Showing posts with label Titian. Show all posts
Showing posts with label Titian. Show all posts

Monday, 14 July 2014

Prado, PUPS and Puerile Government





Shane Wombat with Prado pictures
Shane Wombat with Prado pictures



G'day Petals,

Mrs Wombat and No2 daughter and self all took a jaunt to the National Gallery of Victoria t'other day to have a look at Italian masters from the Prado, Madrid.
An exhibition which contained a variety of surprises and oddly enough, parallels for this week's "Wombat droppings".










Pavi Sculptures and Children
Pavi Sculptures and Children
There were in the Federation Court, sculptures.... well very colourful and big stuffed Polar Bear toys, that children of all ages were engaged by ... which was one of those odd parallels I mentioned...
Photographer with Pavi sculpture
....whimsical, one-liners and as said, the children enjoyed them but reflecting on them after viewing the Prado works a vague relationship to Australia's present social state and the religious iconography in the Prado show became apparent 
Italian Masters from the Prado, NGV
Italian Masters from the Prado, NGV
Although there was a very small sign and graphic meaning "No Photographs" on entering as my camera was in plain sight and no-one said anything .....I assumed it was mainly to deter people using flash.. which occasioned an amusing exchange...  standing next to a woman who was pointing her mobile at a work I said quietly, "I hope you're not going to use flash." "No,"  she replied as quietly, "It's turned off." "You saw the sign on the way in then?" I added,  "Of course." she deadpanned and proceeded to take her pic.
 I took few shots in the exhibition ...who want's a "scene"?
Pieta: Crespi
This work was one of my favourites. Lively paint handling, real weight of the figure of the dead Christ allied to the sense of Mary's supporting or lifting with the very expressive faces; and like others in this show an unusual composition that in this case rests on repeated squares within a subtle pyramid. Perhaps to avoid the liveliness that Baroque diagonals would have produced rather than this almost "Nature Morte."
Prado, Titian, Phillip 2
Prado, Titian, Phillip 2
Titian is well represented and in the earlier works the influences of Bellini and the Florentine criticisms of the Venetian predilection for colour and paint handling rather than drawing as the basis of their art is very apparent.  The armor in this is beautifully handled but the portrait is almost too truthful of this arrogant, distrustful monarch and gives the work a hint of what is to come when Goya represents the Royalty of his times.
Doubting Thomas: Stom,
Matthius Stom (Stomer) presents another wonderful composition of a diamond within a circle and an assured hand.
Prado, Tiepolo
Tiepolo's son Domenico worked closely with his father and this is apparent in the "Crowning of Thorns" where the figure in the shadow on the left probably appears twice in Giambattista's "Banquet of Cleopatra"  at the NGV. Wonderful drawing again but the little work to the right "A New World" was a gem, a slice of Venetian life that perhaps signalled that had Domenico Tiepolo been born the the C20th he may well have been a Photo-Journalist.
Hugo Shaw
Then I was watching the real deal, Hugo Shaw an artist from Adelaide drawing  the people opposite him in fine fashion and a happy, willing conversationalist, too.

The NGV for those who don't know it, has a water wall behind the arch of the main entrance and I took a few shots as we were leaving....



Water Wall, NGV
A show well worth the effort of attending particularly as the works with most gravitas were not the religious pieces but the pieces like the 
Ribera: "Touch", the small Venetian Scenes by Tiepolo, and in the details of the cloth in Titian's Salome's dress and the pure exuberance and deftness of the paint handling in the late Baroque works. In contrast, the formulaic religious pieces became rather a lesson in why Monty Python humour exists...and why the monsters in Dr Who are as they are and have such resonance.... which brings us to 

WOMBAT DROPPINGS  or low-down Oz Politics.

