Posts Tagged ‘Tilda Swinton’

Blackpaint 669 – From the Lockdown

April 15, 2020

Some pictures that I really like

Very lame heading, I know, but no exhibitions accessible during the lockdown, so I’m forced to improvise and go back to the archives.

 

Red Nude, Karel Appel (Ghent)

He can smash those colours together and they never turn into mud.  the black ground too…

 

Sleeping Child, Will Barnet (Washington)

I’d never heard of this US artist, despite the fact that he lived to over 100 (died 2012) and ran a famous print studio in the States.  Very stylised, Japanese-y…

 

The Entombment, Caravaggio (Vatican)

Nothing needs to be said about this – so I’ll say nothing.

 

Lady with a Squirrel and a Starling, Holbein (London)

Is there another portraitist who comes anywhere near Holbein?  Might get a blog out of that in the future…

 

Orange and Black Wall, Franz Kline (Madrid)

The colours here I think  detract from the trademark starkness of Kline’s monochrome pictures – but they add something too; variety obviously!

 

The Rape of Europa. Titian (Boston)

There was a TV prog last week on the series of paintings which Titian did for Philip II of Spain.  The paintings are, or were, on exhibition at the National Gallery – but the lockdown has closed the NG.  Some of the TV prog was taken up with discussion about objectification and sexualisation of women by male artists and purchasers.  Mary Beard opined at the end that the pictures should be shown because they tell us a lot about sexual violence against women.

I seem to recall reading or hearing on TV somewhere that the word rape, as in the example above and in the various kidnappings of the Sabine women, meant abduction, rather than the assault itself.  That’s clearly the case with Titian’s painting – yet Beard asserted several times (I think) that we were seeing a rape in progress.  It’s confusing for us old, white men.

 

Comtesse d’Haussonville, Ingres (New York)

Stunning portrait, but like the paintings in the Tate Britain’s “British Baroque” exhibition, the real focus of interest is the dress.

 

Cemetery in Corsica 1948, John Minton

A re-showing last week of Mark Gatiss’ great documentary on the painter, teacher and illustrator John Minton.  I have to say that I loved the Cornish pictures, reminiscent as they were of Sutherland and Piper, but found the bright colours of his Thameside paintings rather jarring.  I really like this Corsican one with the green sky, though.

 

I haven’t mentioned any films of late; in recent weeks, however, the virus has led me to do little else but watch DVDs.  Here are a few-

 

Caravaggio, Derek Jarman (1987)

Tilda Swinton as Lena, an angel with a dirty face.  I don’t know if Jarman’s film has any connection to historical reality, but it’s certainly visually brilliant, especially the colours and the bodies on show – all swathed in Caravaggian blacknesses as above.  Sean Bean and Dexter Fletcher sneer, grin threateningly, brandish knives, pop their pecs and sweat glossily and Nigel Terry, as the adult Caravaggio, has the necessary authority – and looks just like the painter.  There is also the impish Dawn Archibald, who does amazing things with her body – to loosen up after modelling.  I was saddened to discover that she died in her 50s in 2016, having been a peace activist for some time in the Edinburgh Women in Black group. RIP.

Dawn Archibald in Caravaggio

 

Le Jour se Leve, Marcel Carne (1939)

Jean Gabin and Arletty in a Parisian bar, prior to the killing of the dog trainer (don’t ask) and the ensuing siege in the top apartment.  Gabin’s character, despite the gangster cap and hard man expression, works as a paint sprayer and rides a drop handle bike…

 

Hotel du Nord, Marcel Carne (1938)

Arletty again, this time with pimp Louis Jouvet and a couple of police heavies.  Arletty, also a star of Carne’s Les Enfants du Paradis, was imprisoned for collaboration after WW11; she “had an affair” (seems a quaint phrase to me now) with a German officer who later became a diplomat in Africa – and was eaten by a crocodile.  Which has nothing to do with the merits of the film; like the other two Carne fims mentioned, it’s still sort of hypnotic and archetypal in settings, characters and story.

To end, two recent paintings of mine:

Drop in the Ocean

Sonia’s Twisting Pose

Blackpaint

15th April 2020

Blackpaint 456 – Malevich, Bohemia and Bloomsbury

July 21, 2014

Among the Bohemians, Virginia Nicholson

Just finished this rambling, but most enjoyable tour of “Bohemia” by Vanessa Bell’s granddaughter.  It suffers from jumping up and down the decades within themes, often without giving dates, but a good episodic read all the same.  I was astonished to read that Dora Carrington, whose appearance and paintings  give one an impression of strength and intelligence, shot herself after the death of Lytton Strachey.  Bohemia was about drink, drugs, sex and all that – but also about free thinking, freedom from convention, the use of the intellect; pity to read of a great woman artist destroying herself over the loss of a companion (Strachey was homosexual).

Nicholson seems to me rather reticent about Eric Gill, given his unconventional home life and the current climate of opinion in the UK about child abuse; since the word “Bohemian” denotes, among other things, unconventional behaviour, I expected to read more about Gill than was there.  She describes Gill’s behaviour as “preposterous”.

