Francisco de Goya and his black paintings.

I owe you, my readers, an apology for such a long break from posting and writing. I have been writing but it seemed that I never finished those many articles - ideas about Witkiewicz, Wojtkiewicz, Goya, Max Ernst, Remedios Varos, the Museum of Surrealism in Vienna, Tadeusz Makowski, Mathias Grunewald and so on and so on. I can only blame my nature, my pessimism and my sluggishness or maybe idleness.

Getting older isn't a nice event in once life. I am not that old but also not young anymore.  I have become obsessed with death. I am not afraid to die. However  I am terrorized by the idea that one day I will wake up and everyone close and precious to me in this life (life for me is about people and love, not about possessions and things) will have disappeared. They will simply no longer be here, they will all be dead.  That happened to lots of humans during the second world war, it happens still in Arabia and Africa every day. It could happen to me too. Our existence on this planet is so unpredictable, often surreal and cruel.

This long preamble brings me to Francisco de Goya. Two months ago I spent a whole day in the Prado, Madrid.  Of course one day, even if it is from the opening till the closing isn't enough for the Prado. But I have my preferences, my own likes and not-likes (dislikes would be too strongly stated), being selective leaves me more time to see what I want to see.  

Prado, Spain, Madrid and my obsession with death, all that logically brings me to Goya,  of course.  Goya of the Pinturas Negras, the so-called black paintings. Goya made them in his last years in Madrid, 1820-24. He did it for himself, and only for himself.  They are murals. He painted the walls in his farmhouse -villa  “la Quinta del Sordo”, outside Madrid.  He was not working anymore for the royal family, he was free of duties. He could paint entirely and only for his own pleasure. However after seeing those works you can assume that Goya didn't paint them to express his pleasure, happiness and delight.  I would insist, that he painted them to state his anger about the political situation in Spain, his fear of death, his disappointment with humanity and maybe his pessimism and depression.  To tell the truth, nobody really knows what was his motivation to do so. All the explanations by art critics, curators and some artists are only speculations. If you would like to read some more reasonable and sensible discourse on this issue I would definitely recommend the biography of Goya written by Robert Hughes. ( I am a huge fan of Robert Hughes writing talent. )

Las Parcas - The Fates 

14 dark paintings all placed together in one large room in the Prado. What a treatment for a disturbed  and pessimistic soul - I am talking about myself. I could stay in that room in Prado the whole day just going around and admire the imagination, the artistic concept, the use of colours, the stroke of his brush and thinking about how to steal them!  Yes, I would love to have it in my own house -  probably they would make of me  a totally  medieval monk, locked in my  external hermitage of Goya's spirit. Some of the paintings are almost black/grey and brownish - some of them like Sabbath-Asmodeus or Duel with Clubs are more colourful with used of aero blue, bright iridescent red and unbleached titanium.  Most of the works are huge, from 144 cm high till 438 cm width.

Duel with Clubs

Sabbath-Asmodeus

The most famous black painting is probably Saturn Devouring His Son (it could be a daughter, though!).  The head is already consumed by Saturn as is much of the right arm. He doesn't look very pleased with this.  He looks ashamed for his horrifying act of incest and at the same time  uncontrolled.  The story of Saturn devouring his children is based actually on a Greek myth about the god Kronos, one of the Titans. Saturn is the Roman name for Kronos.  Kronos learned from his mother Gaia and his father Uranus that he was destined to be overcome by his own sons, just as he had overthrown his father. As a result, although he sired the gods Demeter, Hestia, Hera, Hades and Poseidon by Rhea, he devoured all of them, both the male and female, as soon as they were born to prevent the prophecy coming true. It is one of the early myth.
 http://www.theoi.com/Titan/TitanKronos.html

Saturn Devouring His Son

For me the most beautiful, pur sang work of art is Head of a Dog. It is so modern and contemporary that it is very difficult to conceive that it was painted almost 200 years ago. You can't just pass the painting. You can't ignore it.  It is a big canvas 134 cm x 80 cm, made in a few tones only:  diverse ochres and siennas.  There is a huge empty space and in the middle of the lower part of the image only a small protruding head of a dog.  I looked at the small sad head of the dog, and I swear I could hear his terrified yearning. The dog is totally alone, there is nobody there, and there will be nobody there. Only the almost invisible shadow of somebody, maybe a ghost. The situation is hopeless, melancholy par excellence. Of course all the paintings are amazing, made by a man who was already 74/78 years old, but still innovative and still progressing, a real genius!

