Until I have time to gather my thoughts in response to the death of John Berger – here is a re-post of my appreciation to mark his 90th birthday in November.
(Avoid at all costs the mean-spirited obituary published by the Guardian. Instead, try these two perceptive pieces:
Continue reading “John Berger: 90 years of looking, listening and seeing (re-post)”
Paul Nash first discovered Wittenham Clumps, two ‘dome-like hills’ in Oxfordshire with a ‘curiously symmetrical sculptural form’ in 1911. Between 1912 and 1946 he would paint them repeatedly as he sought to encapsulate there and in other places (such as the South Downs and the stone circles of Aylesbury) the idea of a ‘spirit of place’. Yet his engagement with the mystery and magic he found in certain landscapes was only one strand in the rich legacy of work left by Paul Nash. In his time he was official war artist in two world wars, and a pioneering figure at the heart of a group of artists who brought surrealism into British art, a painter who utilised photography, collage and assemblage in pursuit of his vision.
All of these aspects of Paul Nash’s work are explored in depth in Tate Britain’s vast and definitive exhibition which we saw while in London. It is a huge show of more than 160 works which convincingly presents Nash as not only a war artist of great importance, and a pioneering figure of the British avant-garde in the 1930s, but also as a romantic in the tradition of William Blake and Samuel Palmer, who, like them, created visionary landscapes drenched in symbolism and painted as if in a dream. Continue reading “Paul Nash at Tate Britain: searching for a different angle of vision”
We approached Forest, Field & Sky: Art out of Nature, last night’s documentary on BBC Four presented by Dr James Fox, with great anticipation since its subject was a form of art that has inspired us both – and provided the subject of many blog posts here. Fox didn’t disappoint, focussing on just a few brilliant examples of what is often labelled Land Art – art that is made directly in the landscape, from natural materials found in situ, such as rocks, tree branches or ice. Travelling across Britain, he discussed artists whose work explores our relationship to the natural world such as David Nash, Andy Goldsworthy, Richard Long, and James Turrell, in some cases watching the artist in the process of creating a new work. Continue reading “Forest, Field & Sky: Art out of Nature”
After encountering the artists of the Hague School in the Rijksmuseum, I walked across Museumplein to the Van Gogh Museum where I found further evidence of the connections between these painters. There is so much to absorb at the Van Gogh Museum, and elements of the story are so familiar, that I focussed on the early years of Vincent’s career during which he painted darker landscapes and studies of peasant life in the countryside that reflected his admiration of the Brabizon realists and the influence of members of the Hague School.
Later, in the rooms dedicated to his work in Provence, I felt as if I had emerged into sunlight and colour. Continue reading “Van Gogh: from the dark into the light”
I guess we’re all familiar with the way in which the French Impressionists shook up the art world in the 1870s by depicting landscapes and scenes from modern everyday life often painted outdoors using bright, pure colours applied with rapid, often visible brush-strokes.
What I didn’t know – until I found some of their paintings in the Rijkmuseum last month – was that at the same time a group of Dutch painters were similarly intent on representing the changing modern landscape of their country and daily life of its people; artists who, like their French counterparts, were keen to capture the sensation of the moment, and shifting patterns of light on the landscape by working in the open air.
The key difference lay in the Dutch artists’ initial preference for muted colours. Painting under the grey skies of the Netherlands the group became known as the ‘Grey School’, then later as the ‘Hague School’. Continue reading “Out and about with the Hague School”
It’s one of my favourite paintings. A view of ordinary houses in an ordinary street, the weathered brickwork, window leads and wooden shutters finely detailed, and a few incidental details of everyday life – two children at play, a woman sewing in a doorway, while another is glimpsed in a side passage reaching into a barrel.
In Amsterdam on my way back from the Bosch exhibition in ‘s-Hertogenbosch last month, losing my way in the Rijksmuseum, I chanced upon it in a distant side-room where it was the centrepiece of a small but fascinating exhibit: Vermeer’s Little Street Discovered! Continue reading “Vermeer’s ‘Little Street’ Discovered!”
The first picture that you see when you enter the exhibition, Hieronymus Bosch: Visions of Genius, at Noordbrabants Museum in the painter’s home town of ‘s-Hertogenbosch depicts a careworn traveller making his way through the kind of landscape you can still see if you step beyond the town’s medieval battlements. Continue reading “Hieronymus Bosch: visions of Hell and earthly delights in an astonishing exhibition”