Paul Klee: Artist

Paul Klee was a Swiss-German artist and one of the founding teachers of the Bauhaus. he had a close friendship with Wassily Kandinsky, who shared not only a love of painting and drawing, but philosophy and music. Each in their own way painted with music as a profound influence. The movements that influenced his art most were Expressionism, Cubism and Surrealism. He is described as a natural draftsman which is evident in many of his geometric work. He also explored colour, this fascination deepening after a trip to Tunisia where the form, light and colour palette marked a change in his work.

He usefully described drawing as taking a line for a walk. Above is the iconic drawing that illustrates this point. This concept was a freeing to draw and mark make in an individual and instinctive way, rather than bound by the "rules" of drawing to create an accurate representation of an object or scene. As drawing underpins most forms of art, this was a huge permission and step change for artists and doodlers.

Klee painted a number of pictures using squares and grids. It is not cubist but more a flat grid style. The colours are what give the images depth. The image above uses more primary colours with tonal shades of the primary colours. The overall palette is rich and bright. The yellow triangles are like central jewels lighting up the frame. The large deep sun or moon also adds the element of a scene that could otherwise be purely abstract as well as adding a curved line in a very angular field. It is a symbol of light which had a weighty level of meaning during the first world war and the early Bauhaus years. 

This second image comprised mostly of colour blocks is much less defined than the picture above but is less abstract. The curved lines suggest domes to buildings, the small black squares, windows. It is a naive and abstracted rendition of a scene that may have painted directly from in Tunisia. The colour palette is earthy, with accents of violet and dark navy. I love it and could stare at it for hours for the colour and my favourite squares!

This image, Fish Magic, feels dark and disjointed in terms of the composition, the elements, fish, flower, circles floating in air or water. The diagonal line coming from the right offers a connection between the objects and offering a shower of water or light. the humour and playfulness of the 2 characters at the bottom of the picture also increase the sense of light. The very dark background allows the flower, fish and planets to shine. Beauty and connection is striven for despite the very dark times when the picture was painted.

Documentary Review: Jackson Pollock

Jackson Pollock Documentary: directed by Kim Evans, narrated by Melvyn Bragg.

This documentary follows the life and work of Jackson Pollock, from the perspective of some fellow artists, family and friends. It offers some fascinating insights into his private life and how his early life and family dynamics in the open planes and expansive skies of Kansas may have influenced his work, style and development as an artist. His work seems clearly influenced by his early life, as suggested by colleagues, in terms of his need to work in big spaces and on large canvas. Family and friends repeatedly described his conflicted and unstable relationship with others and with alcohol. His personality and internal conflict drove his choice of expressionist style and a desire to communicate pure emotion, particularly through his “drip paintings”, as well as figurative work representing primitive images. He was drawn to art and artists that integrated images and motives that linked with his childhood familial and geographic environment.

From my perspective I think these personal reports are vital to understand Pollock’s work, but alone, the outcome is too skewed.  Additional perspectives from others that view his work uninformed of his life could offer different visceral responses purely to his art. Colin Marshall on the Open Culture site says: “Jackson Pollock painted with the kind of visceral immediacy that frees you from having to know much about his ideas, his methods, or his life.” (http://www.openculture.com/2012/12/a_portrait_of_jackson_pollock_presented_by_melvyn_bragg_1987.html )  The judgement about his work purely from people who either loved him or hated aspects of him is polarised as his social circle seemed to be, and Marshall’s comment summarises, for me, what may be lacking in this documentary.   

 His love of nature and the rawness of his experiences is well accounted in this documentary. This is pertinently linked to his completed paintings and the way he painted, the places he painted such as on the floor in the open air. No space was big enough to hold his canvas in the same way that nowhere was big enough to hold him psychologically without him bumping up painfully, against people and things.

