Tag: painting

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History’s Weight

The artist Damien Deroubaix is currently exposed at the BNF.fr in its historic site Richelieu. Together with and next to some of the historic treasures of the BNF collections the unique exhibition allows to experience history’s weight on our current existence. The work of Deroubaix is following and pursuing historic art trajectories with a special historical and ethical consciousness. Techniques of art are insensitive to the moral compass of the painter in history. The collections of the BNF like all major European collections have to handle their colonial past and immoral depictions throughout history. Deroubaix accomplished to liberate techniques of art of their colonial linkages and imagination of emperors focusing on humanitarian values. War is horror, in the past and in the present. Genocide in Rwanda is war crime and dealing with the memories of people an honorable way to look forward conscious of the past. Hybrid forms of art allow multiple contextualizations of his work. In the Galerie Mansart and Pigott of the BNF the historical embedding enriches the art and vice versa. Art allows us to rise beyond the ashes mankind has and continues to inflict on us. (Images: extracts of Damien Deroubaix at BNF, Paris 2024)

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Theatre Artists

Performances in the theatre are called pieces. The artists performing are actors of a play. The « Théâtre de la Madelaine », which celebrates its 100th anniversary in 2024 puts on a new production in celebration of the biography of the famous painter Claude Monet.
«Dans les Yeux de Monet » is the inspirational title of the play written by Cyril Gely and scenario by Tristan Petitgirard. Looking through the eyes of Monet puts you into the sometimes tormented head of the great artist. The challenge Monet faces is his very own perspective on a new vision for painting. In order to capture the impression of the cathedral of Rouen on him, he experiments with colours and lighting to capture just the right moment in time. Interesting to remember, there is not just one single moment he paints, but many versions of it with each realization offering a special insight or impression. Just on the sideline we learn about the importance of plurality rather than the one and only unique moment in time.
His own personal difficulties of sufficient funding for his art work and the depression he struggled with are well represented in the script and by the actors.
Galerists as well as donors (Mäzene) encourage artists, but somehow may also contribute to the pressure on artists to produce more creative work. Precariousness of living and living conditions are often a corollary of creativity or the creative process. This is a usually forgotten part of the biography of many past and present artists. Artists have and still contribute so much to humanity, but in most countries the public or private support for artists is sketchy. This remains a societal challenge particularly during times of employment and skill shortages in OECD countries.

 

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Of or about

There exists a fundamental difference between taking a picture of something or someone as opposed to taking a picture about someone or something. With the term about we denote or refer to a more abstract category of trees, animals or human beings. The use of of, however, refers to a specific realization within a specific category. Painters or photographers have applied this distinction for a long time. It is similar to social scientists who consider persons or relationships as belonging to more general categories. Gender is such a category which has preoccupied us for years before concluding that just 2 gender categories are not enough to come up with reasonable descriptions and predictions of behavior. The realizations of gender are manifold and not necessarily or only binary in nature as well appearances. Eventually social categories are enlarged to fit empirical patterns in more adequate ways. The image of someone/something therefore is something very different from an image about someone/something. (Image of: Children’s corner at Musée Rodin Paris. Image about: Pedagogic approaches to art, here sculptures « Le penseur », Rodin 19th century)

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Paralympic Happiness

It is with great pleasure that we watch the paralympic athletes in Paris compete for Olympic medals. For many the emotions of participation and being applauded by so many people in a sport arena are great experiences. Happiness derives from such great games and audiences. The accomplishments of the athletes and their supporting teams are truly outstanding. The progress towards such high skill levels is remarkable for each of them. The adaptation to what appears to be a handicap with adequate support and technique allows to surpass limitations. Well exercised skills like swimming are possible to be performed with great skill to achieve incredible performances. The Paralympic Games in Paris 2024 are a great reminder that besides the athletes some artists had to struggle with handicaps, but achieved some of the finest pieces of art. Matisse, for example, is called frequently “le peintre-du-bonheur”, the painter of happiness. In his last few years he faced a severe handicap to paint, however the pursuit of abstraction helped him to continue to create masterpieces. The rather radical pursuit of abstraction and maybe simplification are uncovered in the exhibition “Matisse: The red studio” at the “Fondation Louis Vuitton”. This marks an important step in the artistic life course of Matisse and enabled him to continue his work in later life when his health made it very difficult to pursue his artistic work. (Image at Fondation Louis Vuitton 2024-9-1 exhibition Matisse).