The Art of Bloomsbury, Richard Shone

This book was published in conjunction with a Tate exhibition of 2000; I’ve only just got round to reading it.  The painters it deals with are Duncan Grant, Vanessa Bell and Roger Fry.  I was surprised by the colour, beauty, variety and technique displayed by all three artists,,  having always thought of them as a bit “brown” and boringly British.  Just flicking through, there are works that resemble Lautrec (Grant’s Virginia Woolf), the Scottish Colourists (Fry’s Blythburgh and Studland Bay), William Nicholson (Bell’s Iceland Poppies), Bonnard (Bell’s The Open Door and Grant’s Window, South of France and the Doorway); there are fabulous abstracts by Bell that look like Winifred Nicholson, more by Grant and luscious still lifes by both Bell and Grant, the best of which is Grant’s Omega Paper Flowers on the Mantelpiece.  A lovely book and I’m off to Charleston as soon as poss.

grant vanessa

Grant

bell the open door

Bell

grant omega

Grant

bell abstract

 

Bell

 

Malevich, Tate Modern 

So, enough of all this Bloomsbury and Bohemia stuff – off to TM, where proper theoretical painting is on display.  that is to say, it’s underpinned and driven by theory, a good analysis of which can be found in Boris Groys’ “The Total Art of Stalinism”.

In the first room, there is all sorts, as Malevich casts around for a style – some of it looked to me like German Expressionism, nudes surrounded by heavy black lines; Seurat – style landscapes; little collections of figures with Toulouse Lautrec figures; Munch/Nolde – like paintings; a strange, frog-like “dancer” with huge, clubbed hands and feet.

Next, Larionov/ Goncharova influenced peasants, growing more abstract, peasants with metallic, Leger like bodies; Theatre costumes like later Bauhaus efforts; the famous Black Square.

Malevich,-The-Woodcutter,-1912_original

Next, floating, coloured geometric shapes on white, the Suprematist paintings, seeming to be in the process of flying apart or coming together and, in one or two cases, resembling abstractified figures, despite the fact that Malevich gives one or two ironic “realist” titles when they clearly don’t represent the indicated “real” thing at all.

malevich

There is a room of drawings arranged by decade, often showing rough, freehand sketches of the geometric paintings; then, back towards figuration, with highly stylised peasants, metallic, harlequin, clown-like figures that wouldn’t have been nearly realist enough for the regime and finally Social Realist portraits that show the final capitulation of any independence or experimentation.

Malevich died of cancer in 1935, not in the gulag (although he had been imprisoned).  If he’d lived, I’m sure he would have been shot at some stage, despite the SR stuff.

Orlando, book and film

Back to Bloomsbury for a moment; I’ve started Woolf’s book and watched Sally Potter’s film of the same.  There are big differences in the narratives, but they are each great works in their own right.  It’s fascinating to read Woolf’s work in chronological order and see how she changes; this novel is certainly the easiest read yet (not quite Stephen King, but getting there) and the most visual.

The Potter film has strong resemblances to Greenaway’s style, in the use of location and music; the violence and grossness are missing, but it does have Tilda Swinton.

Big Painting

I’m trying to go big by sticking two canvases side by side and painting one image across them.  Results below  – the second image is  the painting as it stands now, but no doubt it will change.  It’s called, for obvious reasons, “Critical Theory – a Guide”.

 

 

?????????? –

First Version

 

??????????

 

Current Version

Blackpaint

22.07.14 

Blackpaint 377 – The Chocolate Staircase and the Shinjuku Thief

January 17, 2013

Constable, Gainsborough, Turner and the Making of Landscape at the Royal Academy

Sounds impressive, but most of the pictures on show are etchings and other prints made from original paintings by the above.  I’m always amused to see the little figures in them – you couldn’t just do a landscape in England; it wasn’t a proper picture.  There had to be a kid with a cart and some cows, or maybe a mythological subject – a giant snake killing some chap by a stream, maybe, or some hero fighting a dragon.  I think it might have been Gainsborough who broke that taboo and did the first true “landskips”; have written about it in a previous blog.

Some really bizarre scenery on show – there are several etchings of cwms – is that right? – in Wales that appear to be surrounded by monolithic, flat faced slabs of rock, the likes of which I have never seen.  Plenty of thunderstorms, wild seas, rainbows, billowing cloud; a few beautiful, postcard-sized Constables tucked into corners.  And there are a few large paintings; dark and dramatic in the midst of all the black and white prints.

In the stairwell, an incongruous sight, but a very welcome one; a huge painting by Basil Beattie that looks like a melting, chocolate cream staircase on raw brown-green linen – a staircase in a stairwell.

basil beattie

Swinton and Scott Thomas

Watched films starring these two actresses in foreign films recently; Tilda Swinton in an Italian film, “I Am Love” (English title) and Scott Thomas in “Leaving”, a French film.  At times, I felt as if the two films were somehow bleeding into each other.  Both women married and comfortable/wealthy; Swinton falls for an Italian chef, Scott Thomas for a Spanish builder.  lots of torrid sex in idyllic, rural mountain surroundings; both leave their boring, bourgeois husbands for the exciting studs.  OK, the endings are rather different but the general situation and shape the same.  Continental art films – they can churn this stuff out endlessly.

Oshima

RIP. ” Ai No Corrida” I’ve got on video – yes! Video still working! – but will someone please bring out “Diary of a Shinjuku Thief” on DVD?  Can’t remember much about it from seeing it at UEA many years ago – except that I spent a rather sleepless night, tossing and turning, after seeing it.

Other films that need to be brought out on DVD as soon as possible (I’ve been looking for them for ages):  “The Damned”, directed by Visconti and “The Spider’s Stratagem”, Bertolucci, I think.

London Art Fair at the Angel

Went there today; a very mixed bag, but some beautiful paintings by Adrian Heath, Robyn Denny (especially), Paul Feiler. and two real beauties by Douglas Swan – that blue one with the yellow circle.

douglas swan

Also, however, some real clinkers – a terrible Keith Vaughan, an awful, and huge, Hoyland – red, green, yellow and crude – and Patrick Heron, especially one that looks as if he’s painted it over with white enamel.  It’s very heartening for a painter to see that the masters can knock out rubbish from time to time,too.

002

003

Bloody Doors and Windows

Blackpaint

17.01.13