The Consolations Of Nature

A recent article from the School Of Life discusses the importance of nature, that we should spend more time in its presence for the sake of our mental well being and therefore our health in general. What is less well understood is that “nature is as important to us as a source of nourishment for our souls. Nature is a kind of book, and when we open our eyes to it, find its pages filled with distinctive lessons about wisdom and serenity.”

Casting A Long Shadow, Oil On Canvas, 102 cm x 76 cm

Reference is made in the article to psychologically nourishing landscapes, and that is certainly what I encounter in Melbourne’s Botanical Gardens which have been the setting for most of my recent work. I always feel refreshed and reinvigorated after a visit to them and it’s always a wrench to have to leave.

Nature give us an opportunity to appreciate the beauty of the everyday, “an evening sky can lend legitimacy and dignity to our melancholy states.”

Grey Day In The Gardens, Oil On Canvas, 71 cm x 107 cm

If you want to experience solitude in the midst of the vast city, visit Melbourne’s Botanical Gardens when it’s raining. Some may find the experience melancholic, but it can be a refreshing change from a world obsessed by buoyancy and cheerfulness. With few people around and no annoying sight-seeing aircraft buzzing overhead, one can really discover the mystery of the place, the variety of plant life and the thought that has gone into the landscaping.

It is argued that for many people, it is not until they reach middle age that they start to appreciate what nature has to offer. “There are so many grander things to be concerned about …..such as romantic love, career fulfillment and political change.” However, by middle age some of our earlier aspirations would have taken a hit, perhaps a large one. We will have encountered some of the intractable problems of intimate relationships. We would have encountered a gap between our professional hopes and available opportunities. “One will have had a chance to observe how slowly and fitfully the world ever alters in a positive direction. One will have been fully inducted to the extent of human wickedness and folly. “

Hill Of Contentment, Oil On Canvas, 102 cm x 102 cm

So, by middle age it is argued, nature can present a “genuine pleasure amidst a litany of troubles, an invitation to bracket anxieties and keep self-criticism at bay, a small resting place for hope in a sea of disappointment; a proper consolation – for which one is ready, a few weeks of the year, to be appropriately grateful.” I can only agree. There have been many times I’ve visited these gardens for palliative care.

Surrealism In 21C

I came across an excellent article by artist Anne Wallace in the latest NGV mag (Jan-Feb 2019) on the continuing relevance of surrealism, “…surrealism is so beloved because it taps into that deep well of profound alienation from societal norms felt by sections of each new generation.” You see surrealism everywhere on album covers and in advertising generally due to the arresting power of strange juxtapositions.

It was Sigmund Freud who first made us aware of the power and uncontrollability of the unconscious mind, so it is not surprising to see Freud’s name scattered throughout the literature on Surrealism. Wallace describes Surrealism as freeing expression from the constraints of rational thought - a liberating project to uncover the workings of the unconscious mind that Freud pioneered.

Anne Wallace “Daphne”

“Surrealism allowed artists to be frankly weird, degenerative and perverse in their obsessions.” Reference is made to Surrealism lighting up “the dark caverns” and artists such as Cindy Sherman and film maker David Lynch are also mentioned.

Wallace makes reference to the challenges facing surrealist artists in modern times due to the representational nature of the genre which is seen as anomalous by the avant-guard with its obsession with minimalism, abstraction and a dry conceptualism. Wallace claims that by the time she went to art school in the late 1980’s, painting, and especially representational painting, was seen as passe and an art form of consumption and decor. That is certainly the impression I was under when at art school in the 1990’s.

But Wallace believes surrealism “continues to be relevant not as a kind of kitsch aesthetic to be appropriated but as a kind of philosophy, a destabilizing principle, the invisible worm that corrupts our notions of normality……artists should be allowed to be obsessive, to pursue the enigmatic, to experiment - this is the philosophy of Surrealism.” Here here to that.

Emotion In Art

While studying art at RMIT University in the 1990’s I felt a not-so-subtle pressure to steer clear of sentimentality and emotional subject matter in my art practice.   I’m not sure why emotion was so frowned upon, a sign of the times perhaps but there was a clear preference for dry, conceptual work.

Thus I often felt alienated at university, and I do recall a presentation given by one of the lecturers who was most adverse to emotion in art.  It soon became clear to me that she was in denial – almost in denial of life, so I formed the opinion that this issue of emotion was her problem, not mine.