The cultural context was also influential in his work and way of life. America was emerging from a depression and changes in people’s priorities and a need to express what was difficult to articulate found its way into many of the contemporary artist’s art, method and perceptions of the world. He had a group of people that he could identify with and “belong” to but which also reinforced his risk taking. Risk taking and volatile outbursts seemed to be endorsed as well as shied away from, perhaps exaggerating the ambivalence and polarity that already seemed to be seated in his personality, which may have added the necessary energy to produce the kind of art that he was capable of. The particular narrative line taken in this documentary, leads me to think that Jackson’s constant internal conflicts both fed the creation of exceptional, ground-breaking work but also left him dissatisfied, self-doubting, then rageful, soothed only by producing  something sufficiently new. An artist’s quest is usually to evolve. He compared himself to Picasso and Matisse but couldn’t manage the internal containment of a big, demanding ego in the same way and seemed to drive himself, literally into a wall. The essence that drove his success also engineered his tragic end.  This documentary depicts this starkly with interviews from his lover and close friends. As a documentary about his life and living, I think this is a brilliant piece of work, but doesn’t necessarily offer the narrative and structure to fully explore pure reactions to his work.   

Natalia Goncharova

Goncharova is a Russian born avant-garde artist, costume and set designer. She was much influenced by the Fauvist and Cubist movement. Her paintings of that period are striking in the form echoing the style of other leading fauvists and cubists with a colour palette that is bright and vibrant.

This image of a machine is lively and full of detail, filling the canvas. The eye is drawn to the plum coloured handles that bisect the image and lead the eye to the magenta cup shapes on left and right of the image. The firey orange components and bolts are brightened further by being surrounded with contrasting rich violet and blues. The image is vibrant with colour and dynamic with a sense of movement.

This abstract painting called Cats (1913) is a potent image. I find the contrast of yellows and ochres with black and greys striking. The word striking is also an element of the form of claws that I see, in combat and striking out at each other. The sharp needle shapes intersecting creating right angles, some shaded gives a very jagged contour to the piece. The elements of magenta perhaps representing the cats mouths, also add more vibrancy and life. I am struck that the position of the magenta elements are similar in position to the magenta cups in the previous image. The choice of subject in politically precarious times, on the brink of world war, is also loaded with meaning. The combat of primal forces, claw to claw and mouth to mouth. 

This image, Gardening (1908) is a much gentler scene and painted in a time that was less torrid despite the tensions building between countries. The subject and depiction is a sharp contrast with Cats. The colour palette is calm in blues, mauves and sandy brown accents. It is a scene of collaboration, industry and tending beautiful things, and yet there is something back breaking in the pose of the woman in the foreground on the right. It has a flavour of Van Goghs paintings of the peasant farmers in the potato fields. The flow of lines, the bold colours and subject.

Cristobal Balenciaga: Fashion Designer

Balenciaga was a very influential designer with a career that exceeded his designs in terms of his influence on other later designers. He was Spanish born and had a reputation for exacting standards. Christian Dior described him as "the master of us all". He was famous for the striking shapes of his garments, particularly for the "puff ball" which featured in many of his designs. Many of his designs were in black or very dark coloured cloth which was effective in showing the line and shape of the garments he designed.

This puff ball skirt is accentuated by the very fitted bodice and long gloves. The hem is asymmetric and cleverly cut to create volume below the hip without creating volume that camouflaged the waist and hip shape of the wearer. The skirt shape is reminiscent of a tulip without being at all "twee". The pose of the model helps illustrate the outfit and the striking linear hat offers a balance to the width of the skirt and an elegant line.

The dress above is another striking example of a fantastical and sculptured shape, almost like a vase. A very feminine shape despite it being so angular and geometric. The "fins" at the shoulders create four distinct corners, and the jewelled embellishment at the front offers a glamorous detailed contrast to the stark shape and colour. Not the most practical dress but stunning to wear and as a piece of sculptured art.

This image shows a 1960's design on the left that is much more wearable.  The skirt and jacket have strong lines and neat collar and pocket finishing. The check fabric is a strong simple line that complements the cut. The image on the right is a more contemporary version demonstrating the longevity of well cut and conceived design. The more modern suit is altered by shortening the skirt and I'm struck how changing the colour of the gloves from white to black transports the outfit from the 1960's to the present day with one small detail.

