Posts Tagged ‘Schiele’

Blackpaint 631 – Oceania, Klimt and Schiele – All in the Best Possible Taste

December 5, 2018

Oceania, RA – Closes 10th December!

Fantastic exhibition, this – above, canoe splashboards, on which the decoration is superficially, but noticeably similar to Celtic motifs.  Not what makes them good, of course, but just in passing.  Most of the exhibits are from Papua New Guinea, Hawaii, the Solomons, Tonga, Admiralty Islands, etc.; memorable ones are (deep breath):

canoes with carved animals and prostrate human figures, HUGE steering paddles, aforementioned Celtic- style splashboards, a totemic column (?) with figures climbing it, fantastic double- headed god carved in wood, Hawaiian heads with Teddy Boy hairstyles and huge, grimacing jaws, scowling, pop-eyed masks covered with tiny orange feathers, pearl shell eyes, dog’s teeth, the deity from the Empson poem (I think), encrusted with little figures, strip cartoon wooden gravings, one telling the story of a man with a penis long enough to bridge a lagoon, navigation maps composed of shells and string, triangular faces and breasts, women and men with Egyptian-style cylindrical beards (?), fearsome clubs, whale dentistry… and tons more, all done with consummate skill, imagination and taste as well as meeting specific practical and spiritual requirements.

Additionally, there is the enormous moving – diorama? – by Lisa Reihana, that was at last year’s Venice Biennale, depicting the arrival of the Europeans in a sort of composite Oceania – some great dancing by grass-skirted maidens and muscular young men, wrestling – no judo moves, I was interested to note – and a group of white-painted, naked male figures, surely Australian aboriginals, performing an emu dance… Had to leave at this point, so I missed the interaction with Captain Cook’s men, which was a pity as that was the political point of the whole thing.

I’m afraid that I have treated the whole thing as a series of beautiful objects that tickle my aesthetic tastebuds, devoid of their context, stripped of political, historical, cultural, social significance – but the reader can probably get that elsewhere, or work it out for… themself?  My advice is to see it soon – closes on 10th December

Klimt and Schiele Drawings, RA

This is upstairs from Oceania, in the Sackler Gallery of the RA.  When we went, it was absolutely packed, which goes some way toward explaining (but not excusing) the slightly blurred nature of the photos – had to take them fast, whilst being jostled.  Klimt: delicate, light but beautifully accurate, daring but tasteful poses… Schiele – not so much.  But I love them… On until 3rd February 2019.

Klimt

 

Klimt

 

Schiele

 

Schiele

 

Schiele

 

Some People, dir. Clive Donner (1962) on Talking Pictures Channel

Recently shown on my now favourite old films channel, I remember seeing this at the pictures – I must have been 13 or 14.  It’s a bit worthy, being a sort of advert for the Duke of Edinburgh’s Award Scheme, which the star, Kenneth More, was concerned with.  It has some great shots of Bristol in the 60’s but what I’d completely forgotten was a motorbiking sequence, resulting in a hair-raising accident involving a removals van.  Also starring Ray Brooks (Cathy Come Home) and David Hemmings again.

Ray Brooks and Angela Douglas – the black actor (I think his name in the film was Jimmy) isn’t in the Wikipedia cast list…

Faces in the Crowd

Wrote about this great Whitechapel show from 2005 last week; below, this astonishing photo of Rockwell, leading American Nazi, in uniform, with henchmen, surrounded by suited African-Americans.  I assume this extraordinary juxtaposition came about because the Black Muslims advocated a form of separation of the races…

Eve Arnold’s shot of Lincoln Rockwell at Black Muslim meeting

 

Below, my latest effort, based, as can be seen,  on a photo of the large police station just off the Strand…

 

Just Off the Strand

Blackpaint

5.12.18

 

 

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Blackpaint 136

May 18, 2010

German Expressionists

I said some blogs ago (Blackpaint 105) that German colours had a sort of dead, livid quality; I applied this to pretty much all German artists from Expressionists to date.  Now, obviously this is a ridiculous generalisation and probably bordering on racial prejudice – nevertheless, I’m going to try to modify the view whilst hanging on to some sort of justification for it, simply because I don’t like admitting to being wrong.

I’ve been looking at a beautiful Taschen book on Expressionism by Dietmar Elger – it has a glowing still life in red, yellow, blue and black on the cover, by Jawlensky – and I’ve decided the “problem” for me is that the pictures are so crowded with colour.  Picture after picture is chock-full of brilliantly coloured images which fill the canvas completely, leaving no space at all.  The colours, to be sure, are sometimes livid and acidic; Schmitt-Rottluff and Max Pechstein in particular, turn is some very livid nudes in acid green-blue and greeny yellow.  But almost all the painters in this book crowd out any space with colour.  The exception is Egon Schiele, who eliminated background from his beautiful, diseased nudes altogether.

So, not dead colour –far from it – but too much of it.  That said, I think that in Beckman’s work, for example, that “deadness”, the washed-out quality, can be discerned and it is echoed in the photographic silver greys and dark browns used on and off by Kippenberger, Kiefer and Tuymans (not German, but still) and others.

Flak Tower by Blackpaint.

Listening to Newport News Blues by Will Shade.

“Now don’t you wish your easy roller was both little and cute like mine? (*2)

Every time she walks, you know she reels and rocks behind”.

Blackpaint

18.05.10