The RA has another "Academician in Focus", Fred Cuming. I'd never heard of him, but this means nothing: there are so many great but unknown and to-be-discovered artists in the world, dead and alive. I really like his work and made sure I had a good look before my visit to the gallery today. He's over 80 now and still going strong.
To see larger versions, and more, visit the RA site.
A useful blog post went over similar territory recently and it's worth a read. It explains the reason why this learning method is so good, including mention of the actual research behind it. We all know that to hold a piece of knowledge in your head requires you to "imprint" it; then occasionally reinforce the memory. But how often and when should this be reinforced, for the best results? This is where the research comes in handy, distilled into an app :
At the Mall Galleries for the Royal Society of Portrait Painters Annual Exhibition 2017, I saw the usual amazingly wide selection of portraits of all types and sizes. It is always very humbling seeing such a selection of beautiful art. A couple of pieces struck me in passing.
The first, Becky by Raoof Haghighi, is so detailed it is astonishing. It is not a large painting, but he even paints the small fine hairs on her face. The second is The Four of Us by Leslie Watts, an amazing pencil drawing, again highly realistic and beautifully finished.
Below: Becky, Raoof Haghighi, Acrylic, 40 x 30 cm
Below: The Four of Us, Leslie Watts, Graphite & wax, 50 x 40 cm
A few weekends ago, I happened to walk past the Cartoon Museum near the British Museum. I've often thought about visiting (when I remember it exists) and saw there was an exhibition on called Future Shock! 40 Years of 2000 AD. I have fond memories of 2000 AD, so this was a great opportunity to have a look at the place.
I just about remember buying the first issue of 2000 AD and was hooked. It came out in 1977: an annus mirabilis for science-fiction fans and small boys (Star Wars was released the same year). Saturday mornings stepped up a gear. There was another man in the museum with his children and I mentioned buying the first issue to him, and he said he had as well (they had issue number 3 on display I think).
With 2000 AD costing 8p, I also remember the shock I had getting to the counter at the big London comic book shop Dark They Were and Golden Eyed (in a much seedier St. Anne's Court) and realising I couldn't afford the comics I wanted (at all of 35p each, if I recall). The difference here was they were US imports. My grandad didn't have an extra couple of pounds on him either, if I recall, and no plastic cards in the wallet either. Those were the days, and Soho's changed a lot since then as well (never mind inflation).
For Star Wars, I remember the special trip (twice) to London's Leicester Square to see the film and being awe-struck with it, from the thunderous first shot through the big cinema sound system. Science-fiction and comics are so mainstream now but back then it was all very new. 1977 was the birth year of a massive new media industry of films, comics, TV and technology. Back then there was no internet, and only three TV channels; now we have wall to wall media saturation. In some ways, not altogether better for it.
John Singer Sargent's Lady Agnew of Lochnaw is a very famous and accomplished painting, now hanging in the Scottish National Gallery in Edinburgh. In this YouTube video, American artist John Howard Sanden paints a copy of it over the course of about three hours (split over two videos) :
It is fascinating watching him do this, also a little hypnotic seeing the painting come together. He explains his thought process and what he thought Sargent did at the time he painted the original in 1892. There are many art tutorial channels and videos on YouTube and this is one of the best I've seen. As Sanden says, all the great art masters copied the great works of past masters, including Sargent. I think the final result is extremely good.
The video itself seems to be from an old tape video from the The Portrait Institute in New York. Unfortunately, it might well be an illegal upload because it starts with a warning about "duplication". So the YouTube video might disappear. In some ways this would be a shame: I had never heard of Sanden, or the Institute, but now I know what a good painter and teacher he is.
Edit: Fixed spelling on Sargent's lastname.
You can't really argue with Michelangelo (not even Pope's do that successfully), which meant a second visit to the National Gallery for the Michelangelo & Sebastiano show.
Part of the interest here is learning more about some of the daily routine, rough competitiveness and petty jealousies of these top artists. Michelangelo was a notoriously prickly person but warmed to Sebastiano, helping him with his composition and anatomy. This seems to have been driven by his hatred of his younger rival for work, Raphael, who many considered the better overall painter. Michelangelo worked with Sebastiano as a way to win commissions from Raphael, and a form of one-upmanship. No friendly rivalry here.
