“Hilma af Klint & Piet Mondrian: Forms Of Life” exhibition at the Tate Modern - Part 2: The Botanical Illustrations ✎

Further to my post Hilma af Klint and Piet Mondrian: pioneers of abstract art – Tate Modern, these illustrations were part of af Klint’s botanical collection. 

I think they’re the best ones.

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“Towards Modernity” - National Gallery 2023 additions of Sorolla, Degas and Bonheur ✎

These paintings are the August 2023 additions to room 41 of the National Gallery. I covered the works from 2022 in post a few days ago. 

Those additions are works by:

• Rosa Bonheur
• Edgar Degas
• Joaquin Sorolla 

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The Horse Fair by Rosa Bonheur (1855)

This painting is huge.

I really like how Bonheur has painted her horses with so much vitality. In this painting, she depicted a horse sale. There is something special about that white horse. The way she has painted the bundles of muscles, tissue, and bone affects a movement to the horses in the painting. They have a force and physicality that is astonishing - in addition to the general commotion and noise of the painting.

Rosa Bonheur is a fascinating lady. She was, at the time, one of the most famous female artists of the 19th century across France and beyond. Born in 1822 into a poor family, she became a noted animalière (painter of animals). She made her debut at the 1841 Paris Salon when she was 19 years old.

She seems to have been a true nonconformist and didn’t mind standing-out. She wore trousers (which, at the time, were reserved for men & needed a “permission de travestissement” from the local police) and she had a romantic relationship for most of her life with another lady. Met Queen Victoria and the Emperor of France. Bonheur’s art seems to emerge from the Romantic movement (of the 1830s in France and England). Romanticism has a difficult relationship with nature: to inspire and terrify with nature’s intensity and serenity - by being free of social constraints - whilst also running against realism. 

According to the National Gallery, this is “probably Bonheur’s best-known composition, it established her reputation both in France and abroad”.

A majestic horse. Such a beautiful animal.

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Hélène Rouart in her Father’s Study by Edgar Degas (1886)

Hélène Rouart was the only daughter of Degas’s friend, Henri Rouart. She was an art collector.

There doesn’t seem to be a lot of warm in Helene. Whilst I do like the Egyptian statutes, paintings in the room etc., she does seem to be standing behind the chair with hands resting on it. I am not sure why he painted the chair in front of her. According to the National Gallery, it was her father’s chair and Degas may have wishes to capture something of her child-like quality. The Gallery says: “When Hélène was nine, Degas had painted a portrait of her sitting on her father’s knee“.

Interesting painting around her wrists:

 

I like the delicate daubs of her bracelet.

I like the fountain pen in her hand (was it invented?),

and the ink on her fingers.

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The Drunkard, Zarauz by Joaquin Sorolla (1910)

This painting is a recent addition to the National Gallery:

The National Gallery has acquired its first painting by the Spanish impressionist Joaquin Sorolla, a huge name in his day who was once audaciously described as “the world’s greatest living painter”.

I liked this painting. I like the commonplace ordinary feel of the painting. It’s a familiar scene of ordinary townsfolk. On the one hand, it could be the boisterous and lighthearted laughter in a pub on a Friday evening; on the other hand, it could be an homage to the blight of alcoholism to the time, money and health of these lads. 

It’s hard to tell; but Sorolla gives us a pie-eyed stoned look of the central figure - starring at us - of the bacchanalian crew. It’s quite touching. His friends have leaned in to him which suggests affection.

I love the darker palettes for the trousers:

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Valencian Fishermen by Joaquin Sorolla (1895)

Incredible. 

I’m excited about this Spanish artist Sorolla.

I thought I was looking at a photograph. Unlike the other impressionists - who like to have their brushstrokes create uncertain boundaries and to have objects feeling disconnected in some way to the overall painting - Sorolla likes to immerse us in the lives of the ordinary people and show us something interesting with such fastidious brushwork.

I really love this fishing-town scene. Just love it all; the crashing soft waves, the sunny weather, the straw hats, the smooth sandy beach, the seaman’s ordinariness in their clothing, and especially the azure sea. You can almost taste the salty air, and that seaside smell.

I like how the fishermen are checking their wicker traps and hardly seem to notice the viewer. The shadow is incredible. It looks so real in colour and the way it bends and glistens across the shallow waters. Makes me want to book a holiday!

The swashing waves, the white frothy bubbles, the foot transparent through the water.

Love the hat and the shadow effect

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Monet’s Water-Lilies

Already covered before. But it’s just enormous and very engaging.

