The Mystery of the Past

I have already done a couple of posts on my trip to the NSW art gallery the other day, and this is my final one. The last two dealt with Australian art, but, as the section that displays the gallery's collection of slightly later Australian work was closed for renovations, I had to leave my own artistic shores eventually and look at the gallery's paintings from other places

On my way out of the Australian area though, a couple of pictures caught my eye. One was this one, called Midday, painted in 1896. It is by Sydney Long, who was born in Goulburn in 1871, but died in London, (the traitor). I thought it a great improvement on his more usual kitschy scenes of pan-pipe playing sprites et cetera, (I bet he was corrupted by the decadence of the English - if he'd stayed in Goulburn, things might never have gone awry; on the other hand he might never have made any money either):

The other was this painting of Henry Lawson. It was painted by John Longstaff, who was born in Clunes, the only place I've ever been that contained a cafe that does not open to sell coffee until lunchtime, (that was a long time ago though, just at that moment when the town was thinking about getting gentrified - hence the possession of a cafe at all - but had not yet fully achieved gentrification; I gather it has come a long way, "baby", since then.)

But enough of this idle nonsense about coffee and gentrification - the point is really not so much who painted the picture, but who Lawson was. He was a poet and writer of short stories. According to the picture's caption, his work in the lamented magazine The Bulletin "helped create the image of the Australian bushman as the epitome of egalitarian and national ideals".

This portrait was actually commissioned by the editor of The Bulletin, who at the time was JF Archibald. It was painted very quickly in 1900, as Lawson was about to go away to England, (as the gallery seems intent on calling the British Isles - did Lawson never intend to set foot in Scotland or Wales, let alone Ireland?)

The picture so pleased Mr Archibald that he set up an annual portrait prize, the Archibald Prize, which is probably the best known art prize in Australia. Its outcome is usually reported on the evening news and it has spawned a rather awful offshoot, the Bald Archie, which consists of really horrible caricatures of well-known Australians:

Until writing this post I had also laboured under the delusion that Lawson wrote a poem called The Australian Adjective which we stuck up in the lavatories when I was at boarding school and, as a result, got into a lot of trouble. It turns out it was written by quite another person - one WT Goodge. This is how it goes:

The Great Australian Adjective

The sunburnt bloody stockman stood
And, in a dismal bloody mood,
Apostrophized his bloody cuddy;
“The bloody nag’s no bloody good,
He couldn’t earn his bloody food -
A regular bloody brumby,
bastard!”

He jumped across the bloody horse
And cantered off, of bloody course!
The roads were bad and bloody muddy;
Said he, “Well, spare me bloody days
The bloody Government’s bloody ways
Are screamin’ bloody funny,
bastard!”

He rode up hill, down bloody dale,
The wind it blew a bloody gale,
The creek was high and bloody floody.
Said he, “The bloody horse must swim,
The same for bloody me and him,
Is something bloody sickenin’,
bastard!”

He plunged into the bloody creek,
The bloody horse was bloody weak,
The stockman’s face a bloody study!
And though the bloody horse was drowned
The bloody rider reached the ground
Ejaculating, ” bloody!”
” bastard!”

- W. T. Goodge

Anyway, having paid my ignorant respects to Lawson, (and, unwittingly, to WT Goodge), I moved on. Round the corner, I found this woman, who I rather liked:

She is made of blue Pyrenees marble, white and grey marble and red cement. Her maker was Ossip Zadkine, who was Russian/French and lived from 1890 to 1967. The gallery received her as a present in 1963 from Dr and Mrs HV Evatt, (Doc Evatt was an extremely complex man and politician, but this is not the place to go into his career, I don't think). I hope the gallery was grateful.

Across from Zadkine's woman with the red cement lips was a huge and very impressive painting by Lucian Freud.

I was puzzled that it should have been the one and only painting in the gallery that a male teacher of about 60 had chosen as worth instructing a group of young girls in uniform about.

"There is nothing soft about this painting", he was telling them as I approached, "nothing soft at all".

I wasn't sure he was right about that - I'd be interested in other opinions on the subject.

For a change, I then made myself go into the part of the gallery that has always baffled me, the part that holds a collection of European works from the late 19th century.

I started with this one, which I thought the gallery had hung rather spectacularly:

It is called Vive l'Empereur and was painted in 1891 by Edouard Detaille. It shows the charge of the 4th hussards at the battle of Friedland, which the label helpfully explains took part in 1807 and was a minor incident in an engage4ment that ultimately led to Napoleon's defeat of the Russian army (hang on - I thought it was the Russians who beat him). Apparently in the distance on the left Napoleon can be seen directing things.