I was reminded of all this when viewing Andrew Graham-Dixon’s 1996 series “A History Of British Art” on DVD.  He argues that because of their intense colour and blatant sensuality, Howard Hodgkin’s paintings (above) have met with an uneasy response in Britain.  He describes Hodgkin’s work as a rebuttal to puritanism, especially to that intellectual puritanism which is embarrassed by pleasure or any form of strong emotion and are only comfortable with pictures once they’ve been reduced to a set of abstract ideas.  He describes Hodgkin’s work as expressing a language of emotion, a language of the body.

And for some reason, a drawing by Vincent Van Gogh, made early in his career, also came to mind.  The subject is Sien, one of his early mistresses who was a pregnant prostitute.  You can see the emotion pouring out of this work.  How put-upon I would have been producing a work like this at RMIT, regardless of the technical skill it may have embodied.

I need to be moved in some way by a scene before I will paint it.  The aim always is to create a mood which allows the viewer to enter the scene and absorb the atmosphere in there.

Nadia - The Autistic Child Who Could Draw Like Picasso

The story of Nadia Chomyn (1967 - 2015) is remarkable. Born to Ukrainian parents who moved to England in the 1960’s , she was diagnosed as severely autistic.  She needed help dressing and feeding and was unable to effectively communicate and yet from the age of 3 was able to draw superbly.  She broke all the accepted rules of the development of graphic representation in children.  That is, she never went through the usual childlike stage of scribble, stick figures etc and was able to draw seemingly without motivation.

Once finished she would push the drawing away or draw over it.  Her drawings raised questions about the relationship between the conscious and instinctive mind.  She was at her most productive between the ages of 3 & 9 and when her drawings were published in 1977, they created quite a stir.  She came to the notice of the renowned neurologist Oliver Sachs and her remarkable talent is still frequently cited in textbooks on developmental psychology.

Her inspiration seems to have come mainly from picture books, especially the Ladybird series, whose pictures were often based on photographic images.  Her drawings show a clear understanding of single point perspective, overlapping and the correct use of proportion.  Throughout this period, she was very passive and totally unresponsive to social engagement.

From about the age of 9, Nadia gradually lost the ability to draw realistically and eventually her drawing ceased completely. Whilst there have been other autistic artists and savants identified and studied over the years, none have shown such a prodigious talent at such a young age.

 “As yet there is no single explanatory theory for her prodigious talent. But, without question, Nadia’s drawings introduced many psychologists to the conundrum that is autism.” THE GUARDIAN

Hello, my name is Geoff. You may be interested to know that I am a fulltime artist these days and I regularly exhibit in galleries in Victoria, but particularly in Melbourne. You may wish to check out my work using the following link; https://geoffharrisonarts.com

Sources: The Guardian

: The Secret of Drawing - BBC 4

Cardiac Surgeon Inspired By Art

In his series “The Secret Of Drawing”, art historian Andrew Graham-Dixon discusses with prominent British heart surgeon Francis Wells the significance of the anatomical drawings of Leonardo Da Vinci . Wells has used the drawings of Da Vinci to assist him in developing new ways of repairing damaged hearts.

Francis Wells

Wells uses drawing to not only help him prepare for the details of a heart operation, he produces small drawings on paper using the blood from the chest cavity to give a “replay” of the procedure to his team.

Leonardo was fascinated by how the mitral valve closes and produced a glass bulb in the shape of an aorta and pumped water through it. He put grass seeds in the water so he could trace it’s movement. Through his drawings, Leonardo developed the worlds first artificial heart valve. All this in 1513, when he he had no one to talk to, there was no heart surgery or meaningful medicine, and to most people it wouldn’t have made any sense.

These experiments of Leonardo, and the drawings he produced from them have enabled Wells to work out how to restore the normal opening and closing of the mitral valve.

Francis Wells describes Leonardo as a flat out original thinker and a genius. He has spent many years studying the anatomical drawings of Leonardo and encourages significant interaction between artists and scientists.

Baldessin/Whiteley and the curator

Sometimes a 'curator's perspective' can lift ones appreciation of an exhibition from moderate to considerable.  Emeritus professor Sasha Grishin's talk on the Baldessin/Whiteley show at the National Gallery of Victoria (Federation Square) is a case in point.  Both Brett Whiteley and George Baldessin were born in 1939, both had difficult childhoods, both enjoyed considerable success in their respective cities; Melbourne (Baldessin) and Sydney (Whiteley), and both had relatively short careers.  Baldessin's was ended in a fatal car accident in 1978, Whiteley died in 1992, although the last decade of his life was somewhat unproductive.

