Category: "Painting"

Pages: 1 2 3 ...4 ...5 7 9

08/05/13

  06:28:00 pm, by   , 775 words  
Categories: Art, Collage, Painting

Wikipedia!

Currently, I am in a game of deconstruction of the face that brings me back - once again to Picasso. I keep in my mind his weeping women, his kiss. As always, the poles beauty / coldness / acceptance vs. ugliness / expression / rejection are essential. But it is above all for me to see what potential the collage has. (for a bigger picture, click here)
Collage 171/13 is monstrous, I agree, the composition breaks, different fragments collide violently, but the image is still consistent! There are so many artists making flat, conventional and bloodless images, I won’t count among them, I hope! For example, the book of a painter that Wikipedia defines as follows: Alain Bonnefoit is today, with more than 200 solo exhibitions worldwide, one of the most famous representatives of the School of Paris, an artist of multiple talents (draftsman, painter, engraver, lithographer, sculptor) and world-renowned for the quality and sophistication of his works on his favorite theme: the female nude. He never tires of solid and slender curves that provides the female body without ever revealing its secrets and celebrates Woman, Nude, Beauty and Pleasure with such a talent that he has become the benchmark for forty years.
It's this big and heavy book, printed on thick glossy paper I received as a gift in order to make collages. And I find it hard to find the real and consistent stuff, as the forms lack character. I am obliged to make use of magazine pictures so that the collage gains some strength and vigor. Thus no. 176/13 where one can still detect traces of a painting by this artist. What amuses and saddens me a bit, is the rhetoric of the Wikipedia.fr panegyric. First, the School of Paris had its heyday with avant-garde painters (cubism), then sank into banality. Second, this way of painting the female nude has had some success with Kiesling, Van Dongen and Fujita, because there is always a touch of acidity, like a dessert made by a chef. But here the reproductions of the paintings are like marshmallows: it is soft, tasteless and vulgar. While one or two photos of his studio are usable, as the theme of creation is eternal and once again links back to Picasso, the other pictures cannot compete with any photographed nude.

Actuellement, je suis dans un jeu de déconstruction du visage qui me rapproche – une fois encore de Picasso. J’ai évidemment en tête ses femmes en pleurs, son baiser. Comme toujours, les pôles beauté/froideur/acceptation – laideur/expressivité/rejet sont incontournables. Mais il s’agit pour moi avant tout de voir ce que le collage a comme potentialités. Le collage 171/13 est monstrueux, j’en conviens, la composition éclate, les différents fragments s’entrechoquent violemment, mais l’image reste cohérente malgré tout ! Il y a tant d’artistes qui font des images plates, conventionnelles, exsangues, il ne faut pas en rajouter, à mon avis ! Pour exemple, ce livre d’un peintre que Wikipédia définit en ces termes : Alain Bonnefoit est aujourd'hui, avec plus de 200 expositions personnelles à travers le monde, un des plus illustres représentants de l’École de Paris, un artiste aux talents multiples (dessinateur, peintre, graveur, lithographe, sculpteur) et de renommée mondiale pour la qualité et le raffinement de ses œuvres sur son thème favori : le nu féminin. Il ne se lasse pas des courbes pleines et déliées que lui offre le corps féminin sans jamais dévoiler ses secrets et célèbre la Femme, le Nu, la Beauté et la Volupté avec un tel talent qu'il en est devenu la référence depuis quarante ans.
C’est ce gros livre très lourd car imprimé sur papier épais et glacé que j’ai reçu en cadeau afin de le découper. Et j’ai de la peine à y trouver de la substance, tellement les formes manquent de caractère. Je suis obligé de me servir de photos de magazine pour que le collage prenne un peu de force et de vigueur. Ainsi le no. 176/13 où on peut déceler encore des traces d’un tableau de ce peintre. Ce qui m’amuse et désole un peu, c’est la rhétorique du panégyrique de Wikipédia. D’abord, l’Ecole de Paris a eu son heure de gloire avec des peintres d’avant-garde (cubisme), puis a sombré dans la banalité. Ensuite, cette manière de peindre le nu féminin a eu quelques succès chez Kiesling, Van Dongen ou Fujita, car on y trouve une touche d’acidité, comme dans un dessert de grand chef. Par contre, les reproductions de ce peintre sont comme des marshmallows : c’est mou, c’est insipide et vulgaire. Certes, une ou deux photos d’atelier sont utilisables, car le thème de la création est éternel et ramène encore une fois vers Picasso, mais les autres images ne pourront rivaliser avec le moindre nu photographié.