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Richter

Gerhard Richter ist kein Richter. The painter Gerhard Richter is of cause not a judge. But somehow he is. In the representation of his 100 works for Berlin in the Neue Nationalgalerie he judges the horror beyond imagination of the Nazi concentration camps, reflects on the role of his own family in this and finds his own way to deal with it. Colors cover the black and white documentary fotos as if a new imaginary has to grow again to overcome the painful memories. He deals with the most difficult kind of confrontation with evil in an astonishing way. The horror as underlying fact remains present in our mind and at the same time we open up to light at the end of the tunnel and abundance of colors. Color is the way forward. Underneath, we tend to or like to forget about the many killing fields. Scratch a bit on the surface and you’ll find lots of unresolved issues again. All those fancy colors might just cover up the demons of the past and present. Maybe this is a grossly biased interpretation of his Auschwitz Buchenwald series of paintings, but only time will tell if we are successful in 2024+ to stem the tide of right wing extremism (again).

Neue Nationalgalerie Berlin 2024-1
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Ukraine Art

The touring exhibition of art works from Ukraine 1900-1930s is on show in Brussels at the Royal Museums of fine art Brussels in November December 2023. Before Ukraine became swallowed up in the Sowjetunion there was a very active independent artist world that had close links to all capitals in Western Europe. All art disciplines were covered. The paintings of Vadym Meller from 1919 (Aquarell on carton) show designs for a dance performance to the music of Chopin. The modern designs and vivid colors reflect the conscious reference to art movements across Europe. The inspiration from dance to painting is a recurrent theme in impressionistic paintings, abstract paintings and into our own time period. Ukrainian art from early on in the 20th century had a broad scope beyond the narrow focus on art controlled by the soviets. Well worth enlarging our vision to take into account these creative masterpieces from Eastern Europe as independent voices.

Vadym Meller 1919 (Aquarell on carton), Brussels MRBAB 2023-11
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Stilfindung

Kunstschaffende brauchen Jahre, oft auch Jahrzehnte, um ihren eigenen Stil zu finden. Das ist durchaus ein schwieriges Unterfangen. Frühes Ausprobieren verschiedener Kunstrichtungen ist dabei so etwas wie ein Experimentieren mit unterschiedlichen Werkzeugen. Da hilft es enorm, wenn schon einmal ein reichlich bestückter Werkzeugkasten im Elternhaus vorhanden ist. Das war in der Künstlerfamilie der Giacomettis der Fall. Der kleine Alberto hat mit Vater Giovannis Tinten, Federn, Ölfarben und Pinseln früh angefangen, sich auszuprobieren. Eltern, der kleine Bruder, Landschaften, Posen vieler Verwandten und Bekannten sowie jegliche Gegenstände wurden zu Objekten des Skizzierens für den Jugendlichen. Schule war nicht wirklich interessant, selbst die École des beaux arts in Paris erweiterte zwar sein Repertoire an Techniken und Sichtweisen, aber auf dem Weg der Selbstfindung scheint es nur eine Passage gewesen zu sein. Auf dem Weg der Abstraktion hat Paris allerdings die Kreativität stimuliert. Seine Skulpturen von Köpfen der Familie haben sich verallgemeinert, hin zum Universellen. Weit über seine Heimat hinaus sagen die Skulpturen des späteren Albertos uns etwas über Menschheit und Menschheitsgeschichte. Den Weg zu verstehen, den der „L‘homme qui marche“ bis zu seiner Verwirklichung beschritten hat, ist in der Ausstellung im Bündner Kunsthaus nachvollziehbar. Vielleicht mehr ein Lehrstück in Pädagogik und Kunstpädagogik, als in grandiosen Werken der Giacomettis. Welch ein Glück, dass sich Alberto von den Stilrichtungen anderer abgesetzt hat und einfach sein eigenes Ding gemacht hat. Beruf und Berufung können nahe beieinander liegen. Das ist die gute pädagogische Message.

