Once in a while something special comes along – Cartomania

I remember one of my lecturers at art school using the word ‘cartomaniac’ to describe herself. It struck an immediate chord with me because I recognized something of myself in the term. A gallery full of large scale map paintings at the Vatican museums that I had seen a few months before my teacher’s remark had truly captured my attention. The balance between the pictorial and the graphic qualities, the representation of landscape and yet the apparently abstract forms all come together to, form a type of image that engages and fascinates.

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It is the schematic representation of the world around us, everything so familiar, yet so different, the symbols, the lines and patterns, the place names. There is just so much to see. When I travel, a map is always a necessity, seeing where I am, what’s around me and where I can go. I, like most people, have a small collection of maps from various holiday destinations I’ve visited over the years. But perhaps my favourite is actually one closer to home, it is a very Dutch map indeed and one showing the most interventionist approach to the real landscape. It shows the 32 kilometer long afsluitdijk, a 32km raised causeway that was built across the North Sea to create a division between the sea on one side and the Ijsselmeer on the other.

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For a long while I’ve been planning to work with maps in my own teaching work (I continue also to ponder how I actually might one day include them in my own paintings too). The school plans though have made progress this year and resulted in a series of paintings made by my third year groups (age 14-15). While I feel that the project is still a bit of a work in progress and can be refined and developed next year, there have been some good results that I am posting here.

The assignment was built on top of an abstract drawing assignment where pupils explored ideas of movement and flow in an abstract design. There are also some very dominant conventions in map making, water is blue, more natural areas green and so on, one of my aims was also to break free from these more obvious routes.

Building on these ideas we were able to take map representations of cities around the world. Exactly which city plan was the basis us left to the pupils, for some it was a location they’d been to, for others it was an aesthetic choice and for still more it was place that they hope one day to visit.

The resulting works have an impact that catches the attention and has given us material that once displayed together on the printed banners we’ve made grabs the attention.

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Alma-Tadema – an artistic love/hate relationship

The work of Lawrence Alma-Tadema didn’t feature heavily during my years at art school. No, maybe I should be more specific, as far as I can remember, it didn’t feature at all. Perhaps not surprisingly, for despite being one of the most financially successful artists of the nineteenth century and ending up being knighted and buried in St Paul’s cathedral in London, Alma-Tadema’s work and the works of the closely related Pre-Raphaelites were something of a forgotten sub-tributary in the flow towards a more modern world. Many would argue that it wasn’t even a tributary, and more of an isolated pool that was completely detached.

This may well be the case, and also the reason why his work fell so far out of favour in the twentieth century. But in recent decades there has been a renewed interest in Alma-Tadema’s luscious fantasy world.  My own first, and rather accidental encounter with his work was in 1996 when I visited the Van Gogh museum in Amsterdam.  There was a temporary show of his paintings and now, twenty years later there is a second show in the Friesmuseum in Leeuwarden the capital of the Dutch province in which this Dutch-Anglo artist was born. The exhibition has attracted unprecedented numbers for this relatively small town in the north of The Netherlands, well over 100000 visitors in the first three of its four month run. The exhibition then tours to Vienna and onto London.

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The memories of my visit to the Van Gogh museum exhibition back in the nineties prompted me to make the trip up to Leeuwarden to renew my something of a love-hate relationship I have with the artist’s work. What I remember from my first encounter with the paintings was the colour, the light and the overwhelming lushness of it all.  At their best these are paintings that ooze an almost oppressive detail and rich colour.  Although, it must also be said that other works feel at times like the artist has beaten any life out of them through his astonishing eye for detail, whether it is pressed up against the picture-plane in the fore-ground or seemingly miles away in the background.

These reservations aside, there are some gems in the exhibition, paintings that are extremely difficult not to be drawn to; the likes of The Roses of Heliogabalus, Unconscious Rivals and A Coign of Vantage. Over the top the paintings definitely are, and also out of touch with the world and time in which they were made, but simultaneously they display a phenomenal work ethic, patience of execution and eye for detail.

The exhibition goes to some trouble to draw comparisons between Alma-Tadema’s work and the influence it has had on the visual styling of various Hollywood epics over the years. Fragments of films such as Gladiator and Cleopatra are also on display.  The artifice and escapism of the movies would seem appropriate. This whole exhibition and body of work is a quite huge display of the fantasy world that must have occupied the artist’s mind. He consistently painted image after image of a distant and mythical world, a world that spilled over into the high life of soirées and parties that were also known regularly to require costumes that fitted the artist’s visionary world.

Guardian article reviewing the exhibition

 

Danish visitors

From time to time I am asked to give presentations to and yesterday I did in The Hague so to a group of Danish teachers and head teachers who were interested to hear more about the form of bilingual education that we offer in our schools in The Netherlands.

I’d like to thank them for their active participation in my part of the day. I enjoyed the chance to share ideas and discuss future possibilities.

I promised to make my presentation material available as a reminder of some of the teaching activities I touched on.  The PowerPoint itself is quite brief, so also feel free to take a look elsewhere on this blog and in particular at the CLIL link higher up the page.