Detaille, we are told, did not want to celebrate but to show how chilling the scene of hundreds of young men thundering to gory deaths in gold braid was. I'm not sure he succeeded - the gold frame and the gold braid all do their bit to make the thing look more like glorification than not to me:

This picture was a little distance away, but since we're on the men-in-uniforms theme, this seems a good moment to turn to it:

Called The Gordon riots 1780, the thing was painted in 1879 by John Seymour Lucas and shows a scene from, you guessed it, the Gordon Riots. I knew nothing about these. so at least I learned something - they took place in 1780 and were inspired by the protestant zealotry of Lord George Gordon, according to the label. The scene is London and the protestors shown are opposing the Papists Act of 1778, which sought to mitigate anti-catholic discrimination. The label describes the painter as a "fashionable late Victorian historical painter". What he is showing here is a "'desperate and infernal gang' ransacking the house of Lord and Lady Mansfield in Bloomsbury Square. A magistrate, having first read the riot act, twice gave orders to fire on the mob, but to no effect. The house was destroyed."

While I find the story interesting and recognise that the painting is handsome enough, I don't want to live with it and I don't understand why anyone else would. It is somehow rather boring, it seems to me.

Still it isn't nearly as boring as the next offering, in my view. I find this one quite unspeakably dull - a doomed attempt to do what was done so much better by artists many centuries earlier:

Of course it is competent, but is it moving or beautiful? I don't think so. It's by Roddam Spencer Stanhope and it's called Why seek ye the living among the dead? It shows the three Marys (as the label writer calls them, giving them the faint air of a team of vaudeville performers touring the seaside piers and working men's clubs of north-west England in the 1970s, their last ditch shot at the big time), arriving at Christ's tomb and encountering an angel who tells them he has risen again. Stanhope painted the same thing in the chapel of Marlborough College, in case you're in that area and want a closer look. He was a friend and follower of Byrne-Jones, which is fairly evident, and he was also affected by a visit to Florence. Indeed, he ended up living just outside the city in 1880.

We come now to the kinds of paintings that baffle me in exactly the same way as a fondness for fantasy literature baffles me. First we have The Visit of the Queen of Sheba to King Solomon, painted by Edward John Poynter between 1881 and 1890:

and then we have A Juggler, painted by Lawrence Alma-Tadema in 1870:

What are they for?

The labels tells us that Alma-Tadema reconstructs the scene of an itinerant Egyptian entertainer in a luxurious Roman villa with scrupulous attention to historical detail, while conceiving the subject casually, as if it were a snapshot, while Poynter used details from the Bible and evidence of Assyrian remains unearthed in the 1840s to create his scene.

I suppose both pictures are fascinating, in the sense that there is lots of sumptuous detail to attract the eye -  costumes, and rich patterns and peacocks and monkeys and so forth. That is what reminds me of fantasy novels and the vogue for Game of Thrones - the triumph of fiddly bits over substance and deeper meaning.

To me both these paintings are just escapist spectacles, providing the viewer with no emotional interest or insight. I suppose they are also both part of that strange vogue for the oriental that Edward Said used to make such a song and dance about. I wonder, if I'd been born at the time that they were painted, would I have loved them? Probably yes - plus I'd probably have married a man with those weird mutton chop whiskers that they all grew (at least all the men; not all the women could achieve such feats of oddness) and that nobody seemed to notice were actually grotesque.

A quite different painting in this area of the gallery was this one, by a German painter called Friedrich Kallmorgen:

 

It is called A spring day and was painted in 1887. The label writer cheerfully points out that many of the children depicted probably ended their days in the trenches of World War One. What interested me about the painting was that it reminded me of the Chinese propaganda posters that used to be produced in the Cultural Revolution.I used to have one that was very similar: it showed the interior of a classroom with cherry blossom in full bloom outside the window:

 

Somehow I was unable to resist turning from Spring day to a painting that has always made me feel uneasy. It is by Evariste Luminais and is called The sons of Clovis II. Supposedly the two in the picture were rebellious in the 7th century and were punished by their mother, who ordered them to be hamstrung and set adrift on the Seine. They ran aground and were later reunited with their parents - I'm not sure at what point in the story we join them in this picture.

What bothers me  though is how creepy the picture is - who could possibly want to live with such a nasty scene? I don't know what hamstrung means - I hope it wasn't gory or permanent - but the boys look as if they are about to die. For me, the picture is simply ghoulish and disturbing, (so why do I always look at it?) Is there anyone out there who would actually enjoy having it hanging in their house? If so, what would be the pleasure of it? I would really love to understand the thing's appeal:

I had to cheer myself up after Clovis sons by looking at a couple of very fine hounds:

Requiescat by Briton Riviere, 1888

Study of a Bloodhound by Wlliam Holman Hunt 1848,

I left then, stepping out into the sunshine of the Domain, already looking forward to my next visit to the gallery, when I hope the other Australian gallery will be reopened.