There are some amazing pieces of work in the show of course, including a cast of Michelangelo's masterpiece Pieta, his Taddeo Tondo and Sebastiano's Raising of Lazarus. One of my favourites is Sebastiano's Judith (below), a smaller painting but with a real character, and beautifully painted.
There's a good overview of the show and the two artists by the curator, Matthias Wivel, on YouTube. The National Gallery has a channel of its own as well, and is well worth a browse. Some great talks in front of various works.
As I stood in front of The Raising of Lazarus, I thought to myself: that's quite an amazing frame! The painting itself is very large, almost 4m high and almost 3m wide, and the frame is impressively large and solid as well :
Looking for some information on the frame,I discovered a very interesting blog all about frames by Lynn Roberts, a picture frame expert. The blog is called The Frame Blog and has a recent post about the Lazarus frame itself, covering the paintings reframing in great detail. It really is a fascinating post, accompanied by a video :
I'll almost certainly return again I think.
George W Bush, ex-President of the United States never got much good press, and even this New Yorker article on him and his new paintings has a grudging and slightly mean-spirited tone. Leaving politics, economics and war aside though, the author really likes the paintings :
The quality of the art is astonishingly high for someone who—because he “felt antsy” in retirement, he writes, after “I had been an art-agnostic all my life”—took up painting from a standing stop, four years ago, at the age of sixty-six.
I think they're pretty good as well. Paintings of veterans of the wars in Iraq and Afghanistan :
Garden in Snow, Setting Sun, Judith Gardner RBA NEAC, Oil.
As seen at the Royal Society of British Artists Exhibition 2017.
At the National Gallery for the Michelangelo & Sebastiano exhibition (which I liked), I also took some time to pop into Room 1 and see Guido Cagnacci's Repentent Magdalene, a painting that used to live in the UK but now resides in California at the Norton Simon Art Foundation.
What a beautiful painting: bright, lively and colourful. Mary Magdalene is caught at her "conversion" as her sister Martha points out the fight between an angel and a devil in the background. Martha's suggesting she ought to hear what a Rabbi she knows is saying. This is quite an unusual representation of the biblical tale (one can question its accuracy).
Below: Guido Cagnacci, The Repentant Magdalene, after 1660 (229.2 x 266.1 cm)
The title of this post GVIDVS CAGNACCIVS INVENTOR is how Cagnacci signed the painting. Am unusual signature because he knew the work was outstanding. See the painting until May 21st 2017.
Portrait of an Artist (Pool with Two Figures), 1972
I went to the Tate Britain Hockney show, a retrospective of his work from his early art school days to his recent works on tablet. From its first announcement last year, this was going to be a very popular show.
As I've mentioned before, I've come to like his work a lot, his newer works in particular. These are often very large, very colourful paintings, sometimes made up of multiple canvases placed side by side. I think his Yorkshire woods and hills are wonderful, and his big Grand Canyon pictures amazing. He's getting on now (almost 80) but showing no signs of slowing down. Extremely prolific, he can knock them out: and long may he do so.
Back in 2014, I suggested this might be his golden age. Looking back now, I think I was right. I also think he's still at a peak.
Below: The Road Across the Wolds, 1997, Oil.
Below:May Blossom on the Roman Road, 2009, Oil.
Below:9 Studies for the Grand Canyon, 1998, Oil.
A recent BBC documentary (BBC iPlayer) has one of his artist friends mention that Hockney was playing with the colour knob of his recently bought colour TV and cranking it right up: You can have it Fauvist if you want, he said.
It's ironic that, having spoken about his bright colours and these being such a big part of the impact many of his works have, I found that some smaller, black and white drawings he made are so powerful. These Arrival of Spring drawings are arranged in rows on the wall and I found them to be a highlight of the exhibition.
Below:Drawings of the Arrival of Spring
Below:The Arrival of Spring, Charcoal, 2013.
Below:The Arrival of Spring, Charcoal, 2013.
One could go on about him a bit now because he really has become a bit of an icon, a "national treasure" even and a lot of people love what he does. He is as articulate in words as he is in paint, and perhaps the greatest living artist. I hope he keeps going as long as he can.
