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

Alfred Henry Maurer: Lost & Found

 Prowess in Paris

I discover Alfred Maurer (1897-1932) on the anniversary of his death, 4th August. You can see from his paintings that he was constantly exploring, experimenting & developing his art practice. But the strong thread of parental control ran through his life starting at age 16, when his father withdrew him from school to work in the family engraving & litho business. Nevertheless, he managed to get to leave N.Y. for Paris in 1897; met with Avant Garde artists; saw the work of Matisse & Picasso, and adopted the style of Les Fauvres ('Wild Beasts'), using strong colour and bold compositions, as well as Cubist techniques. (L) Self-Portrait, 1897

Early Style

He was doing well; winning medals, including Gold at the International Exposition in Munich, 1905. But the move from early realism to more abstract work drew harsh criticism from some.

Below: Carousel, 1901

(L) Jeane, 1904 (R) Woman in a Garden, 1907

Retreat and Defeat

Then, in 1914, the threat of war precipitated a hasty retreat to his parental home in N.Y. leaving behind over 200 paintings in his Paris studio. Daddy joined the ranks of the harsh critics, rubbishing his son's work and refusing to pay shipping to recover the work left behind. Confined to his one-bedroom cum studio he continued to make work, but not show anything for about 10 years, becoming more and more dispirited as his father would lash into whatever he was working on, taking the brush from his hand to 'improve' the work. In 1925, he discovered the landlord of his Paris studio had sold all 200+ of his paintings to cover back rent; 45 of which have turned up at various flea markets and junk shops since, but the majority have been lost entirely.

Below: House in a Landscape, 1912

(L) Head of a Girl, 1929.

Then a stroke of luck: a gallery owner bought all the artwork in his little bedsit studio, around 200! But again, some harsh criticism from art critics. Then a series of surgeries, and the need to recover. His father, aged 100, decided to show his son what a real artist could do - putting on an exhibition of his own work. When the father died, that same year, his son was not informed (perhaps purely because he was post-operative?); he discovered the news on reading about it in the newspaper. Already weakened and dispirited, his friend, Abstract Artist, Arthur Dove (of previous post!) noted he appeared to no longer wish to live. Sure enough, two weeks or so later, he hanged himself in the doorway of his little bedsit-studio.

Aftermath

I am left with So many questions, as those who are bereaved by suicide are; and a frustrated urge to lend support that he was evidently unable to avail himself of when needed. Could he not have raised money to ship the work home himself? Was he afraid of his father seeing it? Destroying it, physically or verbally? Why did he continue to stay at home? but, I recognize the paralyzing and debilitating aspect of living in the shadow of a dominating parent, and the knotted bind of long-term co-dependency. Such a sad loss of talent, peace, joy of art-making; and the much-needed inspiring, challenging influence of like-minded artists - a terrible loss all round; but I'm glad to have stumbled across his work now, and have this opportunity to connect in some small measure. It's time his lost works resurfaced....

Still Life with Pears, 1931

Joseph Severn: Fine Artist; Fine Friend

 The Bond of Friendship

I recognized the pen & ink portrait of John Keats straight away, but had not known anything about the artist, Joseph Severn (1793-1879; the anniversary of his death 3rd August). An accomplished artist, he was awarded The Royal Academy's Gold Medal, which had not been awarded to anyone in 8 years. This was where Keats & Severn met. Although they did not know each other well, Severn was the only one to agree to accompany Keats to Italy, to seek a cure, or respite, for his failing health. Severn's father was so enraged by this decision, he knocked his son out cold, and they never saw each other again. But, Severn was faithful in nursing his friend until his dying day.

Above: 'Jan 28th 3 o'clock in the morning - drawn to keep me awake, a deadly sweat was on him all this night' - pen & ink drawing of Keats a month before he died. Below: The Brigand's Family, 1825

He stayed in Italy after, and became a great success painting portraits, pastorals, Biblical and mythological themes; alter-pieces and frescoes. Not so valued on returning to England, where he eventually had to flee his mounting debts. He was well acquainted with death throughout his life, losing his 11 year old, illegitimate son, just a month before they were due to meet; his 1st wife died at the age of 32 from measles; his son by his 2nd wife died in a cot accident, and his most famous close, lingering proximity with Death during his friend's sickness; his letters home whilst in Italy with Keats, are the primary source for Keats's biographers (L) Scene from Alexander Pope's Eloisa to Abelard Below: The Abdication of Mary Queen of Scots,1850

The two are buried side by side, with baby Arthur in between. Art sustains; helps process pain; lifts spirits, and if you're lucky, pays the rent and puts food on the table. Good to honour his efforts here today.

Arthur Garfield Dove: Abstract Love

Abstract Impact 

I got such a thrill discovering American Abstract artist Arthur Garfield Dove (1880-1946, born on this day); I'd never heard of him! I absolutely love his assemblages, made with whatever he had to hand while living on his houseboat, Mona, between 1923-27; a mad mixture of materials (reminding me of my time in the studio of a foundation course with things I'd found in the street & skips, whilst surrounded by 'proper artists' with paints & easels. I learned the term 'assemblage' there, and that it's possible to be 'painterly' with anything!) He made a series of collages in the 20s, incorporating real objects; like visual poems, crafting colour & rhythm in a pleasing composition. Below (R): Goin' Fishin', 1925, includes: bamboo, denim; buttons; wood panel (l) The Intellectual, 1925

His began working life as a magazine illustrator (1903); working for Harper's Magazine, and Saturday Evening Post until 1930, when he was able to make painting his main focus.

(L) The Critic, 1925 I love artwork that uses text, or newsprint.

He moved to Paris in 1907; exhibiting at the Salon d'Antonne in 1908 & the following year. He met and hung out with other American Avant Garde artists, befriended Max Weber. It was here he saw paintings by Matisse, which influenced him.

(R) Nature Symbolized, or Reefs, 1924. Below: Red Sun 1935

Below: Clouds and Water, 1930

The urge to create is so strong, that even after his stroke and heart attack, which left him partially paralyzed, he continued to paint, with his wife guiding his hand. I Love the work I found, and will continue to seek out.

Below (L) Untitled, 1940; (R) Serial, 1942

Isobel Lilian Gloag: Artist-Found

Lost in History

Well! I'd never heard of English Artist Isobel Lilian Gloag (1865-1917) whose birth-date is today. But then, 5 pages of Google showed anyone referring to her lifted their info straight from Wiki, all saying she was 'known for her romantic paintings and stained glass-work'; although, I'm pretty sure not really that known. I was resigned to being intrigued, but perplexed - until I came across a Facebook page dedicated to Women Artists: the Open Sesame of Isobel's work and references that influenced her; check out: https://www.facebook.com/female.artists.in.history for a fantastic collection of tributes honouring women artists (possible to search for an artist of choice), & - if the following link works, to Isobel's work: https://www.facebook.com/hashtag/onthisday

- a treasure trove, thanks to its creator/curator Christa Zaat.

It's clear Gloag was influenced by the Pre-Raphaelites, and several of her pieces are prompted by poetry e.g. Isabella and the Pot of Basil (R), by John Keats.

She managed to keep up her art studies, whether at established Schools, or by private tuition, when the ill-health that dogged her life dictated. She steadily worked her way to success, showing several pieces at the Royal Academy of Arts, before her death, aged 51.

Below: Four Corners to My Bed:

Women's Work

One blog-writer despaired at the lack of information about her. I would add to that, to make it more accurate, the lack of recognition of women artists in history.

Happy, for all that, to celebrate her life-work here today. Enjoy!

(L) Pair of Angels, diptych, c.1900