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09/08/12

  05:51:00 pm, by   , 792 words  
Categories: Art, Collage, Painting

Glues – a matter of choice

Usually, I spray. It's simple and convenient, but it smells. Liquid glue is odorless, but it brings me back into painting. I do not want to go back to it. I want to stay on the dry side. It is without doubt the fact of using a paintbrush to glue the piece of paper that creates the embarrassment in me. It puts me in the times when I glued plenty of papers (with acrylic glue applied with a brush) on my old paintings. I hardly bear a glue stick that has a nasty habit of making groats, putting too much glue on paper, creating beads and other unsightly ripples. I could easily work around this problem by sticking my papers on heavier media, less fragile than a paper magazine, but then it would become something else, closer to painting than what I’m aiming for: a fragile work in paper. To illustrate my point, here is the example of collages given long ago to my nephew Ol. When I visited him recently, I noticed that he had simply taped them to the wall. I was first horrified, realizing how much they had suffered from dust, displaying some blunders in the use of a liquid resembling to coffee, not to mention the yellowing due to light. Yet I have said nothing, thinking that the works are now under his responsibility. And very recently, he has given them back to me in order to scan them, because he wants to order prints on canvas. With PS, I was able to repair the outrages and obtain renovated images. In the closer view, I thought that these collages were good and that the paper collage was better than the painting I had wanted to do. As proof, I put them face to face. The collage seems to me closer to my intent, the painting gradually emancipated, it wanted to live its own life and has forced its existence on me. At the end, I was exhausted and I wrote what I lived on the very painting (fairly illegible). So I would say that the painting opposes me, while the collage - perhaps this is due to its small size - is one with me when I make it. That's why I prefer to stay dry.


for a bigger picture, click here


for a bigger picture, click here.

Colles – une question de choix
Habituellement, je colle au spray. C’est simple et pratique, mais ça sent mauvais. La colle liquide est inodore, mais elle me replonge dans la peinture. Or je n’ai pas envie de retourner vers elle. Je veux rester dans le sec. C’est sans le doute le fait d’utiliser un pinceau pour encoller le morceau de papier qui crée cette gêne chez moi. Cela me remet dans la période où je collais plein de papiers (à la colle acrylique appliquée au pinceau) sur mes anciennes toiles. Je supporte tout juste le bâton de colle qui a la fâcheuse habitude de partir en gruaux, d’en mettre trop sur le papier, de créer des bourrelets et autres ondulations disgracieux. Je pourrais aisément contourner ce problème en collant mes papiers sur un support plus épais, mois fragile que le papier d’un magazine, mais alors, cela deviendrait autre chose, plus proche du tableau que de ce que je veux obtenir : une œuvre fragile en papier. Pour illustrer mon propos, voici l’exemple de collages donnés il y a bien longtemps à mon neveux Ol. Quand je suis allé le voir dernièrement, j’ai constaté qu’il les avait simplement scotchés au mur. J’en ai été tout d’abord horrifié, constatant qu’ils avaient souffert de la poussière, de quelques maladresses dues au maniement d’un liquide ressemblant à du café, sans parler du jaunissement dû à la lumière. Pourtant, je n’ai rien dit, pensant que les œuvres étant dorénavant sous sa responsabilité. Et puis, très récemment, il me les a redonnées pour que je les lui scanne, car il veut commander des tirages sur toile. Grâce à PS, j’ai pu réparer les outrages et obtenir des images rénovées. En les regardant de plus près, je me suis dit que ces collages étaient bien et que le collage papier était supérieur au tableau que j’avais voulu en faire. Pour preuve, je les mets face à face : le collage me semble plus proche de mon intention, le tableau s’est progressivement émancipé, il a voulu vivre sa propre vie et s’est imposé à moi. A la fin, je n’en pouvais plus et j’ai écrit ce qui m’habitait sur le tableau même (de manière assez illisible). Je dirais donc que le tableau me fait face, alors que le collage – peut-être est-ce dû à sa taille restreinte - fait un avec moi au moment où je le fais. Voilà pourquoi je préfère rester au sec.