Poem: The Garden by Moonlight By Amy Lowell ✎

The Garden by Moonlight By Amy Lowell

A black cat among roses,
Phlox, lilac-misted under a first-quarter moon,
The sweet smells of heliotrope and night-scented stock.
The garden is very still,
It is dazed with moonlight,
Contented with perfume,
Dreaming the opium dreams of its folded poppies.
Firefly lights open and vanish
High as the tip buds of the golden glow
Low as the sweet alyssum flowers at my feet.
Moon-shimmer on leaves and trellises,
Moon-spikes shafting through the snow ball bush.
Only the little faces of the ladies’ delight are alert and staring,
Only the cat, padding between the roses,
Shakes a branch and breaks the chequered pattern
As water is broken by the falling of a leaf.
Then you come,
And you are quiet like the garden,
And white like the alyssum flowers,
And beautiful as the silent sparks of the fireflies.
Ah, Beloved, do you see those orange lilies?
They knew my mother,
But who belonging to me will they know
When I am gone.

Beautiful poem by Amy Lowell. It's evocative, vivid, redolent, and full of picturesque language (a Monet painting). 

But the poem ends on a poignant reflection on the sense of sadness, loneliness, purposelessness, and perhaps even grief in being childless.

I think this poem was written for Amy's same-sex partner and muse Ada.

I think its the natural impulse to want to leave our prized possessions for the next generation - like our photos of grandparents, family home etc. So, there's a tragedy in having no family alive and the sense of abandonment and permanent loss that must arise. 

It's interesting for me because I don't think I want to have children; and yet I think I would feel that my life wouldn't have a meaningful purpose, in a deeper sense.

Sir Michael Parkinson dies (1935–2023) ✎

So poor old Parky has died.

I have such fond memories of my mum watching him. He was a regular Saturday night viewing for the family.

I recently watched a Mel Gibson film; and went to watch one of his interviews. Then, I stumbled across his Parkinson interview only a few days ago; and I really enjoyed it. It was just so absorbing and engaging. Old school class. 

That's before British chat shows had veered towards being comedy routines. Parkinson would be entertaining without the scripted 'story time' routine of Graham Norton (invariably with his own jokes). Graham Norton's entire formula is "so please tell us about the time ...."  or  "... what's this funny story I heard ...". Michael Parkinson was entertaining with some class and gravitas; and allowing the audience to learning something about the interviewee.

I didn't appreciate it at the time, but television has really declined in my own time.

So, respect to the man.

“Towards Modernity” at the National Gallery - Part 1 ✎

This blog post concerns the art in room 41 of the National Gallery. See index for the other rooms of the National Gallery.

The art here is supposed to survey the transformational force of painting - as an artistic medium - in the early 20th century.

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The Umbrellas by Renoir (1881)

This is a very engaging painting with mystery.

I find the lady’s gaze in our direction quite absorbing. And the little girl’s sweet face turned towards us also. As if we just shouted out: “hi there”.

According to the National Gallery, “Renoir began the painting using a soft, feathery style, but later reworked the left side using harder contours and muted colours.” I think one can tell the different styles here. The lady is painted with much more clarity and sharpness (which I prefer). The little girl has a dream-like translucency feel.

There are essentially 2 different colours - blue and brown (I ove the burgundy-red hair on the lady). I think the two figures on either side create a symmetry; and that the empty basket may be to counter-balance the top-heavy umbrellas. 

Either way, I think its interesting that Renoir paints an empty basket when he could easily have painted some bread or some such item in it. It may also explain why she doesn’t have an umbrella; and there’s a very subtle wistful sadness in her face. She’s not upset; but she’s not exactly happy. Does she know the gentleman? It’s not obvious they know each other. It’s also not very obvious that he’s looking at her at all. Her hands seem to be holding up the edge of her dress; but why? Is it just the rain, or a step on the pavement? And why isn’t she looking where she is going?

Also, the little girl’s lips are upturned? As though she isn’t impressed. There’s drama captured in that fleeting moment of everyday Parisian life, Parisian weather, and perhaps a social statement about the lady?

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Misia Sert by Renoir (1904)

I think this is quite engrossing and charming.

The sitter is Maria Godebska (AKA Misia). She was known among the avant-garde of Paris, at the turn of the last century.

Renoir seems to capture the wealth and elegance of this lady. Relaxing on a chaise-longue with a golden sofa-throw. The background is an effective colour contrast - but it could also be some lush curtains. I think she’s very pretty and painted with a certain grandeur. The delicate finery seems to add to her striking beauty. Renoir has given her a delicate relaxed posture with her hand. Her other hand caresses a sweet dog which is an affectionate touch. 

But there is a certain intensity to her eyes (perhaps some ruefulness) which lend a subtle interesting tone to her.