The Palmer United Party or PUPS have been making merry with "Rabbutt-the-Hun's" excuse for a budget by inviting them into the kennel and giving them fleas. Demonstrating what an incompetent rabble these Liarbrils really were and are. 
With Our Second Biggest Miner and PUPS Leader, Clive, hogging so much of the limelight it has caused Nick "What's-my-Next-Stunt" Xenephon (SA, Right-Leaning Independent) and the "The Human Torpedo" to come down suffering Attention Seekers Deficit Syndrome. and doing whatever they can to get their faces in front of a camera and in Thorpe's case for a $400,000 fee. 
Both Mrs Wombat and I announce that we will both "come out" for a lot less... negotiations are now open. 

After years of accusing the Gillard-Rudd regimes of dysfunctional incompetence, stupidity, economic wantonness, arrogance and other sins, it should come as no surprise that was a case of "pot-calling-kettle-black-bum! "
They have turned as I always thought they would, into the very nasty, venal  incompetents they were in opposition and pathologically accused everyone else of being.

Their abject cruelty to the asylum seekers is making Australia a pariah in world affairs.
Their climate denial stance and soon to be legislated removal of Carbon Pricing with no effective Climate policy to replace it has Australia a laughing stock in the world.
Their final destruction of Australian manufacturing must have all those who take our raw materials laughing behind our backs,  particularly the Japanese, who 30 years ago were wanting this as an outcome for Australia.  
We, in their wishes were to be nothing but a hole in the ground and a source of raw food.  Now we have this rabble of a Government handing it to them and then praising their military of WW2.  
Shades of "Pig-Iron" Bob.... this mongrel lot is an embarrassment. 
(The only thing they're consistently good at)
Matthius "The Conman-of-HorseShite" Coormann has deregulated financial services so that the financial advisors DO NOT have to have the best interests of their clients at heart.
And they waste $60,000,000,000.00 on a Royal commission or two when the Commonwealth Bank has fleeced its customers of Hundreds of Millions of Dollars but this doesn't warrant investigation... guess who gets funded by CBA?




There's a FB page titled "The Worst PM Australia's Had".... of which I thought initially, that's a bit strong... but now... it's not strong enough. What is taking place is the destruction of democracy in this country being led by "The-Coots-With-Queer-Ideas-From-a-Parallel-Universe", The Institute of Public Affairs the thought-bubble tank for this rabble....Minions of Murdoch "The Ugly American" and Gina Rinehart (our Biggest Miner) and Tobacco companies.... we are in interesting times petals...


Night movement
Into the Abyss...Night Movement


Cheers, Petals,
Shane

Sunday, 4 March 2012

...to the Renaissance...in Canberra

G'day all,
 Shane here again with tales from the Renaissance, a small part of which is in Canberra having come over from the Acadamia Carrara, Bergamo
That's me with me mate, Sandro...(Botticelli) he's got a couple of goodies in the show as you'd expect from someone of his talent. 
Ohh... by the way all the other pics on this page are courtesy of the National Gallery Canberra 

 http://nga.gov.au/Exhibition/RENAISSANCE

It's not a big show but it is a fascinating and absorbing precis and look at the C15th & C16th; of  the growing "humanism" that developed out from the Renaissance as the society of the Italian states became more secular..... but this little Andrea Mantegna (28cm x 19cm, 1450) of St Bernardino of Siena has it's roots firmly back in the religious gothic even though the austere realism and formidable sense of the ascetic's quiet have an almost Modernist / Minimilist manner to them.
This piece struck me from a distance and held my attention.. it's a wonderful work but this and all pictured here, really don't give have the "gravitas" the real things do...



Marco Buono, "Procession of Love" C1480 is an enigmatic small tempera on panel 39cm x 56cm ... finely dressed people solemnly process with wrists bound ..a symbol of extended family ties perhaps but a work that delighted Mrs.Wombat and repayed much looking. 
The limited depth of field and the planar nature of Renaissance painting seems to add the "crowd" effect in this work as do the complimentary contrasts of the reds and the greens in the costuming.


 

The dramatic development in Renaissance painting can be seen in comparing these three works, Giovanni Bellini's "Madonna & Child" (left) was painted some eight years after the Porcession of Love in 1488 and (below) Ambrogio Bergognone's "Madonna Lactans" of 1485. 