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15/05/12

  03:03:37 pm, by   , 1024 words  
Categories: Art, Collage, Painting

The emptiness of contemporary art

After a visit of the Museo Reina Sofia in Madrid and the Prado, here some thoughts.
The Reina Sofia is a huge building containing mostly contemporary works and especially Guernica. What struck me is how the contemporary works are intellectual and how they avoid the appeal to emotion. We see that the paradigm of art has changed since Picasso whose works always are emotionally violent. Since, art displays itself refrigerated, here in an environment reminiscent of a barrack. All this vastness devoted to this coldness! And that's not enough. It takes even more. Thus, at the Palacio Velasquez, really beautiful building, we see the works of Spanish artist Nacho Criado, which, among other things, refers to the crucifixion of Matthias Grünewald. I am familiar with this work that I venerate. I think it attests to human suffering, pain before death, and possibly going further - the injustice of this world that puts a man on the cross. All this against a background of wars, epidemics and other curses. As for his pictorial quality, it was a summit regarding the design and color, composition, expressivity etc. Unnecessary to deal further, many have already written about this work, and much better than myself.
Now what do we see in the Palacio Velasquez? Three truncated iron crosses placed on the white wall. And that's all. The relation to Grünewald’s masterpiece seems hardly noticeable. The three crosses? They are in all painted crucifixions. But then what? It seems to me that this follower of Duchamp wanted to make an object from the altar, virtually eliminatin everything, so we end up with a sign whose referent is very vague and whose meaning is so poor that it receives its justification only by the prestigious context in which it stands and the reference to the original. It's like Duchamp's mustachioed Gioconda a pastiche, a gag.
That's the situation: the content, the narrative are eliminated, the legacy violated. Looking through the Prado, and contemplating the religious Baroque works, it becomes obvious to me that we certainly have more creative freedom now but we created an empty shell, just like our whole society.
Arrived before the Deposition by R.van der Weyden, I feel a shock at this huge work. I know it since long ago, I read the analysis of Panofsky, watched many reproductions, but standing in front of the original so bright, looking so freshly painted, I am flabbergasted by the evocative power that emanates from this work. In fact, it impresses me even more than Guernica. Why is that? The very flat area which densifies the characters? Their moving expressions? Their expensive clothes? The abstract background? I do not know. But I know that I stand before a masterpiece that speaks to me deep.
And this has never happened to me with a contemporary work.