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The Skiff (La Yole) by Renoir (1875)

I quite like this painting. It’s beautiful.

Two ladies are rowing on the Seine on a gorgeous summer’s day. One of them has pivoted in our direction and may be looking at us. I love her fancy hat with that little black plumage. Her friend’s church-hat reminds me of Berthe Morisot’s summer’s day.

This does seem to have the classic impressionist stuff - a landscape, the spontaneity of river scenes, the interaction of light with objects to create engaging colour effects and that fleeting effect of natural light.

The way Renoir is able to make those iridescent watery reflections is just wonderful. Probably many layers with different textures of paint. Almost every object - from the houses to the rower - seem to have a gleaming or shimmering reflection. 

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A Nymph by a Stream by Renoir (1869)

I like this painting of a nymph creature controlling nature; from antiquity. 

I like the garland of grasses, and that stream of water in which, I think, she reflects. Grass in both hands, she rests on a soft pasture; and such lovely long hair that melts into the idyllic setting. The green-mossy of the brook makes her white flesh glow.

I like her direct carefree gaze. And what a cute nose. She also has a beautiful figure. 

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The Côte des Boeufs at L’Hermitage by Camille Pissarro (1877)

This is really good.

This hillside - called ‘Côte des Boeufs’ - was close to Pissarro’s home at the Paris suburbs. 

Here the painting is focused on the darkness as opposed to the light.

I like the structure and composition. Huge slender trees climbing the length of the canvass are imposing over the charming background of house roofs, chimneys, clouds and hillside.

I like the little pathway and the 2 people (young lad and his aunt in a bonnet?) walking towards us. It adds a rustic charm to it. There is so much heavy brushstrokes that the verdure and shrubbery really does feel dense.

Like that bumpy, textured and coarse ‘feel’ of the paint.

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Men of the Docks by George Bellows (1912)

What a great painting, full of drama.

I was a bit surprised to see this at the National Gallery. I’d hardly seen any American vistas there (and hardly any in the story of impressionism and post-impressionism). I know nothing about George Bellows; so have to read-up about him.

According to the National Gallery, the towers in the distance are of Lower Manhattan. I do like how the painting’s small brushstrokes of the skyscrapers creates such a misty feel at the towers. Just beautiful. The maroon-orange of the ship’s hull contrasts beautifully with its black upper-half. I also love the water brushstrokes - especially the deeper river: that rich dark deep-blue azurey colour. And, then the sheets of ice and thick snow lining the docks. Another one with wonderful vivid colour.

Ultimately, I think we’re drawn to the dock workers. There’s an anxious worried look in the faces of those men at the fore. Some kind of foreboding, or some tenseness in the waiting. I think they all know each other. Something to do with work. I expect this painting is about the man looking for work, and all its attendant stress. I think Bellows has painted drama and anxiety in this scene of working-men of the docks.

It’s very interesting that horses were still being used in 1912 at the docks! Incredible in fact.

Both chaps looking round to their friend.

I like the nonplussed look in the browner guy.

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Fishermen carrying a Drowned by Jozef Israels (1861)

A moving depiction of the tragic.

I don’t know who Israels is; but his painting has a sense of the epic. That subdued and dignified distress is reminiscent of the Christ being taken off the cross. The power of nature can be felt in the windswept landscape, dark atmosphere and crashing waves at the shoreline.

Israels was the leading Dutch painter of his time. I can see why.

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Hillside in Provence by Paul Cezanne (1890)

We know Cezanne started off with the impressionist exhibitions and then moved away as he returned to the South of France. Here he depicts a region in Aix-en-Provence where he was born and spent much of his later years. 

With regards to this type of Cezanne landscape, I often feel that I like it, but also ambivalent about it. I do appreciate its historical context, and how impressionism is being deconstructed. I think his style is important because it challenges us vis-a-vis what art should do with the then rise of photography. I like how it reminds me of the physicality of the medium, and challenges the central perspective in paintings.

At the fore, the complex rock formations (with subtle shadowing) seem to have a feel and texture mirrored by nature (that lone tree). It feels like it doesn’t move at all. And the rocky fortifications is contrasted with a smoother open panoramic landscape.h

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Surprised! by Henri Rousseau (1891)

This is a huge painting, and there’s a lot of movement and dynamism.

Henri Rousseau was a Frenchman & painted ‘Tiger in a Tropical Storm’ in 1891. Though he never left Paris, the plants were inspired by the botanical gardens he worked at in Paris. There is something about the tiger which reminds me of the Japanese woodblock prints, that kind of 2-D effect.

I do like the bursts of colours. There is something really alluring in the lovely red flame-like leaves (which makes you feel the power of the storm). Then, there are the subtle thin lines of silvery translucent paint which give an amazing rendering of gusts of wind and rain. 

