After all, what a painter paints is a deed. In being a deed, there is much that this shows that the artist may not have been fully aware of. My intention is not to denigrate the art (although much in modern art deserves just that) but to show you how to see beyond the brushstrokes to the awareness of the artist.
This is a large piece that is typical of Lichtenstein’s oeuvre. It is garish, blunt and has the occasional stroke of a paintbrush. Other than that, it was a case of masking it off and using carefully prepared rollers to fill in the poster-paint colours or to paint across a piece of serrated aluminium to get the impression of all the dots – these were not done individually in the way the experts at the Stedelijk suggest.
I was back at the Pont gallery last week, and as before, had a ball with its 25 year retrospective. It wasn’t a ball because of the installations or the artwork, but because of the company I found there.
A very long time ago, I visited the British Museum in London. In their great hall where they display their collection of monumental sculptures there stood two enormous creatures. They stand well over six metres high, that is nearly twenty feet and must weigh several tons. I knew they stood as guardians to the entrances to palaces in ancient Assyria, and as guardians were shown as godlike figures having human heads with bull’s bodies or that of a lion – and the wings of an eagle. Continue reading “The Five Legged Beasts Of Nineveh.”→
I din’t know it when I trotted off to Tilburg today, it was on a whim and mainly because they’d pulled up the tracks to Rotterdam which was my intended destination today. I rarely do any fact checking before leaving, but that’s part of the fun of having so many galleries to visit in the Netherlands. It was a small and little known painting by Hieronymous Bosch that I wanted to see in Rotterdam, or at least photograph. I saw it last weekend, but what with my capacity for forethought, I’d left my camera at home. Its only importance – the Bosch, that is – is that it contradicts something Rudolf Steiner said about Goethe’s Mephistopholes. Never mind that, it’s not for public consumption. My other thoughts about Bosch will be, but that’s for another of my fabled upcoming series. Anyway, I visited Tilburg, got lost, found myself again and having turned in the other direction to which I was merrily cycling, found the gallery.
I didn’t go to the Gemeentemuseum in the Hague on Saturday to see the Mondriaan exhibition; I went to see the paintings by Isaac Israel and his friend George Breitner. But to get to this exhibition I had to go through the Mondriaan exhibition and it stopped me in my tracks. The exhibition is entitled, “De Ontdekking Van Mondriaan” or ‘Discover Mondrian‘.
It is true that, like Rodin, one can see the beauty of the whole that lies in but a part of the sculpture – that is to employ our imagination in the way a true artist intends. Like Tom Thomson’s paintings that on first view appear only half finished; but that is their art, they are there for you to finish in your mind. And in finishing it, you add something more than the imagery, you add the birdsong and the scent of wild flowers or the lapping of the waves on the lakeside.
Rodin took this a little further in that he would find himself inspired to sculpt an arm or a leg with a particular gesture – and whilst this is clearly the stuff of genius, it is still in the realms of being a practice piece. Art is an expression of one’s own relationship to nature – be it through colour, sound or form. We do not have relationships with arms or legs, we have relationships with the humans they are part of.
The myth of Pygmalion which is spoken of in Ovid’s Metamorphosis has Pygmalion searching for beauty incarnate. This search takes the form of his making his image of beauty as a sculpture, the beauty that lies in the female form. The Greeks weren’t partial about beauty, they saw it in everything – but they did see it at its highest in mankind. So Pygmalion set about his sculpture which he found enrapturing.