Après la visite du Museo Reina Sofia à Madrid et du Prado, voici ces quelques réflexions.
Le musée Reina Sofia est un immense bâtiment contenant majoritairement des œuvres contemporaines et surtout Guernica. Ce qui m’a frappé, c’est à quel point les œuvres contemporaines sont intellectuelles et combien elles évitent l’appel à l’émotion. On voit que le paradigme de l’art a changé depuis Picasso dont les œuvres dégagent toujours une charge émotionnelle violente. Depuis, l’art se montre froid, ici dans un environnement faisant penser à une caserne. Toute cette vastitude pour cela ! Et ce n’est pas assez. Il en faut encore davantage. Ainsi, au Palacio Velasquez, construction vraiment très belle, on voit les œuvres d’un artiste espagnol, Nacho Criado, qui, entre autres, fait référence à la crucifixion de Matthias Grünewald. Je connais bien cette œuvre que je vénère . A mon avis, elle témoigne de la souffrance humaine, de la douleur devant la mort et, éventuellement, en allant plus loin – de l’injustice de ce monde qui met un homme sur la croix. Tout cela sur fond de guerres, d’épidémies et autres malédictions. Quant à sa qualité picturale, elle constitue un sommet en ce qui concerne le dessin et la couleur, la composition, les expressions des personnages etc. Inutile de m’étendre davantage, beaucoup ont déjà écrit sur cette oeuvre, et bien mieux que moi-même.
Or que voit-on dans le Palacio Vélasquez ? Trois croix tronquées en fer disposées sur le mur blanc. Et c’est tout. Le rapport avec Grünewald me semble guère perceptible. Les 3 croix ? Il y en a dans toutes les crucifixions peintes. Mais alors quoi ? Il me semble que cet épigone de Duchamp ait voulu faire un objet à partir du retable, en éliminant pratiquement tout, de sorte qu’on se retrouve avec un signe dont le référent est très vague et dont la signification est si pauvre qu’il ne reçoit sa justification d’être que par le contexte prestigieux dans lequel il se trouve et par le jeu du renvoi à l’original. C’est comme la Gioconde moustachue de Duchamp un pastiche, un gag.
Voilà bien la situation : le contenu, la narration sont éliminés, l’héritage bafoué. En parcourant le Prado, et en contemplant les œuvres religieuses baroques, il me devient évident que nous avons certes davantage de liberté de création mais que nous avons créé des coquilles vides, à l’image de notre société tout entière.
Arrivé devant la Descente de Croix de R.van der Weyden, j’éprouve un choc devant cette œuvre de grande taille. Je la connais pourtant depuis longtemps, j’ai lu l’analyse de Panofsky, regardé maintes reproductions, mais devant l’original si lumineux, paraissant fraichement peint, je suis sidéré par la puissance d’évocation qui émane de ce tableau. En fait, il m’impressionne encore davantage que Guernica. Comment l’expliquer ? L’espace très plat qui densifie les personnages ? Leurs expressions bouleversantes ? Leurs habits somptueux ? Le fond abstrait ? Je ne sais pas. Mais je sais que suis devant un chef d’œuvre. Qui me parle au plus profond.
Et cela ne m’est jamais arrivé devant une œuvre contemporaine.

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28/04/12

  06:46:00 pm, by   , 191 words  
Categories: Art, Collage, Painting

Looking back at my older works and thinking about my next works.

In preparing some images for a website, I looked through the paintings of 20002-2003, reworked in 2007-2009 - bits of magazine photos glued on these big paintings. At the time, I thought it was sacrilegious and not necessarily well. But looking closer, I must say I am surprised by some of the works. I find them challenging and successful. So I tell myself that this summer, I will unroll a number of old paintings and divert / complement / improve them. There are at least hundred of them awaiting resurrection. Wait for me, I'm coming!

The link to the gallery: click here

En préparant quelques images pour un site internet, j'ai parcouru les peintures de 2002-2003, retravaillées en 2007-2009 - collant des bouts de photos de magazines sur ces grandes peintures. A l'époque, je pensais que c'était sacrilège et pas forcément bien. Mais en y regardant de plus près, je dois dire que je suis surpris par certaines oeuvres. Je les trouve audacieuses et réussies. Je me dis donc que, cet été, je vais dérouler un certain nombre de toiles et m'amuser à les détourner/compléter/améliorer. Il y en a au moins une centaines qui attendent leur résurrection. Attendez-moi, j'arrive!