I like how the tiger seems disjointed in this painting; and some elements seem sweet in their innocence. The ridiculously long tail, the very thin bird-like legs, the cartoonish eyes etc. The tiger even seems floating; and one of its paws rests on some long grass - yes, grass! - for some support.

I am reminded slightly of William Blake’s paean to the majestic beauty of the tiger. 

Tyger Tyger, burning bright, 
In the forests of the night; 
What immortal hand or eye, 
Could frame thy fearful symmetry?

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Snow Scene at Argenteuil  by Claude Monet (1875)

I really do love a good landscape painting.

There is a great atmosphere in this painting of the winter chill and cold; but also the beauty. The barren and miserable landscape is also kind of beautiful. The brushstrokes of blue, white and grey gives structure to the painting. We can see a bridge and pathway. Those curvy brown-soil cart tracks melt into the distance. So, I think this was horse-and-cart times.

I love the sight of the people trudging through the snow. To me, its evocative of some tranquillity and calm of nature.

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The Museum at Le Havre by Claude Monet (1873)

Terrific.

Le Havre was Monet’s home town. 

I love the overcast dusk atmosphere, the commotion and hustle-and-bustle of everyday folk, the imposing masts and sails, the shimmering reflection on the unruffled water. It speaks to a gentle morning breeze. 

I think the imposing building at the back is the Musée des Beaux-Arts.

I love the brushwork which convey either the gentle movement in the water ripples, or the commotion in the people.

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Water-Lilies, Setting Sun by Claude Monet (1907)

So much beauty in the transient surface of the lake. 

The setting sun being reflected iridescently, the dark shimmering silhouette of a weeping willow in the surface of the lake, and waterlilies here-and-there in an almost suspended-like effect. We can make the edge of the bank with long grass at the lower right-hand side.

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Water-Lilies by Claude Monet (1840-1926)

This painting is huge. In fact, it takes up an entire wall.

Loads of people were gathered around it; but - for me - it’s reminiscent of JMW Turner - especially Norham Castle and Breakers on a flat beach. And we know that Monet was inspired by Turner’s paintings.

I liked both of Monet’s waterlilies (above) because of their visual distortions. In this one, I don’t think we can discern what is really happening. Apart from the waterlilies, there aren’t any clear frames of reference to visually grip onto; and yet it’s quite alluring. 

I think it captures a feeling of being both underwater and above water simultaneously. 

Messy & careful blotches.

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Irises by Claude Monet (1914-17)

Monet many painted irises.

I think this painting is pretty. But I’m not especially drawn to it. 

According to the National Gallery, “it is not clear whether the artist regarded the picture as finished, since it remained in his studio at his death.”

The irises are painted along a meandering waterway. He may have had his double cataracts at this point. The grass and thick purples are nice; but the blue brushstrokes are a bit out-of-place perhaps. Interesting. Here he was looking down from the Japanese bridge.

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The Water-Lily Pond by Claude Monet (1899)

“My wish is to stay always like this, living quietly in a corner of nature” - Monet.

Indeed, this is quite special; and painted over decades.

Monet painting this in his gardens in Giverny. It shows an amazingly beautiful water-lily pond and Japanese bridge.

There is such thick verdure and flowers that it creates an amazing ecology. Monet became an expert on these plants having consulted the leading horticulturalists of his day. The painting has such a luxuriant and rich foliage in the overhanging trees and leafage that it creates a veritable atmosphere. There is gracefulness and symmetry in the scattered and floating waterlilies across the sun-kissed surface of the lake. There are some areas of dappled shade; but the water is transparent in areas. So, the lake feels healthy (no algae). The bridge feels like it almost belongs in nature. That - combined with the smooth unruffled water - creates a scene of wonderful tranquillity.

It makes you reflect on the glory of nature. Such an ecosystem is conducive to life itself. You can imagine the wild birds, small mammals and insects (e.g. dragonflies) that call this home. Them; and of course Monet!

You can feel the texture of the brushstrokes.

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Portrait of Hermine Gallia by Gustav Klimt (1904)

Quite lovely & charming.

Klimt designed the dress Hermine Gallia wears. She who was born in Hamburg, and her husband (Moritz) ran one of the most modern electricity plants. They were affluent Jewish family in Vienna. 

This painting is very subtle and she looks like she is floating. The painting’s ruffles and ribbons are so delicately painted, she feels like a butterfly. Her pose is rather dignified and commands a certain stateliness. And her jewellery really stands out with a brilliancy. They almost looks real. 

A lot of thought went into this painting.

 

Those painted diamonds.