Just before it closed, I went along to see Tracing the Century: Drawing as a Catalyst for Change at Tate Liverpool, an exhibition which aims to highlight the fundamental role of drawing as a vehicle for change in modern and contemporary art. For the average art-lover it’s a deeply puzzling assembly, not only of sketches and drawings but also paintings, sculpture and film; moreover, the curators have jarringly juxtaposed radically different artists from different perspectives and periods.
There seems to be a vogue among curators at the various Tates for trying to force connections between palpably unconnected works or genres. Maybe it’s a leftover from the whole Dream/Future/Multistorey Car Park thing at the pre-new-hang Tate Modern. Anyway, it’s time to stop. Like a provincial restaurant, Tracing the Century‘s menu talks the talk but doesn’t dish up the goods. It starts from the unsurprising premise that drawing was a catalyst for change in the art of the past 100 years, which is certainly true, although it was also true for the century before that and pretty well every century since the caves at Lascaux. [...] Irritatingly, Tracing the Century manages to be both arbitrary and over-organised at the same time – rambling vaguely from room to room while stopping to suggest implausible connections between unlike artists.
One of the first treasures I encountered was this watercolour sketch by Cezanne of Montagne Sainte-Victoire, his favourite subject from the late 1880s until his death. Cezanne returned, day after day to sketch it from different viewpoints and in changing light conditions and this watercolour was painted from the hillside above his studio at Les Lauves just outside Aix-en-Provence. The Tate caption explains its significance:
In his landscapes, he abandoned traditional fixed-point perspective in an attempt to capture the natural movement of the eye as it roams across the vista. The viewer is led across the surface of his image through passages of carefully constructed brush-marks and subtle tones. Emile Bernard visited Cézanne in 1904 and noted his unique approach to sketching in watercolours: ‘His method was strange, entirely different from the usual practices and of an extreme complexity. He began with the shadows and with a touch, which he covered with a second more extensive touch, then with a third, until all these tints, forming a mesh, both coloured and modelled the object.’
Paul Gauguin’s Tahitians is hard to date exactly owing to its unfinished state, but most probably it was made about 1891 during Gauguin’s first stay in Tahiti. In its unfinished state, though, it reveals a great deal about Gauguin’s working methods. He began his work in Tahiti by making a number of studies in order to come to terms with his new subject-matter. Here he is sketching out his ideas, beginning with a crayon and charcoal drawing on paper, and adding in detail on the left in oil. On 11 March 1892 Gauguin wrote to Daniel de Monfreid: ‘I work more and more but so far only studies or rather documents … If they aren’t of use to me later they will be useful to others.’
I’m not going to complain about an exhibition that brings to your home town three of the drawings made by Henry Moore of Londoners sheltering from the blitz in 1941 in Belsize Park underground station. The three drawings here – Pink and Green Sleepers (top), Woman Seated in the Underground (above) and Tube Shelter Perspective (below) – began as rough drawings that Moore made in the shelter that he developed once he reached home, using a range of techniques: wax crayon, watercolour wash, pencil, inks.
Moore uses a variety of techniques in this series: allowing wax crayon to dispel water-based paints or inks; scratching into paint and crayon with sharp objects; smudging materials; using thick impasto and thin washes; alternating fine wispy lines with heavy contours. The effect is more sculptural in texture than traditional drawing. The rough surfaces and scratchy lines bear a strong resemblance to Moore’s sculptures of reclining figures or natural forms such as weather-worn stone. Which perhaps explains why, as soon as you enter the next room, you are confronted with his 1938 Recumbent Figure from 1938, dominating the room.
Henry Moore was 42 and teaching at Chelsea Polytechnic when the Second World War began. At first, his life carried on as normal, though he was unable to work on his sculptures due to a scarcity of materials. One evening, he was delayed on his journey home from London and came upon the scenes that would provide him with these poignant images. When he arrived at his underground station, Belsize Park, he was transfixed by the sight of the sleeping figures of Londoners sheltering on the platform and along the underground passages. He immediately made a connection with his own art:
I had never seen so many reclining figures and even the holes out of which the trains were coming seemed to me like the holes in my sculpture… people who were obvious strangers to one another were forming intimate groups.
Moore returned several times to make discrete sketches so as to avoid intrusion on the sleepers’ privacy. The sheltering forms seemed to evoke associations between the sleepers and forms in the landscape, unconsciously supporting the wartime propaganda message that the British people were an indomitable force which would prevail against all hostilities.
Andy Warhol may be better known for his pop art screen prints of Marilyn Monroe and his soup cans, but early in his artistic career, in the early 1950s, he produced some exquisite drawings that revealed him to be a skilled and sensitive draughtsman. Two of these drawings are on display here – Boy with Thumb in his Mouth and Resting Boy, from 1955-56 – which employ a superb economy of line, with all unnecessary detail removed. Warhol’s work revealed a fascination with the male body throughout his career, a fascination first evident in his early line drawings of young men from the mid to late 1950s, many of which were included in his ‘Drawings for a Boy Book’ exhibition at the Bodley Gallery, New York in 1956. The style of these drawings show similarities to the work of Henri Matisse and Jean Cocteau, both of whom employed a similar reductive linear drawing technique, and whose work Warhol admired. There’s a delicacy and tenderness in these drawings that sets them apart from the rest of his wiork.
