Posts Tagged ‘Uglow’

Blackpaint 617 – Put the Coffee on and Squeeze My Lemon

March 23, 2018

All Too Human, Tate Britain until 27th August – so plenty of time..

A huge and brilliant exhibition, multiple rooms of stunning paintings, but with a few puzzles; the title suggests portraits and figures, the human body/bodies and there’s plenty of that.   There are, however, also city- and landscapes (Auerbach, Kossoff, Bomberg, Creffield, Soutine).  The booklet says “All Too Human explores how artists in Britain have stretched the possibilities of paint in order to capture life around them” – about as general as you can get.  And how about Soutine?  There’s a portrait and a wild expressionist rendition of Ceret, both brilliant, but did he ever even visit Britain?  Booklet says yes, so fair enough.Anyway, below a sample of the best stuff.  I think the best is Bacon’s 1956 “Figure in a Landscape”; never seen it before (unlike most of the other pictures here) – it’s the one with the near abstract swirls of paint and the vivid, smeary blue sky.  I couldn’t find a picture of it, unfortunately.

Lucian Freud, portrait of Frank Auerbach

That bulging forehead and crooked nose, the angle..

 

Freud, portrait of Bella

Looming out at the viewer, those feet…

Euan Uglow, Georgia

Classic Uglow/Coldstream plotting, sculptural accuracy.

 Lynette Yiadom-Boakye

Lovely portrait – but it’s not is it? She paints from imagination, I believe.

In addition to these, there are Bacon triptychs –  Dyer, Rawsthorne – , a roomful of Freuds; a Sickert woman naked in a chilly grey dawn bed; Auerbach and Kossoff churches and streets and parks; Bomberg and followers (Creffield and Dorothy Mead, better than the boss for my money); three Kitajs, two of them (Cecil Court and the Wedding, the one with Sandra, obviously, and Hockney) huge splashes of vivid colour amidst the general brownishness; the weird little girls in Paula Rego’s huge, sinister tableaux.

In the last room, Yiadom – Boakye, Cecily Brown, Jenny Saville and Celia Paul.  Brown’s paintings are always worth looking closely at, to decipher what’s going on.  Celia Paul’s bear a resemblance both to Rego and Soutine, I think.  Brilliant exhibition then – apart from the FN Souza room.  I couldn’t find any pleasure in his flat, dark, spiky images of the Crucifixion et al; they did remind me a little of Wifredo Lam here and there.

 

Roy Oxlade, Alison Jacques Gallery until 7th April (Berners Street, W1)

Oxlade was another Bomberg pupil, but you wouldn’t know it from his work, unlike some of the more slavish acolytes.  He died in 2014, at 85; these are works from the 80s and 90s.

I loved these dowdy, barbaric, cartoonish at times, mostly big old slap-around canvases; repeating images, paint pot and brush, coffee pot (shades of Kentridge), lemon squeezer (shades of Robert Johnson).  I reckon you can see a lot of Rose Wylie in his work and vice versa; not surprising, maybe, because they were married.

Blue Stalks, 1998 

That looks like a Basquiat face, next to the flower pot.

 

Profile and Brushes, 1984/85

I thought this was his version of Bruegel’s Icarus (legs disappearing into the sea) until I read the title.  Hadn’t spotted the profile…

 

Kitchen Knife and Scissors, 1986

Dancing scissors in a stormy landscape of paintpots.

 

Green Curtain, 1996

Oxlade’s Rokeby Venus, maybe – no mirror though.

 

Yellow Lemon Squeezer and Coffee Pot, 1987

Yes, I get that – the lemon squeezer looks like an old fashioned candle holder; everything’s floating and is that a coffee pot which has grown legs? (Kentridge again).

Death of Stalin, dir. Armando Iannuci (2017)

Jason Isaacs as Zhukov

The historian Richard Overy write a very peevish critique of this brilliant film, pointing out errors – the main one I think was that Beria was no longer head of the NKVD when Stalin died.  Were 1500 would -be mourners massacred by the NKVD when they (mourners) came to town?  Nevertheless, the screenplay, based on a graphic novel, apparently, is convincing and so, decisively, is the acting: Palin as Molotov, Buscemi as Khrushchev, above all Simon Russell Beale as the demonic Beria.  Chilling and very funny, but too horrifying to raise a laugh.

Rearview

Blackpaint

23/3/18

 

 

 

Blackpaint 116

April 21, 2010

Best figure drawers

I’m excluding Mich and Leon, Raphael and the rest of their Renaissance mates because they’re just too good  really; I’ll run a specially pointless and spurious competition with myself to establish which of them is the best at some later date.  So, this  is just between the more recent chaps.  They are mostly chaps, not because men draw better, but for all the reasons that there are (historically) more male than female artists.  The women who come to my mind are Gwen John, Paula Rego and Elaine de Kooning.  As for the men-

  • Degas
  • Lautrec
  • Ingres
  • Stubbs (horses, I know, but horses  have figures too)
  • Seurat
  • Bonnard
  • Uglow
  • Diebenkorn
  • Kitaj

What do you think?  I’m talking rubbish, aren’t I?  What about Picasso, Matisse, Delacroix, Velasquez etc., etc. – Please comment, as I enjoy a pointless argument based purely on prejudice and  selective ignorance as much as the next person.

I have to stop now, and I want to publish so more fully rounded blog tomorrow.

Listening to the Blackleg Miner by Steeleye Span.

“So join the union while ye may,

And don’t wait til your dyin’ day-

For that might not be far away,

You dirty blackleg miner.”

Blackpaint

22.04.10

Blackpaint 62

February 8, 2010

Little shop near the Tate Modern

Don’t know what it’s called – its opposite that huge brown, metallic thing that looks like the spaceship in “Alien”.  they sell old catalogues from Christies etc. for £1 and £2 and I got some beautiful repros dead cheap in this way.  Amongst them were pictures of the following works, which you should Google and wonder at:

Karel Appel, Les Enfants 1951; Euan Uglow, Jane, Clapham Common 1951; Peter Kinley, Studio Interior No 115 1959, Sandra Blow, Composition 1958 (oil, sand and grit on board!), Peter Lanyon, Gusting 1961 and Fly Away 1961; Asger Jorn, Lac dans la petite foret and Black Lac Blues (no dates given).  There is also a Franz Kline in black, red and a sharp emerald green, entitled – Untitled.

This last illustrates the annoying thing about artists who call things “Untitled” or “Composition II, no.143”.  It may preserve their integrity, avoiding, as it does, the implication that a painting must look like something or have reference to some place or particular time – but its really hard to differentiate them, if you’ve done 200 “Untitled”s.

Anyway, I hope there are images on the net, or you’ll just have to enjoy the evocative names.

Painting

Having real trouble with latest figurative stuff – trying to combine “fractured surface” experiments with figures.  It’s funny, I thought it would be easy to “combine” abstract and figurative (a contradiction, of course, but what the hell), but its not.  “One or the other; you can’t have both”, they seem to be saying to me.  Better have another whiskey and see what they say then.

Listening to “I’ll be seeing you” by Frank Sinatra and the Tommy Dorsey orchestra, Sept. 1942

“I’ll be seeing you, in all the old familiar places…”

Blackpaint

08.02.10