Click on the link below for the presentation:

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Can I justify copying someone else’s work?

matisse_nude-745x1024When my older brother and I were both art students me in my late teens and he in his early twenties I remember him telling me once of how his personal tutor at college had a live size copy of a Matisse paper-cut on his wall at home. It was constructed in exactly the same way as the original of loose fitting pieces of coloured paper, that had been roughly painted and arranged to complete the familiar iconic figure that we know from the art history books. If I remember correctly the tutor had gone to some trouble to even simulate the yellowing of the paper that the intervening decades has caused.

At the time I remember feeling rather perplexed as to why someone, and someone very capable of making their own art, should go to such lengths to reproduce an existing artwork. Now more than two decades later, I find myself close to doing the same. Not in my case with Matisse though, I don’t feel any inclination to do that. My remake would be of an artwork that at least superficially might appear easier to reconstruct, although that simplicity may in the end actually make it more difficult to reproduce well.

These were words that I actually wrote for this blog nearly three years ago. But the essence of the point it made still remain and I thought it would be interesting to repost it.

The artwork concerned is by the American abstract painter Robert Mangold and in particular a work from his fairly recent Ring series. The question is, and it is a question I am still pondering for myself, why should I go to all the trouble of reproducing a work by another artist?

I’ve always liked Mangold’s work a lot, ever since I saw it for the first time in the Saatchi Gallery in London in a show with Bruce Nauman, I’ve seen it also in shows in the Netherlands where I now live. But in truth Mangold’s lean and delicate abstract works aren’t seen so often in Europe, so much of my familiarity with his extensive body of work comes from books or the net. In the evenings I often find myself looking through these small scale reproductions.

So why should I make my own Mangold Ring artwork. Perhaps I should first of all say that much as I would like a real Robert Mangold creation, on my part time teachers’ pay that is never likely to happen, a quick survey of the internet tells me that a screen print can be had for $7500.

I can well imagine that the artist himself would probably rather I didn’t have a go at this sort of homage. But I really would like to have one to look at on a daily basis, for absolutely the same reasons my own works appear on the walls around the house, so I can live with an image, so I can think about it and so I can come to better understand it. Robert Mangold’s work has already influenced my own from time to time. It could be argued that in this pattern of influence all art is a sort of homage to the art that preceded it. But this would be different, this would not be my work, nor would it be Robert Mangold’s, put like that it sounds like a undefined object caught in some no-man’s land of classification, hardly a very honourable existence! But reason enough not to do it?

Will I do it? Or should I say, will I get round to it? Studio time is precious, sandwiched between so much other work. In the end the real cost of making such an artwork would be the time spent not making my own paintings. Only time will tell whether that cost is too high!

The fact that now three years after writing this originally, I still haven’t got ‘my’ Mangold on the wall at home probably speaks volumes about the amount of time I have and that, thankfully, actually making my own work seems to be more important! But as I work my way through a recently bought catalogue of the artist’s one, once again I am wondering…….

Alice Neel exhibition…. Portrait painter

Let me start with a confession; the paintings of Alice Neel had largely passed me by until a few months ago. My attention was then drawn to them by an image that was sent to me by my colleague artist and art teacher, Pasi, in Finland.  We’ve been busy setting up a photography project between my pupils in the Netherlands and his in Finland. (For more information about this use the link below).

Netherlands-Finland photography project

One aspect of the project has involved drawing some comparisons of photographic portraits and painted ones.  Within this context Pasi sent me a collection images, including a self-portrait painted by Neel when she was in her eighties. It’s an unusual and somewhat eye catching representation of the elderly artist, sitting naked in a chair whilst painting her self-portrait.  It was this very portrait that you encounter as you walk into the extensive Alice Neel exhibition at the Gemeentemuseum in The Hague at the moment.

img_3164The exhibition walks you through a large body of this relatively forgotten artist, an early life surrounded by revolutionaries and political activists before nestling herself amongst the cultural life of New York. Unusually for a portrait artist Neel didn’t document herself in her work until right at the end of her life, instead the focus lies on partners, lovers, children, friends and others she came across in the circles she moved in. The result is a fascinating journey through the muted early work into the increasingly colourful and expressive work that came later.

Constant throughout the exhibition is a feeling of focused intensity, both from the artist and the subject. The sitter often stares out of the image with large penetrating eyes.

I enjoyed the show hugely and found myself unusually reading everything on the gallery walls building up a picture of a very colourful and varied life. It’s clear to see how the artist drew on the work of Munch and Van Gogh for her inspiration. It is also evident why Dutch artist Marlene Dumas finds her interesting. Personally I see a strong connection to the work of David Hockney.

The texts that accompany the exhibition make much of a feminist agenda that perhaps caused Neel to be neglected. That may well be the case, but it also has to be said that when the artist was producing some of her best work, in the fifties and sixties she was close to where she needed to be, painting portraits of gallery owners and others within the cultural world.  Her fringe position within the cultural scene must surely also been down to the fact that the American art world of this period was pre-occupied by very different things. Yes, it was a very male dominated and macho place to be, but also one focusing on abstraction, minimalism, Pop art and conceptual art, there was little space for an essentially traditional portraitist, no matter how good and how intense her work was.