Head of a Dog

I love Goya, I admire his talent, his passion, his brush stroke, his choice of colours, his work ethos, his never ending search for new media and his determination to be true to himself as an artist and as a person.

You must go and see the black paintings!

P.S.
Baron Émile d'Erlanger acquired “la Quinta” in 1873 and had the paintings transferred to canvas. The works suffered enormously in the process, losing a large amount of paint. Finally, the Baron donated these paintings to the State, and they were sent to the Prado Museum, where they have been on view since 1889.

"Heads in a landscape" is, in all probability, the fifteenth Black Painting. It became separated from the other paintings in the collection and is now in the collection of Stanley Moss in New York.(from Wikipedia)

Surreal and beautiful – from Tuskany

I spent my last birthday in Tuscany. It was the perfect environment for my spirit and my turbulent brain which has lost confidence and hope in contemporary art. After seeing all the amazing mediaeval art in the Uffizi in Florence and in the Museo dell’Opera del Duomo in Siena I came to a conclusion that can be seen as a controversial one. My conclusion is that contemporary art has lost connection to beauty and the sacred. Another very important aspect is the craftsmanship. A huge percentage of contemporary art colleges' students can’t draw or paint. They are missing the talent and the techniques. The only thing that they are able to do is to express their own ideas or feelings. There is no beauty and the sacred element is missing. On the other hand art is an act of expression, so perhaps I am wrong. Maybe contemporary art is the expression of contemporary people/artists who have lost any connection with the beautiful and the sacred?! Mass culture, popular culture, deception, profit and popularity. The flow of information is so overwhelming - we don't have time for deep study or reflection. It is about sloppiness and dullness. That is a good characterisation of XXI century art: asexual and shallow. Sometimes I think that one of the last bastions of excellent technique, beauty and the sacred are the surreal artists, and of course the practitioners of traditional fine art, too. 

While in Tuscany we did of course visit San Gimignano. What an enchanted and magical place. One of the museums that we went to was the Museum Archeologico and Spezieria Di Santa Fina. The Museo Archeologico is a relatively new attraction in San Gimignano and home to an array of artefacts from the town's past. The Spezieria di Santa Fina - Apothecary of Santa Fina - includes a reconstruction of a pharmacy from the 16th century and is filled with fragrant herbs and spices. There is also a planted herb garden and an additional modern art gallery. In that gallery I found two (actually more) very interesting surreal paintings. The first is entitled 'La Finestra Sull'Arno' from 2011 by Renzo Galardini. According Google translate La Finestra Sull'Arno means 'The window on the Arno'. I think the better translation is 'The window over the Arno'. (The Arno is a river in the Tuscany/Florence. It is the most important river of central Italy after the Tiber). I had never heard about this artist before. Thanks to the wonders of the World Wide Web and the internet I found some information about him.

Renzo Galardini was born in Pisa, January 14, 1946, and now lives in Cecina near there today in a restored 15th century building. He studied at the Art Institute of Lucca, graduating in 1962. He accepted a teaching position there, and at the same time, he studied scenography at the Fine Art Academy in Florence. During these years, he conducted research and restoration of medieval ceramics. Galardini's work as an artist encompasses oil paintings, ceramics and graphics. The Italian masters influence his painting technique. He applies oil pigments meticulously, harmonizing the colours, creating works of great elegance. Having earned privileged access to Tuscan museums and archival collections, Galardini often incorporates images of ancient armaments, clothing, tools, weaponry and special implements in his works. The richness of his execution and the depiction of his unique subjects in their highly theatrical settings create his unique and highly identifiable style. His graphic work, considered by various critics to be the best in today's Italy, is featured in a number of international publications and in a recent monograph by Nicola Miceli - Renzo Galardini: Incisioni.