Pooling Around

The other day, I achieved an ambition and went to Boy Charlton Pool. This morning I was reading a collection of Helen Garner's writing, and found this lovely essay on Fitzroy Baths and the man who took care of them for many years, (and possibly still does?)

As Garner says, "There is no leveller like a public swimming-pool

Neglected Tom

I have so many things to show you from the Art Gallery of New South Wales, but not much time. My conscience has been nagging at me though, since I finished my last post on the gallery without including any of Tom Roberts's pictures.  I have been feeling especially guilty about this because one of the ones I wanted to include is a painting I've spent years thinking was by Arthur Streeton. Most unfair.

The picture in question is this one, Holiday Sketch at Coogee:

 It is Coogee Bay. Not as we know it, I need hardly add. My brother used to live in Coogee, with a bunch of reprobates. I used to go round on Saturday around lunchtime and find him cooking rump steak and mushrooms from a tin, which was a surprisingly delicious combination. We have all grown far too sophisticated for tinned mushrooms now;  those were the days of our innocence.

This painting is similarly a glimpse of Sydney's lost innocence, I think. I can never decide whether it is better now - after all, you can get good coffee and don't have to bring a picnic of sandwiches that inevitably get gritty with sand - or not - the traffic, oh, the flaming traffic.

My mother was shocked when we walked down Coogee Bay Road a year or two ago. It is just one long stretch of cafes, all of them full of people. 'What do all these people do?' she wondered, 'Why are they all here? How do they earn a living?' I have no idea. Perhaps they are all rich. Perhaps they are all deeply in debt.

 Anyway, in case you're interested, the label tells us that Tom Roberts was actually born in England (a Pom, I never knew, the man who gave us some of the images we think of as most Australian!) in 1856, came to Australia in 1869, spent 1903 to 1923 in England, and died at Kallista, Victoria in 1931 (interesting that the label writers at the gallery use 'England', rather than 'United Kingdom').

 Roberts met the artist Charles Conder in 1888 and the two painted together at Coogee Beach, apparently. Conder was younger than Roberts and he followed Roberts to Melbourne to join Roberts and Streeton at their artists' camp at Heidelberg.

This painting, we are told, is 'an early testament to Roberts's plein-air impressionist technique, which evokes the sun's glare on the bright blue sea, the white sand, dry grass and spindly sea-side vegetation'. I don't know about you, but I think I understood that before I read it, although I may not have articulated it, to be fair.

This next lovely thing is called The Camp, Sirius Cove. Roberts painted it in 1899 and, if the label writer is to be believed, he 'depicts his former painting haunt as an idyllic memory, albeit with a photographically sharp focus. It is flawlessly constructed and crisply executed to recall the brightly sunlit scene. Although the artists' camp is long gone, Roberts's view of the headland is still recognisable today, close to the present site of Taronga Park Zoo.'

 The gallery does of course also have two more famous Roberts pictures, the one in the shearing shed (that's the one I think particularly evokes a sense of real Australianness - after all it inspired a very fine chain of petrol stations, in the Mittagong branch of which I first encountered that other now neglected Australian classic, the T-bone steak) and the one of a highway robbery. They have been reproduced so often that I've almost become sick of them so, if you want to see them, you'll have to come to Australia and visit the NSW gallery yourself.

If you can't manage that though, I do have more pictures I want to show you, from other parts of the gallery's collection. But they will have to wait for another day as, once again, time is against me.

To be continued.

They Let the Right One In

Prizes are rarely won by deserving winners, but amazingly the Oscar committee got it right with this year's award to Ida as Best Foreign Film. In his acceptance speech the film's director said it was a film about the need for silence, withdrawal from the world and contemplation. This is what I thought of it.

Sadly, after that Oscar award, things got a bit strange. I mean Birdman was amusing, but it was no Grand Budapest Hotel.  I suppose it appealed to the Oscar voters' egoes though, as it is all about how dreadful it is to be an actor. I would have given Edward Norton best supporting actor for his role in Birdman and his role in Grand Budapest Hotel and I'd have given best supporting actress to the daughter in Birdman - and then I would have given Grand Budapest Hotel best design, best director and best movie.

But I am not an academy member, just a cinema goer. Birdman is good up to a point, but Grand Budapest Hotel will charm viewers for generations.

Perennial Pleasure

I never fail to enjoy a trip to the Art Gallery of New South Wales. Usually I approach it through the Domain, (the name always makes me think vaguely of Le Grand Meaulnes [is that the most pretentious thing anyone has ever said? Nevertheless, it's true - and, if you haven't read Le Grand Meaulnes, you are lucky to have such a charming, evocative book to look forward to]).

But sometimes I arrive via this exit from the Botanic Gardens:

beside which stands probably the best situated house in the whole of Sydney:

The gallery is, I assume, pure Sydney sandstone:

That is just the lefthand wing.