Alfred Stieglitz: Photographer

Alfred Stieglitz was an american photographer. His photography career spanned over 50 years. Apart from a very skilled and beautiful range of photographic images, a major contribution to the world was his influence in bringing photography into the art world as an accepted form of art.

I have selected a number of images that struck me as images that are telling a story as well as very well balanced compositions. Stieglitz's ability to frame an image from the world around him, seems masterful, particularly the last image where he needs to catch a fleeting moment yet captures so much of a story as well as a well framed composition.

I find the image above beautiful in composition. The balance of the crowd of women on the right looking to the water for... the return of their menfolk? waiting for supplies for their village? It conjours up a story and an anticipation and pulls you into the image with curiosity, wonder and an emotional empathy. The buildings in the background and the contours of the water front add compositional balance. The white structure behind the group of women also weights the picture and feels an essential element in terms of composition, without it the image would feel flatter and less dynamic. The black and white also adds tremendous atmosphere even though the image lacks defined clarity in comparison with the following image of A Venetian Canal.

The original image is much more defined. Again the composition is beautifully balanced. The gondola in the foreground leads your eye to the more distant gondolas and the curve of the boat lines along with the gentle tilt of the boats in the water contrast with the straight lines of the walls and window openings. The upturned u shape of the canal water offers a kind of horizon and with the added reflections from the buildings and boats the image feels full of interest without being busy and confusing. It is restful and harmonious.

Again, the original image of this young boy is crisp. The detail of his clothes, the shiny bumper and fender of the car in the background and the hard pavement offer visually contrasting textures. The striking pose and facial expression of the boy is captured and invites curiosity as to his feelings, his position in life and what he is going to do next. It is an evocative and impactful image.

Max Ernst: Reflections on Photomontage - Sacred Conversation 1921

Max Ernst was a self taught artist with a deep interest in psychology, philosophy and freudian theory. He also is reported to have suffered trauma during trench warfare during the 1st world war. These experiences seem to strongly influence the subject matter of his art work. This image above is a montage of black and white or sepia photographic elements and drawings superimposed on a background. The floor seems separate from the back drop that looks either curtained or a form including pillars. There is a fragmentation and dreamlike quality to this image. Photomontage is a way of creating this fragmentation and I wonder if that is why it was a choice of artists during such a traumatic time in their own and their communities lives. It facilitates the communication of fracture and a broken world, possibly more than any other art form. 

 The headless and armless body on the right of the picture seems to be floating above the ground with a drawn bird to replace her head. it seems a spirit from of the body still grounded. The body on the left has replacement drawn body parts and a round disc binding the lower legs and so preventing walking. This reminds me of the report of dreams or nightmares when trying to escape from something awful, muscles can't work or something prevents the body moving to escape. The content of the image on looking again and again becomes more disturbing. The exposed body parts and fracture of body and spirit communicate the destruction of beauty, as the elements of the picture are all beautiful but assembled in this way powerfully communicate horror and nightmare.   

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Museum Architecture, Bauhaus and De Stijl: Group Task

• The kind of art on display at MoMA (Museum of Modern Art, New York, USA)?

This museum is the largest archive of modern paintings and sculpture from the major modernist artists and movements from the 1890's, such as work by Cezanne, the cubist movement artists, abstract and abstract expressionist movements to art from current major artists. It currently comprises over 3,600 works.

It has 6 other curatorial departments, including drawing, photography and architecture, film, prints and illustrated books. It is a base of conservation and research and represents the most important collection for art and design in the world.

• What kind of paintings are on display at the Muse D'Orsay, Paris?

Originally the paintings exhibited at D'Orsay were previously shown in the Musee de Luxembourg and reflected the the official "taste of the day" focusing on history painting, portraits and classical landscapes. It took pressure by artists, collectors and family to include contemporary art.  The Orsay now houses paintings from the mid 19th Century and early 20th century as they fall outside the focus of other museums such as the Musee D'art Moderne. . 

• What was the Louvre originally used for?