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21/04/11

  12:48:00 pm, by   , 157 words  
Categories: Art, Collage, Painting

IN THE BATH

This collage reminds of another one that I have painted in 2004. The spirit is quite the same, but I see some evolution – if there were none it would mean that I am repeating myself and that would be a terrible statement.
So, 7 years after, what changed? The trick of changing the human head into an animal is identical. It’s the way the pieces are put together: in the painting, I have tried to smoothen the borders, in the 2011 collage, the torn pieces alternate with unbroken parts. This gives a different effect: bestiality and frailty, barbarism and doom. For sure that since 2007 things seem harder now and the hogs are getting fatter and fatter and many hopes are drowned. So I feel that my 2011 collage is less funny, less optimistic and much cruder. This won’t arrange my selling prospective, for sure. But my route goes in the direction of stronger expression, with the risk inherent to this choice.

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10/06/10

  03:58:30 pm, by   , 269 words  
Categories: Art, Collage, Painting

THE ANCIENT MASTERS AND ME

I must confess that I am more attracted to ancient masters than by contemporary art these days. I ask myself why I am so fascinated by painters like Ribera for ex. One argument is their mastership in suggesting the appearance of things and in arranging a painting in order to make it stunning. But in this they are not superior to ou modern movies, So there must be more. It lies in the subject itself, I think. And this question has been mine too during all my life as an artist. If we take the Allegory of Touch (Prado) the painting is very unusual. I immediately think of my own workshops where I make people draw what they touch - eyes shut, or let them draw, paint, sculpt without seeing what they are doing. At the same time the painting tells me something about the relationship between the artist and his work: he sees but he sees not during his work - at least I am not. So maybe I am really old fashioned, looking for meaning, for impulses to think. And these paintings seem to me as enjoyable as any comedy on stage or on screen. But why don't I paint any more? Because the times for this kind of art are over and luckily there are many masterpieces to enjoy as forever. But an artist of 2010 has to try something different, like all other forms of art. And lastly these artists surely had a more direct relationship to other humans and the world than our Western multimedia world. And that's what I feel when I look at Ribera's paintings.

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11/12/09

  10:38:00 am, by   , 379 words  
Categories: Art, Collage, Painting

COLLAGE BLOW UPS

For a long time, I have been wondering about the possibility of blowing up my collages which are generally A4. The solution I adopted had been painting the collage on canvas, as one can see in my paintings galleries, with the outcome that the original photographic character was lost. Later, I mixed painting with collage on canvas, but I felt limited by the size of the raw material which comes from magazines. Some people told me to make prints of them, but I feared that the imperfections of the original collage, like raster and moiré would make the result look awful. Still I always hoped to find a way to get bigger pictures. But a couple of days ago, I ordered two A4 collages as photo prints on canvas, each 60x90cm, in order to see what my newer collages would look like. The result is way above my expectations: it’s somewhere between a photo and an aerograph painting.
I’ll show them to my friends and see when I can show them in an exhibition. I intend to sell the original collage with a good scan so that it can be printed abroad (300$) or directly on canvas in Europe (350e).

AGRANDISSEMENTS DE COLLAGES
Pendant longtemps, j’ai réfléchi à la possibilité d’agrandir mes collages qui sont généralement de format A4. La solution que j’avais adoptée était de transposer le collage sur une toile peinte, avec pour effet la perte du caractère photographique de l’original, comme on peut le voir dans mes galeries de peinture. J’ai ensuite tenté de mélanger peinture et collage, mais j’ai souvent été freiné par le manque de photos de grand format. Quelques personnes m’avaient suggéré de faire des agrandissements photo, mais je craignais qu’on voie en grand les imperfections de l’original – trame et moiré –et que le résultat aurait l’air horrible. Mais il y a quelques jours, j’ai franchi le pas et j’ai commandé 2 tirages de 60x90cm chacun sur toile photo. Le résultat est au-delà de mes plus folles espérances : il se situe entre la photo et une peinture à l’aérographe.
J’ai l’intention de les présenter à mes amis et de voir si je peux les montrer dans une expo. En attendant, je vais les offrir à la vente, accompagnée de l’original pour une somme en-dessous des 350 €.