I think what really attracted me to this painting was the richness of the subjects, the colours, the excellent technique and the great elegance. An absolutely fabulous painting with a hint of the surreal about it. I also see in it associations with and reminiscences from the late mediaeval/ early renaissance. I do see also a hint of Breughel the Elder. It is a very captivating image; there are so many questions and so few answers. Who are the bizarre soldiers climbing and struggling by the bridge? Who is this weird fat, naked creature sitting on the edge of the parapet or platform? Is this Florence? What about the puppet without a head and the rocking horse? 

Here is the image, see for yourself:

La Finestra Sull'Arno' from 2011 by Renzo Galardini.

La Finestra Sull'Arno' from 2011 by Renzo Galardini-detail

The second painting is more in the style of the German artists: Otto Dix and George Grosz. The work's title is almost unreadable, but seems to say 'La statuaire'. I hope that the name of the artist is correct - Stefano Cacchi. Maybe not. My photo of the text is really poor, but it is my fault. I should check the quality of the image immediately after taking it. Here is the image. Isn't it wonderful? The flying protectives, the French president (De Gaulle?), the mad cartoon like bunnies alias political puppets, the British Queen, the unstable world political arena and the fire of war. I really love it. 

Hans Memling and his Last Judgment

I started this post last September in Gdansk and then I forgot about it. It ended as a draft. However I thought that you should know about that beautiful medieval altar triptych by Hans Memling which can be admired in a museum in Gdansk.

 Here is the old post, with some adjustments.

We are in Gdansk at the moment. Yesterday we went to the National Museum of Art in Gdansk to see the Last Judgment by Hans Memling. I couldn't take my eyes off this beautiful, fresh and colourful piece of fine art. It is a triptych, an altar. It is a very civilized image of heaven, purgatory and hell. The central panel shows Jesus sitting in Judgment on the world, while St Michael the Archangel is weighing souls and sending the damned to the Hell.

The triptych has an interesting past. It was commissioned by Angelo Tani, an agent of the Medici in Bruges. It was originally designed for the Florentine Church of Badia of Fiesole. During shipment to Italy the galleon San Matteo was captured by a privateer
(colloquialism for pirate), Paul Beneke from Gdansk in Poland (during the division of spoils) . The pirate ship’s owners donated the triptych to the St. Mary Church in Gdansk. A lengthy lawsuit against the Hanseatic League demanded its return to Italy, but without success. In the time of Napoleon’s supremacy the triptych was stolen again and went to the Louvre as spoils of war. After Napoleon was defeated it was removed to Berlin. In 1817 returned to Gdansk again. At the end of the Second World War Memling’s work was moved again, this time to the Reich (Germany), but not for long. The Red Army captured it and the triptych went to Leningrad to become a showpiece in the Hermitage. After Stalin’s death the Last Judgment returned to Gdansk. The original altar piece is now in the National Museum of Art. In St. Mary’s Church you can admire a copy.

So here we are between Hell , Purgatory and Heaven. The GREAT TRIO of Catholic dogmas.

Nota bene I don't believe in H.P.H.  I do believe that hell, purgatory and heaven is here and now. And H.P.H. are how you live your life.  

The whole triptych

St Michael the Archangel

A short note about Hans Memling. He was born in Hessen (Germany today) , went to Brussels and spent some time in the atelier of Rogier van der Weyden (who belongs to the school of Flemish primitives). Around 1465 he went to Bruges. From the 1460s until the end of his life he became one of the leading artists, painting both portraits and several large religious works, continuing the style he learned in his youth from his master. He worked in the tradition and style of the Flemish primitives.

A great trio from the past - surreal female artists: Remedios Varo, Kati Horn and Leonora Carrington.