The Louvre was originally built as a fortress in 1190 but was repurposed as a royal palace in the 16th Century. It was expanded many times and the museum is housed in a part of the palace. In 1699 the first series of salons were held. During the French revolution it was agreed that the Louvre should house the nations greatest art treasures and the museum was opened in 1793 with an exhibition of over 500 paintings.

• What building was the British Museum modelled on?

The British museum is dedicated to human history, art and culture. the museum was established in 1753 and opened in 1759. The main part of the building is designed by Sir Robert Smirke and the facade closely resembles the Temple of Athena Polias at Priene in Asia Minor. It has 44 greek revivial style columns and the pediment over the main entrance is decorated with sculptures by Sir Richard Westmacott. The museum has been built on and remodelled a number of times, including the latest development, creating a reading room with a domed glass roof.

• What does Zeitgeist mean?

The defining spirit or mood of a particular period of history as shown by the ideas and beliefs of the time.

• What .... follows function?

Architect Louis Sullivan coined the phrase form follows function. This became a central principle of the modernist designer.

• What did Le Corbusier think of the "decorative"?

A modernist approach to design, where form follows function, means that decoration has to serve a purpose and is integrated as part of the form as opposed to prettying up a functional object that interferes with it's function. The function leading the design process where decoration is either secondary or irrelevant means that objects can be mass produced with more functional materials and so available to a mass of population rather than a few that can afford. The leveling of society can start with a products being available to everyone and a modern society with less hierarchy and so reflecting the philosophy of equality is able to be achieved.

• What were the main building materials of modernist architects like Mies Van Der Rohe?

Steel and plate glass defined the form and style of modernist architecture. Concrete also. The created clean, planes, space. Colour was also introduced. These materials required different design solutions and building methods and was a stark turn away from classical design and more expensive materials and building methods.

 

 

Paul Rand: Graphic Designer

Paul Rand was a largely a self taught designer, coming from very humble beginnings in New York. He was best known for his corporate logos for IBM, ABC, Enron and many other large corporations.

I particularly like this logo. It is not directly communicative but is playful, colourful and almost minimalist despite the amount of colour. The choice of motives communicate busy liveliness, a positive image for a big creative company. It also maintains the M from a previous more sedate but recognisable logo where the capital I and B matched the blue hatched M in this logo. It suggests a holding onto the good things of the past but is "busy" (bee), looking (eye) for new things. It communicates much in its simplicity. An important part of the success of his work was his ability to convince company's that good commercial design was important to sell good products. It is summarised in a poster that has a style he repeated for film advertisements.

The modernist philosophy was a core influence in his work and he was equally revered by others such as Moholy Nagy.

His playfulness was ideal for illustrating the children's books his wife wrote:

A little dated now, this book however has a simple cover with attractive colours and an engaging simplified numerical character with a red bow tie and contrasting green stripey jumper. Fun! If something makes you smile in the way that his work makes you smile, it connects the product in a positive and warm way. It welcomes you to the product without you feeling seduced in a negative way. I think his work, just for this, is genius.

William Addison Dwiggins: Graphic Design

William Addison Dwiggins was a type designer, calligrapher and book designer. He was a thoughtful, witty man and was the first to coin the phrase graphic designer. He wanted to raise the standard of book design and advertisement design, designing type faces that were representative of the emerging modern way of life. His Metro series was clear and bold and still looks contemporary, although reminiscent of the 1920's. I think it has a timeless style because the shapes of the letters are balanced and clear.

An example of the Metro font as it could look in an advertising poster:

I feel the type face and the way the poster is designed reflects the emergence of the modernist style. It's forceful, with clean lines with any curve or embellishment where a straight line can communicate the letter. 

Dwiggins also designed books, book decoration and marionettes!

This is an earlier piece of work but I love the simplicity. The "action" part of the text is highlighted by reversing the colour of the font and the background along the top dominant edge. The image and pose of the marionette is beautiful, elegant and the delicate strings create contrast to the strong angular lines of the limbs. Just as an image I think it has tremendous balance and beauty. The type face is "fancier" and of the time. There is still a move to the modern way of design compared to his earlier illustrative work.