Père de Giacometti par Alberto 1927 Kunsthaus Zürich gezeigt in Chur 2023
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Black White

Working at the Bibliothèque nationale de France (BnF.fr), just like visiting, allows you to benefit from the many temporary exhibitions based primarily on their own collections and donations to the BnF. For those who like “dessins, estampes, photographies”, there is a small exhibition as of June 2023 which features on these three techniques in the work of a single artist Edgar Degas from the impressionist movement. Walking through the exhibition or slowly scrolling the press documentation allows you to follow the artistic life course of Edgar Degas. He started with the pencil dessin and evolved to the printing of a single or sequences of “estampes” (up to 20) to impress us beyond black and white with multiples of 50 shades of grey. Degas seems like continuously searching for the uniqueness of the moment to present strong emotions or to summarise interpersonal relationships immersed in a specific spatial setting. Having demonstrated the richness of dessins and estampes as artistic, but a bit laborious technique, he devotes his last few years to a more intensive work taking photographs and proceeding to their development or tirage as printed versions. No matter which technique he applies, he has a special artistic view that allows to capture emotions and immortalise them. The painter’s eye, as well as later on in his artistic career the photographer’s eye, keep scrutinising himself in various forms of “auto-portraits”. Beyond youth, the pervasive obsession with selfies nowadays had its artistic precursor Edgar Degas for example. Whereas most photographers would classify a double exposure as a “raté”, Degas experimented with this almost like a cubist, Picasso-like techniques in photography. Actually, the last few images in the exhibition show the artistic reference Picasso made in his work to images, impressions and techniques that inspired him throughout his artistic work. There are amazing links in and across the history of art or arts. (BnF expo Edgar Degas 2023).

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Caillebotte

Gustave Caillebotte has done it again. Son of a great beneficiary of war efforts himself. He started with support from his father’s fortune on a painting career. Soon after his father’s death, he joined the group of “alternative artists”, later called the impressionists in France. On the 1.2.2023 the Musée d’Orsay acquired a key painting of Caillebotte for 43 Million € with the help of a donation by LVMH. Where does the hype come from? A catalogue of the exhibition of the painter “Gustave Caillebotte, The painter’s eye” from the National Gallery of Art in Washington from 2015 established Caillebotte again as a key person of the impressionist movement. Rich in diversity of motifs, the painter and supporter of the impressionists (Philantropist) has foreseen the challenge photography could bring to painting. The painter’s eye is well explained by Michael Marrinan (pp.22) in the catalogue. In fact, the spatial depth of the views of the streets of Paris is a precursor to many photographers and movies of several decades later. Caillebotte’s images of Paris depict well the mixed feelings about a daunting city size and the isolation of people captured in their own little inner circles with little communication despite or because of the noisy surroundings. Misty atmospheres allow to focus on impressions. Almost meditative walking in the city is his modern topic. Reflecting on painting as profession versus painting as artist is somehow an impressionist’s sociology of professions. Gustave Caillebotte did not have to paint for money and he was aware of social class differences as son of a factory owner. It did not spoil his artistic view with social facts, but rather tried to reveal the intrinsic beauty not only of landscapes, but ordinary working people. Other impressionists painted beautiful ballerinas, Caillebotte painted workers and sometimes more challenging parts of Paris in his early years. With climate change near Caillebotte’s home in full swing, we shall “adore” the rainy days in Paris even more. And in the countryside, too. The painter’s eye reveals a visionary view of the modern and post-modern world.