A classic painting and one I've always liked, although it has been mercilessly satirised over the years (Muppet version from the RA site itself). It is easy to lampoon: prim, proper, protestant.
Right: Grant Wood, American Gothic, 1930, Oil.
American Gothic is the poster-image of the Royal Academy's America after the fall exhibition. Grant Wood painted this in 1930 and he has a number of other works on display: before now, I hadn't heard of him.
Wood is the artist who most stood out for me here, with paintings like Death on the Ridge Road, The Midnight Ride of Paul Revere and Young Corn.
Right: Grant Wood, Young Corn, 1931
Edward Hopper is a more familiar artist. He has also produced some iconic American pictures and is famous for depictions of truck stops, or diners at night; his work often has an otherworldly quality, an eerieness and, I always thought, a hint of loneliness.
Below: New York Movie, Edward Hopper, 1939
There are a number of other great pictures in this exhibition and it is another very well put together show at the RA. With Revolution on at the same time, Burlington House is well worth an extended visit just now.
Slow to write this down, but I think it is worth a short report.
The Revolution: Russian Art 1917–1932 show at the Royal Academy is very well put together and includes ceramics, print, film, photography and textiles as well as painting. It covers the style of art that first started to appear during the turmoil of the Bolshevik coup, and the early years of the revolution. Much propaganda of course, but also some real, "pure" art that passed by the watchful government eye unmolested. At least for a time.
A lot of artists here were new to me. The most famous one I knew being Kazimir Malevich, an abstract artist well known for his stark, geometric and flat coloured objects. Other unfamiliar artists I liked included Isaak Brodsky, a much more traditional painter, and Kuzma Petrov-Vodkin. Petrov-Vodkin had a whole room devoted to his work, the first time so much has been seen outside Russia. He started off painting religious icons and there is a vague hint of this in later work: a brightness of colour, and magical undertone. Very interesting artist.
There were lots of bad times over the course of the years here: war, famine and genocide. At the end of the show is a small memorial film of some of the victims of the terror: mugshots taken before their murder or deportation to the gulag. Like everyone else, artists were not free to express themselves in the Soviet Union and the initial flowering of creativity eventually dried up, like much else.
The RA have put on an excellent exhibition however.
If you like geology and also a bit of art, you'll like Jill McManners watercolours at the Mall Galleries. McManners is fascinated by the wild rock formations making up some parts of the Scottish Hebrides, here the Galta islands and the Shiants; wild and primeval landscapes in the Atlantic Ocean. Her own web site is good at showing off her work.
The name "Picasso" is synonymous with Modern Art. Everyone know's his name, although perhaps few will be able to name anything he did now. My younger self was a little dismissive of some "modern" art, including Picasso I'm sad to say, but now I'm older, I see things a bit differently (and now dismiss a whole new class of modern art).
I went to the National Portrait Gallery's Picasso Portraits on Saturday morning, for the second time. Although there are still many works of his I don't like, what I see now is also one of the greatest artists we've seen. Picasso was so prolific, always trying something new and always interesting.
This show displays portraiture work from his very earliest days, with his father's realist (genre) style (see above), all the way to his last works, covering abstract and cubist, naive and realistic.
To the right and below: what would people have made of these last century? Both portraits, both shockingly new and different.
Below: Portrait of Daniel-Henry Kahnweiler, 1910, Oil.
Above: Woman with hat (Olga), 1935, Oil.
A lot of these works are portraits of his wives, muses, children and friends. But a few are self-portraits, the last being poignant, as he faces his mortality. A great artist.
Another great, and very prolific artist, is having his place in the sun again. David Hockney at The Tate is bound to be busy. I'm looking forward to the visit.
Not far from Tower Hill, and East of The Shard, lies the Wapping waterfront. An interesting area with a bit of history and character attached: and increasingly expensive like a lot of London. Having said that, when you are priced out of central London, expense is relative.
A lot quieter than Soho, it will take a bit of getting used to but it has its advantages. After the hustle and bustle of the West End, a quieter environment might even be one of them. Home on the bike via London Bridge and Elephant and Castle is a bit of a rat race though. Cycle routes to and from Wapping is a work in progress! A lot of regeneration has been going on down by the river for quite a while.
