Stan Brakhage: Adventure of Perception

 Unruled by Man-Made Laws of Perspective

I'd never heard of American experimental film-maker, Stan Brakhage, before now, but today, 9th March, is the anniversary of his death in 2003. He employed a wide variety of techniques including: use of handheld cameras; scratching onto the film (often in film titles); painting directly onto the celluloid (it's thought the aniline dyes used to colour his films contributed to his developing bladder cancer); making use of fast cuts, collage film and many other innovations.

Birthing New Projects

Some of his innovations and experiments were enforced; when his 16mm camera was stolen and too expensive to replace, he switched to using an 8mm camera instead, used to make a series of Songs between 1964-69. That poverty not only influenced his film-making but almost stopped his career entirely; faced with seeming failure, he briefly considered suicide, but went on to meet the woman who would become his wife, (Mary) Jane Collom (Wodening), collaborate on film projects, and bear him 5 children, the birth of one made into featuring in Window Water Baby Moving, 1959.

Unprejudiced by Compositional Logic

Knowing nothing about the man and his work, it was helpful to discover this interesting and comprehensive introduction to his short film experiments, made by a film student, that includes Brakhage talking about his own work:

I particularly like the following quote: 

'Imagine an eye unruled by manmade laws of perspective; an eye unprejudiced by compositional logic; an eye that does not respond to the name of everything, but which must know each object encountered in life through an adventure of perception'.

Collaborations

As an Artist-Poet myself I appreciate his collaborations with poets; artists and musicians, including Robert Duncan; Joseph Cornell and John Cage, among others, and shall be following up on their work.

I love, too, that he and his wife kept scrapbooks for making notes, and for inspiration:

Drawn to the Light

I found the exposition, towards the end of the video above, of one of his most famous works: Mothlight, made in 1963, very helpful. The film came out of a period of deep, personal grief, and uses the metaphor of moths being drawn to their own destruction by candlelight.

Great to add to that this article that further illuminates his process:

https://bombmagazine.org/articles/2017/09/22/metaphors-on-vision/

Really glad I've made his acquaintance today.

Chaim Soutine: L'Chaim!

 A Toast to Life: The Artist's Life

Photo & Self-Portrait with Beard, 1917

Today, 9th August, is the anniversary of the untimely death of Belarus (Lithuanian) Artist Chaim Soutine (1893-1943). I knew nothing about him, or his work, so this was all a revelation to me. The 10th child of a poor tailor, he emigrated to Paris in 1911, living in the artist district of Montparnasse. Here he met Modigliani, who painted several portraits of him, including one on the door of their landlord's property. 

The Meat of Painting

(L) Carcass of Beef, 1924

A typical obsessive artist; his most (in)famous series of paintings based on a beef carcass - over a period of days causing more and more alarm. The stench alone was bad enough, but when a trail of blood was seen to leak from his room, neighbours were convinced he'd been murdered!

Portraits

Below: (L) Polish Woman, 1922

(R) Woman in Red, 1923

    

A stroke of luck in 1923 - when a wealthy American Art collector bought 60 of his paints on the spot! And yet, again, like many a typical artist he doubted his own work, and destroyed several paintings. In time, his life, was in fact, at risk; his birth name, Chaim ('Life' in Hebrew) - a dead give-away of his Jewish heritage. He was taken, at one time, by long-suffering, but supportive benefactor, Zborovski, to Nice to escape possible German invasion of Paris.

(L) portrait Modigliani of Soutine, on Zborovski's door.

Below: Soutine & Zborovski, south of France

How the Land Lies

Landscape at Cagnes, La Gaude, 1923

Cagnes Landscape with Tree 1925-6

In Hiding

Once Paris was taken over, Soutine was forced to take cover wherever he could; going from place to place, taking temporary refuge, even hiding out in the forest, when necessary.

Just as I noticed he died relatively young, at 50, I discovered he had come out of a safe place to seek medical attention for a bleeding ulcer, but wasn't able to be saved. The ulcer perforated. His non-Jewish girlfriend had him buried in a Christian Cemetery to avoid arousing suspicion. A sad end to a man who lived for his art - as curious as it appears - as though painted on board a ship in a storm; some reflection of the tumultuous times he lived through, perhaps, but utterly idiosyncratic, and immediately identifiable as his signature style.