In the front hall, there is beautiful old terrazzo (I think that's what it's called) flooring, (unfortunately partly obliterated with a fairly ugly sculpture by that Angel of the North bloke - Gormley? Gormless, in this case, possibly [hilarious, aren't I? No, pathetic]):

and a lovely buttoned leather seat:

I usually begin by looking at the earliest Australian pictures they have, starting with John Glover:

This one is called Natives on the Ouse River and was painted in Van Diemen's land in 1838. The label explains that John Glover was already an established artist in Britain when he emigrated, aged 64, and also tells us that this, 'one of his most subjective works' was 'informed by European notions of an Antipodean Arcadia'. The image, apparently, stands in marked contrast to the actual condition of the local people, who were subject to dispossession and violence at the hands of the colonists. The details of the painting are charming - I wonder if Glover witnessed some last dying remnants of an earlier way of life; surely the whole thing did not come from his imagination. I love the difficulty he had in depicting gum trees too - he makes them look like sea creatures more than plants:

This one, the label says, is called Patterdale Farm and was painted in 1840. It is John Glover's place at Mills Plains in northern Tasmania, named after the town at the foot of Ullswater in the Lake District, close to where his home, Blowick Farm, stood (presumably his home in England). It appears that the painting reveals the painter's distinctive technique, whereby colour is applied in transparent veils, with diluted layers of oil (it is oil on canvas, should have mentioned that earlier) delicately brushed over a cream white ground.

High up on a wall I also spotted a Eugene von Guerard I'd never seen before, of the Grampians, where we went sometimes as kids and where I think my mother went often as a child, (during the war, petrol permitting, she tells me - which means they didn't go during the war):

It is called Mount Abrupt, the Grampians and was painted in 1856. For some reason the curators are surprisingly silent in their label of this von Guerard, but that doesn't matter because he painted some pictures for my family so I happen to know that he was born in Vienna and spent about fifteen years in Australia, many of those in Victoria, painting pictures for people down there. He died in London - he also spent quite a lot of time in Germany before coming to Australia, according to the label.

After Glover come Streeton and Roberts. I am fond of this painting of Redfern Station by Arthur Streeton, even though it is not like his usual subjects i.e. it doesn't include the vivid blue skies that are a part of so many of his paintings:

The label at the gallery tells us this about the painting: It is called The Railway Station, Redfern and was painted in 1893. Someone called Lady Denison very kindly gave it to the gallery as a present in 1942. (I'm afraid I might not have been so generous). It shows the Old Redfern Station, on Devonshire Street, just south of where Sydney's Central Station is now located. It was painted three years after Streeton first visited Sydney. It falls within the tradition of tonal paintings of wet urban scenes which existed alongside the nationalistic evocations of sunlight and heat in Australian painting in this period (I haven't seen any others, but one must believe the experts). His choice of a modern railway subject and his evocative approach show the influence of French and British impressionism, as well as the decorative, assymmetrical design and flattened picture plane of Japanese woodcuts. So now you know.

Here are some details of the painting - it will probably amaze some overseas readers to learn that it is possible to have a day when the sun doesn't shine in Sydney (not something the tourist board ever tells you):

Some more typical Streetons followed. This one is called From my Camp (Sirius Cove) and the label tells us was painted from a corner of the beach at Little Sirius Cove at Mosman Bay, the site of an idyllic artists' painting camp known as Curlew Camp, where Streeton stayed with Tom Roberts leading what the label writer considers 'a bohemian lifestyle ... under canvas shelters [don't most of us call those tents?] and commuting to the city by boat.' The label also includes a direct quote from Streeton himself written in 1890:

"Sydney is an artists' city - glorious - Roberts & I go to Mossman's Bay [sic] & pull through the lazy green water, & then lunch under the shade in the open air, eggs, meat, cheese & 2 big bottles of claret grown in Australia. The little Bay seemed all asleep & so very peaceful"

Those were certainly the days - and quite frankly two big bottles of claret between just two of us would have meant I'd have been all asleep, but then I am neither a man nor a painter.

This one is called 'Still glides the stream, and shall for ever glide' and was painted in 1890 at the Eaglemont Homestead near Heidelberg in Victoria, when Streeton was only 22 years old. The scene presents an idealised vision of the Yarra River with the spires of Doncaster in the middle distance and the Dandenongs beyond. The title is from Wordsworth's sonnet 'Conclusion, from a poem cycle called The River Duddon. There is then some guff about Romantic expressions of mortality, which I can supply in a plain brown paper envelope to anyone who really wants it:

Blimey this uploading lark takes ages. I had planned to romp through everything I saw at the gallery but the dinner's burning. Tom Roberts and many other things will have to wait for another afternoon when I have a bit of spare time. Probably a good thing - what did my father always say about never filling a plate too full. Perhaps the same is true of a blog post. This should be enough for one blog meal in anybody's language, surely.

To be continued.