Whiteley The Spray At Bondi (1981)

I was aware of Whiteley's difficult childhood, largely the result of being sent to a boarding school at Bathurst when he was 8.  He hated every minute of it.  But I was not aware of Baldessin's.  He was born in Italy and his mother left for Australia shortly after with the intention of finding work and then bringing her family over - but the second world war intervened and George was shunted around from relative to relative, not seeing his mother again until he finally arrived in Australia at the age of 10.  They were never close. 

Baldessin Part of his MM (Mary Magdalene) at Rue Saint Denis series 1976

Both artists rejected the abstract expressionist movement of the time and focused on more figurative work.  Both of them were concerned with the human condition and the duality of human nature.  One of Whiteley's more celebrated series of paintings was based around the serial murderer John Reginald Christie in his 10 Rillington Place series.

Both artists explored themes of sexuality in an urban environment and witnessed the rapidly changing world following WW2 including the cultural upheavals of the 1960's and 70's.  Both artists were sculptors and well as 2D artists and both were strongly influenced by British artist Francis Bacon.

Whiteley Black - The Get Laid Totem

The highlight for Whiteley fans will probably be his 22 metre long "American Dream" which was painted in the late 1960's while he and his family were living in New York - a savage critique of life in America, which as Grishin points out, seems just as relevant today in Donald Trump's America.  Overall, a powerful exhibition.

Baldessin The Performer

Richard Estes & Canaletto - Birds Of A Feather?

"Unfortunately it has been too easy for anybody to take a photograph, trace it, and make a lousy painting. Photorealism, in that sense, has been bastardized. I can sympathize with a lot of people who just reject it outright, because, like anything else, there is so much bad stuff around. I always thought of myself as a Realist painter."  RICHARD ESTES

That may be the case, but it's what Estes does with reality that fascinates me, and puts me in mind of the famous Venician artist of the Eighteenth Century, Canaletto.

On The Staten Island Ferry  (1989)               Richard Estes                         Oil On Canvas

Estes, along with other photorealist artists, decided to turn their backs on the gestural style of the abstract expressionist movement which was so prominent in late 60's America, and aim for a kind of hyper realism which was more descriptive of a high tech post war age.

Piazza San Marco With The Basilica    (1730)    Canaletto                  Oil On Canvas

Early on in his career, Canaletto abandoned the dark and brooding tonality of his work and produced paintings of a much higher pitch, mainly because he found a new market for his work in Venice - the English tourist.  Canaletto was famous for his use of the camera obscura which he used to produce multiple images of a scene from different vantage points.  Then he jumbled them up to come up with a scene that, in reality, didn't exist.  It was the eighteenth century's prelude to the photo montage and thus he created scenes that were far more idyllic than in reality.

Madison Square  (1994)                     Richard Estes                    Oil On Canvas

When viewers have tried to match Estes' paintings with actual scenes around New York and elsewhere, they have found inconsistencies.  He works from multiple photos of a scene, even bisecting them, shifting elements around,  to come up with a composition that plays with perspective which can be a little disorienting.  "By creating his photorealistic montages that seem convincingly whole, Estes produces works in which there are multiple focal points. He confounds the concept of the mathematical or one-point perspective, the Renaissance invention that provided drawn and painted images with the illusion of depth. Instead, viewing a typical Estes painting feels like one is constantly changing vantage points".  THE ART STORY

London, Whitehall & the Privy Garden   (1747)             Canaletto           Oil On Canvas

When the English tourist market dried up, Canaletto decided to travel to England and produced some remarkable scenes such as the one above which was painted from Richmond House (no longer extant).

Estes paintings reinvigorated the importance of craft in painting and even though his work is hyper-realistic, they are still in some way "painterly".  His work goes beyond photography.

The ABC's Token Gesture To The Arts

Not him again!  Yes, it's him again.  Anh Do's brush with bullshit makes its return to ABC television.  As I've argued before, there must be hundreds of thousands of visual artists in this country and just one guy gets all this exposure.  Why?  So what if he is a refugee who made good.  It's time we got over it and focused attention on other artists in this country.

What makes me sad is I can remember the days when there was very good arts coverage on the ABC and SBS.  I have the DVD's to prove it (many of them dubbed from VHS - some of the programs being THAT old.)  

I'm sure the more enlightened of you would have figured out that Anh's Brush With Fame is not about art at all, it's about the "celebrities".  The attraction of the show for the ABC is that it's cheap to make as there is no research, just a friendly chat show whilst the guy is painting and it might as well be a morning cooking show.  All very sad really and it represents a dumbing down of arts coverage on free to air TV.