Soutine's gravestone at Cimitiere du Montparnasse,

A sad ending, but I am happy to have made his acquaintance, albeit brief; I shall look to discover more about him in future. Meanwhile, enjoy!

'James' (Jacques Joseph) Tissot: Transforming Pain to Paint

 Technique and Textiles

Today, 8th August, is the anniversary of the death of French Artist, 'James' (Jacques Joseph) Tissot (1836-1902). I saw the name, and cast around in my mind to see if I had any remembrance of him, or association from long-past art lessons at school. Wasn't he known as one of the 'chocolate box artists', like Renoir? Yes! Well, sort of. Born the son of a draper and milliner, it's not surprising that the folds and light captured by rich fabrics; costumes and extravagant hats were a feature of many of his early works; they are gorgeously lush.

(L) Self-Portrait, 1865 (R) The Tedious Story, 1872

 

Young Lady in a Boat, 1870

A Passing Storm, 1876

(L) October, 1877

I hadn't realized that after he'd made the (obligatory) move to Paris to study art, he came to England in 1871, where he was reunited with James McNeill Whistler, who he'd met in Paris along with Degas, and Manet.

While in London he learned etching techniques, and worked as a caricaturist for Vanity Fair.; able to eventually buy a house in St. John's Wood, where he made a very happy home with Kitty, his Irish Muse, who bore them a son. His family was a blessing he very much appreciated. But, it was only for a fairly short time. Kitty was ill with consumption, which finally claimed her life in 1867.

The Thames, 1867

Faith: From Pain to Paint:

The Annunciation

After Kitty's death, Tissot moved back to Paris, and revived his Catholic Faith. This is where 'chocolate box-style painting' turned to a series of paintings on The Life of Christ (from 1886-94), which was well received when shown in Paris (1894-5); London (1896) and New York (1898-9).

(L) Jesus Found in the Temple

He made 3 major trips to the Middle East to make studies/sketches of the landscape, customs, and people. Brooklyn Museum now owns these works. Quite an astonishing about-turn in painting style and subject matter; both styles, utterly beautiful. France, duly awarded him its most prestigious medal: Legion d'Honneur, in 1894.

Jesus Wept

(R) Peter and John Run to the Sepulchre 

(L) Notre Seigneur, Jesus Christ

Some scenes were used as reference material by Hollywood film-makers, notably, his painting of the Ark of the Covenant, for Raiders of the Lost Ark (1981).

Below: Moses and Joshua at the Ark of the Covenant.

He died in the process of this series, based on scenes from the Old Testament, but the legacy he has left still carry his intent & passion.

Enjoy! Below: Angels of the Hours of Acts

Nikolai Voldemar Triik: The Trick is to Keep Painting...

 The Magic Triik of Making Things Appear! 

Another Eastern European gem: Estonian artist Nikolai Voldemar Triik (1884-1940), born on this day, 7th August. He was always going to be an artist, no matter what. When he was expelled from St. Petersburg Art & Industry Academy for participating in a student strike during the 1905 Revolution, he took private lessons until he was able to return. Then studied in Finland, followed by moving to Paris with his wife, where he took courses at 3 different art schools. Eventually, all his studies led to his giving lessons in his own studio in Tartu before going fully freelance in 1928. He rose in the ranks of his own country's Art Establishment. It's a shame we don't hear so much about these artists in our schools, but it was a little tricky trying to find information in English. (L) Self-Portrait, 1929

Above: Old Garden

(L) Finnish Scene (R) Finnish Landscape

Portraits:

(L) Einar Hyllestedti (R) V. Martna

Fantasy

Tamaara Tants I

Tamaara Tants II

Industry:

Tartu Vaade

Landscape with Architecture:

View of a Small Town

The thing that strikes me about his work is that it doesn't matter what subject or genre he tackles: portrait; landscape; mythological; symbolic; even industrial & floral arrangements - they're all equally assured; expressive and powerful - A real testimony to what can be achieved with a steadfast focus, unhampered by politics; war; poverty; family; or crippling self-doubt - a dedicated commitment to his art practice. Happy to have found him and his work. Enjoy!