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07/12/09

  10:22:00 am, by   , 298 words  
Categories: Art, Collage, Painting

THE DOOR TO NEW POSSIBILITIES

Having stopped painting, I acknowledged some changes in my way of making collages, as I am longer on my collages, paying more attention to the tiny details, esp. the junctures between the fragments. I just ordered two enlargements of collages on photo canvas in order to test the possibility of bigger prints in order to make an exhibition. More on that in a week or so.
Another change concerns my way of taking photos. This has been another passion of mine since I was a little boy. With my new camera, I feel that I look at the world through the viewfinder like a painter. And I would like to compare two paintings with very recent photos. In fact, I like my photos better because they are more graphic, more abstract.

My conclusion is that having left behind me easel, canvas, brushes, colors and palette, I have in fact opened the door to other possibilities.
Ayant arrêté de peindre, j’ai constaté quelques changements dans ma manière de faire des collages, puisque je porte mon attention maintenant également sur les détails, notamment sur les jonctions entre les fragments d’images. J’ai d’ailleurs commandé deux tirages d’après collages sur toile photo afin de tester la possibilité d’agrandir mes collages et de les présenter ainsi dans une expo. Davantage dans une semaine env.
Un autre changement concerne ma manière de prendre des photos, ma passion depuis mon plus jeune âge. Avec mon nouvel appareil, je regarde le monde à travers le viseur comme un peintre. Et j’aimerais comparer deux peintures avec 2 photos. En fait, je préfère les photos qui me semblent plus graphiques, plus abstraites !
Ma conclusion est que l’abandon de mon chevalet, de la toile, des pinceaux et des couleurs et de la palette, m’a ouvert la porte vers d’autres possibilité.

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02/04/09

  05:27:00 pm, by   , 225 words  
Categories: Art, Collage, Painting

A letter to myself

Dear Berni,
As I was looking at your collection of collages from the sixties-seventies, I felt that you have made some progress since. Indeed, your former works are illustrative- narrative or a mere patchwork – they seem quite naïve to me I must say.
I understand much better some negative reactions from professionals that you received so badly then: they surely saw immediately the shortcomings, whereas you were blind to them. Because you were sure making some great art. You were stuck in illusion about yourself and your works. I know I can tell you that rather crudely because it’s remote in the past.
I think that this a real chance for you to get rid of an erroneous conception of yourself and your artistic biography. In fact you were born to your own style in 1999 and all the rest is a long and difficult way to it. And a different attitude regarding your work: always as important as ever, but more relaxed and more lucid. Traces of your ancient “style” subsist in several of your paintings with collage: they resemble too much to your old style by their illustrative manner – you should leave painting and concentrate on collage, at least for some time. And, please, go to the attic and discard the old rubbish, it makes no good keeping those unworthy paintings.
Sincerely yours
Inreb

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04/03/09

  02:15:28 am, by   , 200 words  
Categories: Art, Collage, Painting

SUSPENSION

Saw a painting of Sophie Taeuber-Arp reproduced in a German newspaper . I was stunned how this triptych from 1918 appears today after September 11th. The 2 planes circling in the sky of the city seem like vultures. The form of the triptych goes back to altar pieces. The angels have retreated, leaving a trace in form of mere birds - who feed on carrion. And the city is empty. Time seems suspended, just before or after a calamitous event. We are alone and the sky is threatening us. I have tried to illustrate this in a collage where it is the human madness that causes destruction and distress, namely the “inspiration” from sacred texts taken as a means of destruction.
In 2009, we can say that the disaster has occurred and that we may expect more of it. So far for the pessimistic side. Maybe this painting resonates in me because I have experienced a little bit of war myself with air attacks. And because I am waiting for the result of a biopsy (which turned out to be excellent - march 9th)). I am not scared, just anxious to know. It blocks a little bit my creativity but luckily not my sense of humor.

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Blog on art, centered on collage. It is meant as a sort of logbook of my creative work.

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