jenks
thread death
I do wonder about seeing a whole bunch of work all together with some painters - like seeing lots of drafts towards something. I felt this about Giacometti - you could see he was working something out over a long period - obsessively fine tuning something with subtle variation. Other painters/artists have a wildly varying range - Picssso obviously but also someone like Richter or Tillmans which probably suits them more to a retrospective. I saw a recent Constable show at the RA and was blown away with the range and subtlety of his work - a case where an exhibition was able to demonstrate range and variety and to confound easy preconceptions
version
Well-known member
'Study of a Bull' and 'Study for Bullfight No. 1' are two favourites of mine. I love how wispy and barely there the former, the one you posted, is. I dunno how he was feeling at the time, but it's impossible not to see him in it, one foot out the door and disintegrating.
jenks
thread death
It supposed to be his last painting - there’s the door he’s slowly seeping into - I like the way he takes Picasso on with the bull, wrests its symbolism away from PP and repurposes it for himself but for the rest I find most too flat - strangely austere. I’d have like more screaming Popes - those I do feel far more viscerally
woops
is not like other people
It does, it looks a bit like Gerald scarfe
version
Well-known member
Paul Cézanne paintings never seen in UK to go on show at Tate Modern
‘Once-in-a-generation’ exhibition will show 22 of his paintings for first time in Britain
www.theguardian.com
Corpsey
bandz ahoy
I find Cezanne pretty hard to understand, by and large. And I've read books about him. Perhaps that's the problem. But then, without the explication I'm not sure I'd "get" what was so important and great about him at all.
There are some exceptions to this. One in the National Gallery of a forest path which actually has a sort of psychedelic effect on me.
But was this how he wanted his paintings to effect people? From what I read he was the most rigorously intellectual (and classicist) of painters.
There are some exceptions to this. One in the National Gallery of a forest path which actually has a sort of psychedelic effect on me.
But was this how he wanted his paintings to effect people? From what I read he was the most rigorously intellectual (and classicist) of painters.
Corpsey
bandz ahoy
I understand (to a modest degree) his place in art history - his blatant conversion of "sense data" into abstract symbols, paving the way for Picasso, Matisse, et al.
But when it comes to actually appreciating his paintings, it's hard work for me.
Although I should also say that I've kind of gone off art this year. I've been in the abyss and crawled out of it and now don't feel much compulsion to go to galleries or look at all my art books.
Hopefully that will change.
But when it comes to actually appreciating his paintings, it's hard work for me.
Although I should also say that I've kind of gone off art this year. I've been in the abyss and crawled out of it and now don't feel much compulsion to go to galleries or look at all my art books.
Hopefully that will change.
Corpsey
bandz ahoy
There's an interesting bit in the Beckett biography I half read about his relationship to Cezanne. Quotes Beckett writing about Cezanne, how C was the first landscape painter (in B's estimation) to have painted the landscape as it is, not as a romantic projection or reflection of the painter but as something entirely alien
version
Well-known member
I read a funny bit in The Pound Era the other day where Pound unknowingly jabs at a young Beckett,
"On a visit to Paris in 1929 he came upon Joyce holding court and was enraged by what he took to be a climate of sycophancy. Of one slim youth he enquired, in withering tones, whether he might be writing an Iliad, or would it be a Divina Commedia. One should not say such a humiliating thing to anyone, certainly not to anyone who has done no harm, but it is especially regrettable that he should have said it to Sam Beckett."
Corpsey
bandz ahoy
He understood Cézanne landscapes as “incommensurable with all human expression” and possessed of an “impassable immensity” between landscape and the gazing subject. He complained that there was “nothing of the kind” in painters like Constable and Turner, where he saw only nature “infected with spirit.”
artcritical.com
“The Impregnable Without”: Samuel Beckett and Painting - artcritical
Review of “Beckett’s Thing” by David Lloyd
artcritical.com
Corpsey
bandz ahoy
Skipped back to the first pages of this subforum out of interest and found Luka enjoying Paula Rego
Something changed
paula rego/robert frank
both of these exhibitions look good. anyone reached? worth it? i went to the new thing at whitechepel, yeah that was quite alright. weegie, cartier bresson, atget, brassai, walker evans, everyone likes photgraphs theres three bacon things, one of which stands out. crouching nude? i think...
www.dissensus.com
Something changed