Transfiguration: From Ancient Icon to Modern Day

 Transfiguration: Mountain-Top Experience

(L) Icon by Theophanes the Greek, 15th Century

So, apparently, August 6th is the Feast of the Transfiguration; I was curious to see how this Biblical event has been depicted, from the days of early icons to more modern renditions. But first, I wanted to check the text in Matthew's Gospel. Where Jesus, with 3 of His disciples, Peter, James & John, accompany Him to a mountain (possibly Mount Tabor). While Jesus prays, they fall asleep; when they awake: 'A radiant light as bright as the sun poured from His face. And His clothing became luminescent - dazzling like lightning. He was transfigured before their very eyes. Then suddenly, Moses & Elijah appeared, and they spoke with Jesus'

- Hang on, Moses & Elijah? Who died many centuries before? Moses the Law-Giver, and Elijah the Prophet, who never actually died, but ascended up to Heaven in a chariot of fire? The disciples are completely thrown - flustered, not quite knowing what to make of any of it, and then they're engulfed in a 'radiant cloud composed of light', which spreads over them, from which the voice of God speaks: This is my dearly loved Son; the constant focus of my delight. Listen to Him.' [Passion translation].

Wauw! Surreal, and powerful. The disciples fall on their faces.

Below: Transfiguration, Carl Bloch, 1870

In the gallery I gathered together, there's the clean, tidy & glorious treatment, then attempts at capturing the ineffable quality of Glory; and given the surreal nature of the story, it's fitting that Salvador Dali attempted a version, in 1967 (below, L) (R) Macha Chmakoff: https://chmakoff.com/

Below: Armando Alemdar Ara's Transfiguration: https://www.saatchiart.com/armandoalemdar:

(L) Maha Rukab's Transfiguration: https://www.saatchiart.com/account/profile/671805 (R) Ventzislav Piriankov,

Below: John Piper's Transfiguration of Jesus, 1987

I'm pleased to have found this rich variety meeting the creative challenge of depicting the Transfiguration. 

Below: Ventzislav Piriankov's Transfiguration:

https://artandtheology.org/tag/ventzislav-piriankov/  

Thom Thomson: Canadian National Treasure

 On the Trail of the Lonesome Pine

Thom Thomson in his canoe, which he painted dove-grey, 1912

I was curious to learn what I'd find on looking up Canadian Artist, Thom Thomson (1877-1917), whose birth-date is today; I had no idea what to expect, and am so glad I've seen his work. He fell in love with Algonquin Park, a forest reservation he visited in 1912, and returned to many times. He had with him on that first visit, his 1st sketching equipment. Both became a passion - far from his business college beginning in life. An outdoors man, he loved fishing, canoeing, hiking; sketching and painting: over 400 oil sketches on small wood panels, and about 50 large canvases. In spite of selling 'Northern Lake', 1912-3, to the Ontario Govt. for $250 (the equivalent of around $5,700 in 2020) buying him more time to paint, he suffered the artiste's curse of self-doubt, often giving away his work to anyone who admired it, rather than working to sell it, or even chucking his sketching kit into the woods in frustration. It's hard to assess one's own work.

(L) The Jack Pine, 1916-7 (R) Pine Trees at Sunset, 1915

I love his composition, and use of colour (he apparently had a mixed palette, and created new unusual colours).

Bateaux, 1916, sketch

(L) Pine Cleft Rock, 1916 (R) Petawawa Gorge, 1916

He could only have got better and better, but something happened on his last trip, kitted out with supplies as usual; 2 days after he left, his upturned canoe was found; 8 days later, his body. He had a 4-inch cut on his right temple, with blood from his ear. This led, inevitably, to many speculations and suspicions. He was too experienced to have had a simple mishap, nevertheless, the official cause of death was recorded as 'drowning'. He had been buried at the site where he'd been found; then exhumed by his brother a few days later and relocated.

(L) Memorial Cairn, Canoe Lake, Algonquin Park, 1917, (R) Canoe Lake, Spring, 1914

 

(L) the Drive, 1916-7, Logging Industry (R) Open Water, Joe Creek, 1917

(L) Moonlight, Fall, 1915-6, one of a series of 2 dozen Nocturnes 

The sense of unrest has continued, prompting many to return to the event wanting to solve the mystery of his untimely death. I'm grateful he left such a beautiful legacy of gorgeous artwork; with a posthumous exhibition at Wembley, London, in 1924, which helped to bring him to the forefront of public attention once more. His painting: The West Wind, with its solitary tree, became an emblem of Canadian character: Steadfastness & Resolution. I love, love, love his work; so glad I found him. Enjoy!

Below: The West Wind, 1916-7