Alongside these two drawings hangs a later one – a portrait of David Hockney completed in 1974. There’s a connection here, of course: Hockney played an important role in the British Pop Art movement, and he, too, is a master of the art of line drawing. The Warhol portrait is a pencil line drawing in which the features and textures of Hockney’s hair and shirt have been reduced to abstract lines and shapes. But it is less satisfying than the 1950s drawings, almost certainly being completed by the process of projecting a photograph on to a large sheet of paper, where Warhol would then draw around the areas of the image he wished to define. When the projector was switched off, the drawing remained.
Tucked away in a small side room is David Hockney’s portrait of his mother – Portrait of the Artist’s Mother, Mrs Laura Hockney, Bradford 1972 – drawn in pen in one session, without revisions. It’s a gem.
In this line drawing, Hockney’s mother, sitting in a wing chair, is revealed as frail-looking with a lined face. Wearing a simple dress with short sleeves and a round neck, the figure sits with her hands neatly folded on her lap and her legs crossed. The chair is positioned squarely within the frame but the figure sits upright against the chair’s right-hand corner, which gives a three-quarter view of the sitter. The face is worked with more detail than the rest of the image. The drawing is inscribed ‘Bradford, Aug 2nd, 1972’. Laura Hockney was then 72 years old, but as her obituary in The Guardian noted, she lived to be 99 years old, ‘deceptively frail-looking during most of the artist’s years of fame, she attended receptions in a wheelchair surrounded by gossip and laughs’. She was subject of many of Hockney’s drawings, paintings and photo-collages, and had encouraged her son in his artistic ambitions when he was a schoolboy.
Here’s another remarkable drawing: Lucian Freud’s Narcissus, from 1948. The subject is the boy in classical mythology who fell in love with his own reflection and died of love for himself. I think it might be a self portrait of the artist obsessed by the details of his own face reflected in the glass below him. The drawing deploys a variety of techniques: the texture of the thick woollen sweater is minutely detailed in lines and cross-hatching. His hair is drawn with quick, flowing pen lines, while the details of his face are marked by pen stipple. The edge of the mirror is close to the subject’s chin, creating a stark division of figure and reflection. The Tate caption adds: ‘The reflection is cropped above the eyes which, had they been included, would have been looking upwards at the viewer. Instead, the subject is rendered a double object, enclosed in a circularised, interior world.’
Dora Maar was a a stunningly beautiful, passionate and acutely intelligent young woman, a painter, photographer and reporter, who became Picasso’s lover in 1935, and remained so through the war years. She was one of his most important models during that period and, perhaps as important, a great influence on his art and politics.
Shortly after their first meeting, in the winter of 1935-36, Dora photographed Picasso in her Paris studio. Dora’s photography and the experimental techniques she employed were a source of inspiration to Picasso. He began to take photographs of her that were the catalyst for a whole series of works. Using photographs of Dora as a starting point, Picasso painted several portraits of Maar. This preparatory sketch, using ink, gouache and oil paint,shows Dora with her hands crossed elegantly in her lap.
Centre piece in another room is Grayson Perry’s ceramic vase Aspects of Myself which I suppose is present here because the surface of the vase is inscribed with writing and drawings that reflect key moments in his life or which address issues of identity, class, sexuality and gender that are central to Perry’s identity and sharply satirical view of society and the art world. Aspects of Myself is an autobiographical work showing the artist in the guise of his transvestite alter-ego ‘Claire’. In an interview with The Art Newspaper in February 2012, the interviewer observed, ‘Another unusual aspect of your work is that it incorporates a lot of content, narrative scenes and often writing’. Grayson Perry responded:
Oh, you’ve got to have content; I think it’s cowardly to avoid content. I judged a competition the other day and among the 700 works the number of wishy-washy semi-abstract paintings I saw was incredible. It was as though they wanted to make art, but didn’t want to say anything. I hate the aimless, apparently transcendent thing in sub-Rothkos: “Oh, this is all about spirituality.” Fuck off. Why isn’t it about your mother-in-law or poverty or war?
What is your content about?
Things that have interested me all my life: religion, kinky sex, class, taste, folk art – stuff like that.
There are a couple of Paul Nash works in the exhibition; one of them is Three Rooms from 1937, a pencil, crayon and watercolour sketch on paper. The work reflects Nash’s renewed commitment to the International Surrealist Exhibition in London in 1936. It shows three interrelated rooms invaded by the sky, a forest and the sea. The air of strangeness and the combination of disparate elements is typical of much Surrealist painting and writing, but its mysterious symbolism also recalls the work of William Blake.
- Henry Moore’s underground shelter drawings from World War II: video clip in which Henry Moore talks about his drawings of people sheltering in London underground shelters (BBC)
- Memory Maps: extract from Grayson Perry: Portrait of the Artist as a Young Girl: a biography by Wendy Jones
- Grayson Perry: Top of the Pots: interview about his ceramics (Saatchi Gallery)