Before June 15, 2011 I had never heard about Remedios Varo, Leonora Carrington or Kati Horna. It just so happened that I had been reading about Leonora Carrington in Time magazine (June 13, 2011) in the Milestones section. She had passed away at the age of 94. Not that I knew Leonora Carrington very well. But because she was a partner to Max Ernst and I am a big fan of his art it made me curious about hers. I decided to begin a search for this female surrealist painter, sculptor and writer; very much unknown to me. First I went through all my books about surrealism, about modern art history. I found nothing. I searched in the books that I posses about Max Ernst, nothing either. The next step was getting online of course.  I wanted to discover more about her and her art work. Most of the posts I could find online mentioned her death. Independent, Guardian, Telegraph all the papers were telling the story about Britain's lost and unknown great surrealist painter. “English surrealist painter and sculptor regarded as a national treasure in Mexico” (from The Guardian). Within her own family, Leonora Carrington was rarely mentioned, the rebel who had run off to be an artist’s model. But when Joanna Moorhead tracked down her long-lost cousin in Mexico, her eyes were opened to the extraordinary story of the last surviving member of the great Surrealists (from the Daily Telegraph). And so on and so on.

I went to Amazon and did a search for surreal female artists. I ordered three books which were available about female surreal artists. One is an album including paintings of most surreal female artists. The other two are wonderfully written and illustrated books. One is a biography about Remedios Varo (maybe more about her artistic achievement) written by Janet A. Kaplan. The last one is about the friendship and artistic creation of three surreal artists from European backgrounds who all lived and worked in Mexico. I discovered that Leonora Carrington had two very good friends in Remedios Varo and Kati Horna. Remedios Varo was a surreal artist and writer like Leonora Carrington herself. Kati Horna was an exceptionally brilliant photographer.  Kati Horna as well as Remedios Varo were/are incredibly original and talented artists. They are as great as Max Ernst, Man Ray, Joan Miro, Salvador Dali, Meret Oppenheim or Andre Masson, Paul Klee or Rene Magritte (who by the way wasn’t really a good painter – he was a great illustrator). They are absolutely better than Frida Kahlo (from my point of view).

From the great trio: Carrington, Horna and Varo; works of Remedios Varo and Kati Horna speek/ convince me most.

Kati Horna, Stairway to the Cathedral, photo-montage; Spain 1937

Remedios Varo, Harmony, 1956, oil on masonite.

Remedios Varo, Phenomenon of Weightlessnes, 1963; oil on canvas

The book about Remedios Varo included almost all her work. I fell in love immediately with her paintings. They are amazingly mysterious, scientifically imaginary, mathematically sophisticated and aesthetically absolutely beautiful.
You can probably imagine my feeling of embarrassment, surprise and disbelief that not even in one of the thousands books about art that I own could I find even one mention of her. After seeing her incredibly original art I felt kind of stupid and ashamed that I didn’t know Remedios Varo before. Expect lots of posts about her in the near future from me……..maybe even tomorrow!

Visionary art in Cornwall - Tom Paddle

I have a ritual when it comes to my own birthday; I like to be on the road. Generally, I think that a birthday, for various reasons, practical as philosophical, is an event which is best not to talk about, which should be quickly erased from ones memory. This year we had planned to go to Florence, Tuscany, but we ended up in Cornwall, South West England, instead. It was absolutely beautiful, very windy, wild, historical and highly artistic. We stayed in the Artist Residence Hotel  in Penzance which was run by artists. The staff was extremely friendly. - I sincerely recommend it.

We decided to devote the last day to the arts. Within the framework of Cornwall Open Studios, we visited two group exhibition in West Cornwall, and one individual studio in Mid Cornwall.  The last studio that we visited was an unusual one. From a list of two hundred and five artists and craftspeople, I wanted to see this the most. Why? Because it was the studio of a visionary artist. This was the only visionary painter I could find in the whole catalogue. And so it happened that we went to Sunnyside Cottage in Trescoll, Lockengate, close to the Eden Project. There we met Tom Paddle.
 Tom Paddle is a remarkable person, not unusual for someone from the peace-happiness-flower-power-generation. He told us that he has always been immersed in the study and practices of paganism and the occult – gods and goddesses, mythology and folklore. He is surrounded by a magical, beautiful nature.