Until fairly recently, I'd never been all the way to the top floor of the V&A, where the furniture and ceramics are displayed. The top floor is much quieter than a lot of the rest of the museum but has a fascinating mix of art, craft and education.
I watched a few short videos on some new (20th Century) manufacturing techniques using PVC, Acrylic and other plastics, incuding injection moulding the Panton Chair (pictured below). An iconic design made out of molten plastic all in a single moulded piece.
The actual video is available on Vimeo.
In addition to the industrial manufacturing processes, there are many educational videos on a lot of other things e.g. the dove-tail wood joint, another short video I watched and enjoyed. The classic production and decorative processes are well represented.
The V&A has a YouTube channel with lots of great videos that seem to cover almost everything : here.
A post on Thrillist (as linked on Ann Althouse's blog) is about a bubble in the US restaurant market that might be about to pop. It mentions some problems of running a business and made me think of many bits of London, and in particular Soho.
In the restaurant world, rent always sucks. Unless you manage to play it perfectly, as a restaurant owner you're either moving into a sketchy or "emerging" neighborhood where the rent is cheap but few want to go there, or you're overpaying for an established 'hood and need to be a runaway success from day one. And even if you do manage to make it in the former type of neighborhood, your success often ends up pricing you out of the 'hood you helped revitalize.
In Miami, Michelle Bernstein's Cena by Michy helped rebirth the MiMo historic district but was forced to close this year, after the landlord attempted to triple the rent. And even Danny Meyer had to close and move Union Square Cafe in New York, which, since 1985, had served as one of America's culinary landmarks, when he couldn't rationalize paying the huge rent hike the landlord proposed.
Rent (and rates) is just one of the problems but it's a big one, and affecting a lot of people in London as well. This seems to be especially true around an area like Soho, which has been "improving" for years now, cleaned up and much shinier than it used to be. A glut of new restaurants, food and coffee places come and go regularly, and I often wonder when "peak" food will hit. The rent has exploded as well and forced a lot of closure, or relocation. There is still so much new building and renovation going on and coming online; who is affording all this?
Well, happy new year everyone.
The above painting is We Are Making a New World by Paul Nash, painted in 1918. Nash would go on to do some great paintings during the Second War as well (see Totes Meer below). A new world was surely made.
These pictures are part of the Nash exhibition at Tate Britain, a big retrospective of his work. I don't bother with staying up celebrating the new year anymore and for the past few years I've made it a habit of visiting the Tate every January 1st and seeing the current show, having lunch in the cafe and turning my thoughts to the coming year. Nash reminds me of another English artist, Eric Ravilious, someone I wrote about in 2015. Their styles have some similarity and their working lives overlapped; to me, both impart a pre and post-war nostalgia of a lost era. A bit elegiac actually.
Nash's war paintings made his name, but he went on to do much more, including some surrealism (and was influenced by Giorgio de Chirico). I liked the exhibition, and you can see more at the Tate site.
Below: Totes Meer (Dead Sea), 1940-41. Oil.
This is a short (6 minute) video from the Royal Academy with artist Anne Desmet showing us how she makes an engraving in wood. Using a sketch she made of a town in Italy as a starting point, it is fascinating to see the work involved and the final result is lovely.
Her web site is here, with a gallery of work, some of it award winning.
The Victoria and Albert Museum is always worth a visit, and at Christmas they usually have some good decorations up as well. It's a very large stone building, with lots of space, so it can be a bit chilly in winter however.
On the left is a detail of a wooden carving of Jesus, Mary and Adoring Kings of about 1510 from an Austrian church. Unfortunately, as well as missing a hand, the infant Jesus has a decidedly demonic appearance now. The wooden work has not aged well (one assumes the child was more angelic originally, one would hope).
The nearby Jesus, Mary and Family (below), also Austrian from about the year 1510, has a much more presentable Jesus :
If you like the Christmas story, a visit an art gallery or museum is a good way to see it pictured. The National Gallery in London has an exhibition of two massive nativity paintings by an almost unknown (outside Spain) Spanish artist called Fray Juan Bautista Maíno. His paintings here are very beautiful and extremely impressive, not least the size. The paintings are on loan from the Prado in Madrid until the end of January: the link is to the museum's page on the Adoration of the Shepherds and lets you zoom in. In life, the paintings are over 3 metres high!