking time out from her partner but staying in touch with him by means of anguished mobile phone conversations at the top of hills – shades of Kiarostami’s “The Wind will Carry Us”.  Again, the acting is totally believable: Hiddleston and Worth are fantastic and excruciating.

The cinematographer is Owen Curtis, but the look is the same as “Archipelago”;  those doorway shots, light limning figures in bedsheets in dark rooms, Tuscan landscapes instead of the Scilly Isles, but that same Old Master quality of light on the skin in the close-ups.  The director of photography for “Archipelago” is Ed Rutherford, so I guess it must be Hogg herself who sets the look of the films.  Just great; can’t wait to see the latest film.

Jacob’s Room

I’m now on the third novel in Virginia Woolf’s collected works (NOT illustrated by R Crumb, more’s the pity), after “The Voyage Out” and “Night and Day” – for the first time, I realise how she could possibly be compared to James Joyce, in terms of narrative experimentation.  the first two were conventional; in “Jacob’s Room”, you have to wait for the next page to find out where you are (or more accurately, where Jacob is) and what’s going on.  Incredibly annoying, but I’m still reading.. no doubt, I’ll end up thinking she’s a genius.  Could be worse, could be Jane Austen.

Phil Chevron

Died recently – wrote “Thousands Are Sailing”, the Pogues classic, which if you never did anything else of note…..

003

 

Meeting at Roissy

Blackpaint

18.10.13