My art is my life. Everything I paint is a reflection of my surroundings in the beautiful Cornish countryside. My inspiration comes from looking for shapes and patterns in nature however mundane. Similarly, when I paint, I allow images to emerge from the random patterns on a semi-blank canvas and have always found the practice similar to "automatic writing" of psychics

He is also a naturalist and herbalist. He spends much of his time in the woods. He is also a trout and sea trout fisherman. He is a very diverse person. He is also known as a musician playing Celtic folk and mediaeval music, and he has a collection of historical instruments. He also writes poetry and fiction and performs as a storyteller with a gang of bawdy puppets. Woo, he is a real Renaissance Man.

Back to his art; he is a very good craftsman, an excellent one. Personally, I am not a big fan of visionary art. I find that lots of art works that belong to or are classified as visionary art are very kitschy and “cheap”. In contrast to the surrealists, they tend to be rather serious and lacking in humour. There is no place for playful idiocy. However, I have to admit that I really like most of Tom’s paintings. The majority of his paintings are created in acrylics or water color crayons or a mixture. He paints lots of visionary landscapes, scenes and gods/goddesses, and other creatures from diverse mythologies, the early history of our planet and folklore. His technical skills are excellent. For myself, I love his portraits, faces of the goddesses, spirits of nature, shamans and other creatures. They are really magical. We bought a print of one of his visionary portraits; Woodspirit. Here is the image of this work.

Woodspirit by Tom Paddle

I think he is a good portraitist. But decide for yourself, here are two other images of Tom's paintings, the one I liked.

Puck - Woodland God

Pneuma - The Breath of Life

Here is the link to his website with diverse work: http://www.tompaddleart.co.uk

The enigmatic poet of Nostalgia and Melancholia - Giorgio De Chirico

Surrealism was very concerned with this essential quest “The wish for absolute freedom”. In particular the early fathers of surrealism wanted to set people free. They were as serious and dogmatic as the Catholic Church in its most rigid period (most of the time I would say). The natural clan leader was André Breton. He borrowed the word ‘sur-reality’ from Apollinaire. That was in 1917 after he had watched the ballet “Parade”. I read somewhere (probably in one of Robert Hughes books, he is the only art critic that I read, I like his style, although I don’t always share his feelings) that Andre Breton behaved like a demanding and touchy Pope. The group around Breton had dogmas, rituals, catechism, saints and excommunications. N.B., how can you propagate “the Idea of absolute freedom”and at the some time act like a tyrant? A very obvious contradiction. Maybe ‘Absolute freedom’ is only possible if you don’t have your own will and your own thoughts. You surround yourself in all aspects of your being, both physically and psychically with something, someone….you free yourself from feelings and thoughts….and act like a collective. (I just thought of Star Trek the next generation and the Borg Collective.)

Back to the early years of Surrealism and the Surrealists, to the period that they didn't call themselves surrealists. Giorgio De Chirico is seen as the most original and by some the best surreal painter of all time. That sounds odd if you consider the fact that De Chirico represented the early surreal trend and only for a very short period, between 1911 and 1917. After that time, in the eyes of the surrealists, he had so betrayed his talent as to have become an UNPERSON. His work and his style changed more than anyone could have imagined, from the essence of disquieting poetry to candid, mock-classical art. He also faked his own early work, starting soon after 1920, and kept doing so to the absolute confusion of art dealers and collectors. I agree that this is an obscure kind of behaviour, and an obscene betrayal of the psychic integrity of his paintings from 1911-1917.

During his stay in Paris from 1911 till 1917 and during his ‘romance’ with the surreal art scene he created absolutely fabulously enigmatic surreal paintings. De Chirico has been influenced by Freud's ideas, by the art of Arnold Bӧcklin (I will blog about him very soon) and Max Klinger and by the philosophy of Schopenhauer and Nietzsche. In his own words from the Paris period he concluded:

“To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will enter the regions of childhood vision and dream. It is most important that we should rid art of all that it has contained of recognizable material to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith”.

A Melancholy of the Beautiful Day - 1913

Being true to his own feelings and his beliefs he shaped his ‘Nostalgias’ and ‘Melancholies’ in a real unreal, theatrical landscape (mostly from Turin) with his dummies/mannequins lost (immersed) in their enigmatic existences and their surreal unconsciousness.

