‘Cezanne and American Modernism’ in Baltimore
One of the best things about the sudden profusion of Cezanne-and-his-progeny shows is the opportunity to see how other artists learned from — and measure up to — the father of modern painting. The most recent ‘Cezanne & Friends’ show is “Cezanne and American Modernism,” on view through May 23 at the Baltimore Museum of Art. [Above: Paul Cezanne, Still Life with Apples and Peaches , circa 1905.
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‘Cezanne and American Modernism’ in Baltimore
Just when you thought that you were finally making headway through the riches of the Philagrafika shows, 90 clay shows and events are starting to open all around town. The multiple shows are in conjunction with the National Council on Education for the Ceramic Arts (NCECA) conference in Philadelphia from March 21 to April 3. I went to two that were early off the blocks, and they are as different as can be.
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Clay shows begin–Ai Weiwei at Arcadia; bodies at the Mutter
Back to that “things you might have seen” problem I mentioned, a couple of note, with a single day to catch them. First, Hadley + Maxwell, a Vancouver duo of conceptual pranskters (I think?) currently on display at Jessica Bradley Art + Projects.
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Last days: Look, listen, enjoy
Spring is getting stronger and stronger, I even got a light sunburn! What a great city Utrecht is, they even have a historical harbour now a days, what a treat! “Museumhaven Utrecht.” Utrecht, Holland. (Historic harbour Utrecht.) Oil on panel
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A days painting in Utrecht. Holland.
Illustration: Owen Jones Middle Ages Ornament from his The Grammar of Ornament 1856 Interestingly Owen Jones called the colour plates dedicated to the chapter dealing with medieval ornament in his 1856 book The Grammar of Ornament , as Middle Ages , while he entitled the chapter itself as Medieval Ornament . Some see both titles as meaning the same era while others are more particular.
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Owen Jones and Ornament of the Middle Ages
Several weeks ago I received a copy of “Gerhard Richter: A Life in Painting,” by Dietmar Elger and translated into English by Elizabeth M. Solaro. It appeared to be a Richter biography.
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‘Authorized biographies’ for artists?
As I stood in the Philadelphia Museum of Art looking at Henri Matisse’s perpetually fascinating Portrait of Mlle. Yvonne Landsberg , I heard someone say: “Wednesday.” The voice seemed to be coming from behind me. I turned around to see what I might have heard, only to discover I was alone in the gallery.
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Bruce Nauman’s ‘Days’ in Philadelphia
What a gorgeous spring day today, … and then to remember that it was complete white yesterday, … Anyway I biked around a lot, and made three paintings, so here we go: The first one is quite early made, a little haze is still visible.
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A great day in Holland.
This little cartoon is rather cute… now..I wasn’t nearly as ‘cute’ while on the phone with the Tech Guys at Time Warner Cable on Wednesday last. I had actually checked my email and my shop per my usual “have my coffee/wake up” routine..
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More..computer woes!
After Monday’s post about implementing a policy for answering questions , Julie Thompson commented: I get the same questions over and over, but this happens much more often when I do a show, not so much in my inbox.
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Answering the same question over and over again (gracefully) in a face-to-face conversation
A great day painting in Amsterdam, with sun and a bit of a chill wind. “Amsterdam centraal II.” Amsterdam, Holland
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"Amsterdam centraal." Amsterdam, Holland.
Last Thursday we went painting in Nijmegen with our little group. ( Leida Blom and Silvester and me.) It rained quite a bit and then to paint a ship that’s called “stubborn” was funny. “Eigenwijs schilderen in de regen.” Nijmgen, Holland.
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Eigenwijs schilderen in Nijmegen. Holland.
Although they fore-casted heavy rain today, the Sun broke through several times, … I didn’t want to take any risk so I went to Bennik a nearby shipyard, where I painted often.
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Back at Bennik Westervoort, Holland.
Illustration: Sandra Woock Backspin The textile artwork produced by Sandra Woock is very much open-ended as far as experience and interpretation are concerned. The artist seems intent on both personal observation and understanding originating within the individual, rather than that of the artist. Although much of the creative interpretation and analysis of artwork is subjective, many artists do try to limit, or at least set some forms of parameter around the interpretation and explanation of their work
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Sandra Woock and the Function of Movement
Last year I painted several boats during a festival here in Arnhem, the so called “Kadedagen.”(Harbour-days) Today I visited one of the boat-builders that was also on this festival, … and what a gorgeous place it was
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Vliehout Arnhem, Holland.
Illustration: Albert Herter The Ship 1913 Albert Herter was an American artist, best known for his fine art paintings, but closely followed by a range of large scale murals that he produced from about 1913 onwards through to the end of the 1920s. Herter also produced a number of tapestries and The Ship is one of the better known and dates from 1913. The tapestry itself is interesting in its style and composition as, although seemingly conventional and representational in both composition and style, it does seem to echo certain elements of the abstract pattern work, particularly within the top third of the tapestry, that was to be so prevalent within the decorative arts, and that of textile design specifically, during the following 1920s and 1930s.
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Albert Herter and the Tapestry Ship
Guess this will be the last time I can paint this lovely building, it’s a building from the 30′s I think and stands on a very prominent spot between two rivers. (Rhine and the IJssel) You can see this building from almost everywhere and it’s definitely marks the spot as being a mark on itself as well. I will miss this lovely building, and for me it will make me think that in the Netherlands not much things are kept to get old anymore.
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"Hermsen voor het laatst." Westervoort, Holland.
This could well be a new project, “Painting ugly spots” One positive thing about it is that the painting is always better. And it shows that it doesn’t matter what you paint but more how you paint it.
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Roermondsplein Arnhem, Holland.
Illustration: Wen Redmond Trees Seen, Forest Remembered 2008 Of all the images and work produced by textile artist Wen Redmond, I have chosen a sequence of work produced by her over a couple of years.
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Wen Redmond and the Complex Nature of Observation
I made some small but important adjustments to the drawing on this piece, which you can compare to the previous version, if you care to. Sometimes you have to live with a painting for a at least a few hours or days (or even weeks) before certain things become apparent. In this case, I thought that a few fairly minor changes could strengthen the image, so I made them, even though it required a little work
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Cut Pears – Revised