The realism of the backgrounds, the attention and understanding of the fall of shadows added to the sophistication of compositional elements is almost a world away from the Buono. 
Yet, they still maintain the spiritual as the Mantegna did.. an aloofness, a seperateness from the ruck.

One of the good things about this exhibition is that the relative smallness of its size some 60 odd works, allowed you to return to works again and again as something more struck you and that the visitors were controlled through in not overly large numbers it was a very comfortable experience.

 



I had not seen Bergognone's work before and what startled me was how much it reminded me of a Pre-Raphaelite painting: Burne-Jones came to mind immediately in the composition; its division of space, the Madonna's hair, the foliage in the background as a screen..... the Englishman I think, must have had a good look at works like these. 
Which also made me think of some contemporary Australian photographers who are showing more and more evidence of being influenced by paintings, some to the extent of mixing metaphors by dropping in elements from different artists and photographers... point is though, they don't seem to credit their sources and effectively, create only a pastiche.... nothing new... It's all hollow!
The Pre-Raphaelite Brotherhood readily acknowledged their sources and still managed to be original in the long run. 






This one of Sandro's (one of two), affected me greatly, it hit me as Pop-Art-for Pretty-Serious-Catholics... after all, he painted it after hearing Savonarola screeching hellfire and brimstone to the Florentines... the halo virtually RADIATES, the colours I felt, are more strident than here ( or was I just getting a whiff of Savanorola?)
I just said "felt" for colour...hmmm.....
The attentuated face and symbolic hands in Botticelli's "Christ the Redeemer", C1500, harks back to earlier

times but with the knowledge that once you've "eaten-of-the-fruit ..." there is no going back... hence its anguish of knowledge, unchained. 
Sandro burnt much of his work after hearing Savonarola.  Perhaps he was presaging the monks own demise? 

I loved this work.. I love its considered nature, its emotion, arcane composition and its ultimate power. 






  Supposedly, Cesare Borgia  by Altobello Melone  in 1513 here's a bloke who not afraid of a bit "sturm und stress".  

People wandering through a storm, clenched fists, implacable (good) looks, this gentleman is not that gentle to his opponents and he is looking back, remembering.... the party's going to get rough, petals! 
Almost a monotone of blues contrasted with the gold and the freedom in the brushwork ...this had me thinking of El Greco.... the-times-are-a-changing..... perfection isn't here it never will be.... time is inexorable.

I did not know of this artists work before ...another good thing about this exhibition. .......







......and then, WHACK... in 1507 there was Titian.

Everything seems to come together into a cohesive amalgam of rightness.
There are no dubious bits here; only an expression of an absporption of all that had technically gone before as well as a philosophic understanding of the present state and a capacity to reveal it.
This is what art is.
Here we see space sliding diagonally, sfumato for directional and compositional effects, colour and tone for the same and brush / paint handling..... bliss!  





And then came a summation in Moroni (Mrs. Wombat's "new favourite painter"... I don't think he'll really throw over Delacroix though...) 
1550, all that had had been learnt and was now being put to use for the emerging middle class ... no saints here.. just occasional patrons, even if somewhat doubtful as to their place in history and the veracity of the artist.
Beautiful portraiture, just beautiful.

A terrific exhibition... and ta to Hayley at the boarding desk at Virgin Airlines for limiting our time from sitting in Canberra Airport waiting to fly back to Melbourne from four hours to 20 minutes... mwaaah
To the young couple, particularly, in the exhibition, who looked like they should have been at a football match... forget the notes supplied ... look at the works for more than 15 seconds.... allow you emotions and humanity to be engaged in a one to one ...for once; it will only be of benefit.
You weren't the only ones but were the worst "clocked" during a sit down break. 
One other thing was very noticeable .... there were no cameras: not even surreptitious mobiles! I've never checked the NGA's policy on that but it did make for a more relaxed viewing than some people provided in the Louvre.

cheers petals,
Shane