The Red Tower - 1913

I haven’t see a lot of De Chirico's paintings, the original ones. I think most of them have been bought by private collectors. There are a few in MOMA in New York, some of them really poetical. Three in the Tate Modern in London, a few in German Museums (I am sure some in Stuttgart), two in Belgium in the Royal Museum of Fine Arts in Brussels. In the Guggenheim Museum in Venice are The Red Tower and The Nostalgia of the Poet. Those are the paintings that I have seen. I discovered also a few paintings in different cities in US. But I didn’t see them. I love the one in Guggenheim in Venice The Red Tower

The two Mannequins - 1920

Cont. tomorrow

Jacek Yerka and Toruń

I wrote this text a year ago and had forgotten to post it. Postpone today!

A few weeks ago I visited Toruń, a very old and historic city in Poland. The city is famous for having preserved almost intact its medieval spatial layout and many Gothic buildings, all built from brick, including monumental churches, the Town Hall and many burgher houses. I went there to see an exhibition of my ex-mother in law, a famous Polish film Movie star, the late Helena Grossówna. When lying in bed at the hotel during the night, I was thinking about all the famous people who were born and worked in this city. Nicolaus Copernicus was born in Toruń on 19 February 1473. At that time Toruń was part of Royal Prussia, a region of the Kingdom of Poland. Helenka Grossówna was born in Toruń too, in 1904. In her time Toruń wasn’t Polish anymore, the city was part of the German Empire. After the Second World War Toruń returned to Poland. I started to think about famous painters born in Toruń. At first I couldn’t remember any, and then suddenly Eureka! Jacek Yerka of course. He was born and studied in Toruń and he is one of the most famous fantastic artists of his time all over the world. The perfect subject for my surreal-fantasy art blog.
Jacek Yerka was born in Torun in 1952 studied art at the University in Toruń. It was a time (and probably still is) when technique was less important, and no one studied the old Masters. But Yerka did, he learnt directly from the masters of Northern Europe - the Van Eycks, Dierck Bouts, Robert Campin, Bosch, and surrealists such as Magritte.
Yerka said:

I did the first painting in my life a year before going to college, where I began studying graphics. My instructors always tried to get me to paint in the more contemporary abstract style, and move away from my fascination with realism. I saw this as an attempt to stifle my own creative style and steadfastly refused to fall in line. Eventually, my teachers relented.

His paintings are acrylic on canvas, pastels and drawings on paper.
His works are neo-surreal, fairy tale like, fantastic and sometimes more Sci-Fi than fantastic. The colours are now and then very brutal and powerful and occasionally very delicate, but nevertheless very expressive. The details are amazingly excellent. You really sense the hand of a Master, (F.E.: Between Heaven and Hell, The Way). As a painter I can tell you how time consuming it is to make these kinds of paintings.

I don’t like every work of his, but I definitely respect his imagination and his technique. I even think of buying one of his paintings of his grandmother’s kitchen. I hope he will make a few new paintings with this motif. Especially I like “Between Heaven and Hell”, "Cupboard Sunset", "Indian Summer", "the Strawberry Grove" and the "Illegal Production of Light".
Yerka's work has been exhibited in Poland, Germany, Monaco, France, and the United States. His works are also to be seen in Polish art museums. Yerka's work can also be seen in Mind Fields, a book in which Harlan Ellison has provided narration for each of Yerka's selected pieces.
In 1995 the artist was awarded the prestigious World Fantasy Award for the best artist.

On his website you can read more about Jacek Yerka, by Jacek Yerka.
http://www.yerkaland.com/bio_en.php
By the way the website is an excellent one, congratulations!

Below are a few images of my favourite paintings by Jacek Yerka.

The Strawberry Grove

The cupboard sunset

The winter wave

The road

Kenneth Clark & A Stick in the Mud...

I know this video has nothing to do with the Fantasy Art but nevertheless it has everything to do with Art.
And we are chatting here about art.

Kenneth Clark was an extraordinary man. With his passion for art, humans and his believe in the Goodness of homo sapience.

His TV program 'Civilisation: A Personal View' about art and in general the human civilisation was a very unusual one,a masterpiece.
"It is lack of confidence, more than anything else, that kills a civilisation. We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs."