Posts Tagged ‘St.George’

Blackpaint 413 – Venice; Three Saints and their Beastly Companions

September 30, 2013

Guggenheim Museum in Venice

Just back from a week in Venice to visit the Biennale (bit late – it closes next month).  Venice full of German, American and Japanese tourists and very few native Venetians; the streets were practically deserted by 8.30 pm, apart from rather subdued groups and pairs of lost tourists.  The Biennale, both the Arsenal and the park pavilions, more impressive than last time; I’m going to blog every couple of days this week until I’ve done everything worth mentioning.  Some of the very best things we saw were not part of the Biennale however, but were at the  Guggenheim; four, no five new pictures hung last year.First, Hans Hoffman’s “Spring on Cape Cod”.

hans hoff at the gug

Next, de Kooning’s “Woman, seated”.

DK at gug 2

Joan Mitchell, Untitled, in her amazing, clean, cold greens, oranges, reds and blues.

joan mitchell gug

And Burri, brown and black, underneath a sheath of cellophane.

Carpaccio

Going back a little, there were the Carpaccios at the Scuola di Giorgio dei Greci; the famous St. George and Dragon with various scattered body parts – the lance seems to be on the wrong side of the horse’s head; wrong, that is, for martial, not artistic purposes.  In the next panel, George again, with the dead dragon, about to strike off its head for the assembled, be-turbaned crowd.

carpaccio1

Next, we have St.Tryphon, just like a little boy, with the Basilisk demon he has just exorcised from the little girl’s body.  It looks rather like a little donkey – pity it wasn’t a Gryphon, for reason of rhyme.

carpaccio2

St. Jerome next, with his newly tamed lion, trying to introduce it to a group of elders, who appear strangely reluctant to meet it.  And then, a much younger Jerome in his study, fine red leather chair, all sorts of scientific instruments at hand and a little white dog, looking on while he has his vision.

Don’t Look Now

Watched this again as soon as I was back from Venice and not much evidence of change in the last 40 years – the water ambulances are different and there were no giant cruise ships obliterating the views, but otherwise the same.  What I did notice was how everyone in Venice appeared to have some sort of secret personal agenda, signified by meaningful looks, gazings into the distance (priest), murmurs of “Ah, yes, of course” (police inspector)…  Only the English headmaster and his wife were free of the air of mystery – but they were in England.

More on Venice, particularly the Biennale, this week.

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Work in Prog

Blackpaint

30.09.13

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Blackpaint 106

April 7, 2010

Victoria and Albert Museum

Visited here today to see the new Medieval Galleries again, but, once more, got diverted to the Cast Rooms to see the astonishing Shobdon Tympanum again (see Blackpaint 17), the Santiago de Compostela gates with Adam and Eve, Cain and Abel- and then a jump to the Annunciation and the Christ story, progressing upwards.  You have to “read”from top left to bottom, then bottom right to top. 

Checked the cast of the David statue and, yes, I’m afraid his head and neck do now look too big to me (see Blackpaint 99 and 104) – but, far worse, he now bears a facial resemblance to David Cameron.  You don’t believe me? Imagine the hair trimmed and slicked back, some pudge on the torso, a tight white shirt with top button just undone…

Islamic Art

Waiting for my partner to return from the quilts exhibition, wandered round the Islamic treasures from Iran, India, Pakistan and Turkey.  As an abstract artist and lover of modern abstract art, I should be bowled over by these exquisite carpets and hangings and decorations but I was not (apart from those beautiful Mughal miniature paintings).  There was nothing for my eye to catch on, no roughness, asymmetry, chaos,  just harmony, order, beautiful workmanship, perfection.  I want just the opposite – disorder, bad taste, violence, anarchy; if its figurative and old, I want dragons, tortures, martyrdoms… 

So, we went to look at the multiple tortures of St. George, in the Retable (is that right?) in the room with the Raphael Cartoons.  George was, among other things, being burned, boiled alive and sawn in half, before the beheading which finished him off – one can imagine the executioner thinking “Why didn’t we do this in the first place?”

By far the best Cartoon, I have always thought, is “The Miraculous Draught of Fishes”.

After this, to prove that Blackpaint is not one of these people locked into either art or science, but happily inhabits both intellectual spheres, we were taken by our youngest to the Science Museum.  There I was staggered by the steam machinery on the ground floor – I’ve always found them beautiful, but for the first time, they looked very Heath Robinson to me, all improbable pistons, levers and boilers and wheels and lovely, rough, black metal surfaces. 

I had the Higgs Boson, Super symmetry and Schrodinger’s Cat explained to me and bought “Stiff”, a book about the “life” of corpses with, inter alia, descriptions of guillotinings – which brought a nice symmetry to the day.

Blackpaint

07.04.10