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Archive for the ‘Surreal’ Category

16janbabel

You want to interpret this, don’t you?  It’s clearly something.  Your first impulse is to see something in the middle that is set on a black background.  It could be a monument with inscriptions.  It could be a building with wobbly sides.  You can keep on guessing, but whatever it is, it’s big.  This interpretation is odd, since there’s nothing in the image to compare it to, that would establish size.

You may even find this “structure” vaguely threatening.  But if your eyes drift to the edges of the painting, all illusion-bets are off.  At the edges you can see that what you’re looking at is paint brushed on a flat surface.  So you sigh with relief.  But then your attention immediately drifts back to “the thing” in the middle and the puzzle starts all over again.

If that weren’t enough, you can clearly see that the thing in the middle is not painted on top of the black, but the black impinges on the thing.  Therefore, you can’t really see this thing as the foreground, as the object of the painting.  Now what?  Can you call the black the foreground?  Oh, but that would be  so counter-intuitive.  Yes, indeed.  There’s no final answer.  That’s why you’re captivated by this painting.

Karen Gerrard, acrylic on canvas, 40” x 30”

https://artamaze.wordpress.com/2017/01/19/inventing-an-alphabet/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16octheadhands

“It’s disturbing,” someone in the class said when I put up this drawing by Maggy Shell.

Yes, it is.

The artist may not have deliberately pushed the drawing towards  16octheadhandsphotothe “disturbing” sign, but the assignment was to draw half of the face in deep shadow and that may have prompted her to go for it.  With that instruction, it’s easy to see something creepy in the photo to start with.

She chose to:

-push the figure against an edge of the paper. Drawing against the edge really does make a drawing edgy.  If she had positioned the figure in the middle, as it is seen in the photo, the image would have become balanced and not disturbing.

-tilt the head. When people are calm, their heads sit straight on their shoulders.  Tilting the head is a sign of skepticism or flirtatious submission. We can rule out the latter here.  What’s left is skepticism, which is definitely on the edgy edge of the continuum.

-follow the instruction to put one side into deep shadow.  Yes, she did.  Oh, how disturbing.

-draw the hands in a skeletal manner and against a deep black background.

“Disturbing” art came into vogue with the Romantics around 1800.  The notion of the sublime gave you goose bumps—certainly uncomfortable:  Caspar David Friedrich, The Wanderer Above the Mists, 1818.

cdfriedrichwandererabovethemists1818

And what about dreams—oh, so disturbing: Henry Fuseli, The Nightmare, 1781

johnhenryfuselithe_nightmare1781

If you think Maggy Shell’s drawing is edgy and disturbing, consider the horizontal flip.  Now, that’s  spooky.  Why is that? We’ve seen many horizontal flips on this blog that demonstrate how position on the page conveys feeling.

16octheadhandsflip

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16ribbondrawg

So simple.  A wide, stiffly woven ribbon held up by some poles, the kind you’ll find in packages of blank  CD’s.  The ribbon is meandering through space, making hair-pin curves and casting lovely shadows. In reality it’s merely lovely.  In the drawing (the poles are omitted) the ribbon becomes animated, mysterious and sur-real.

16ribbon1

Here’s another angle. You can draw right now, from this image on your screen.

16ribbon2

We started class with this exercise.

16ribbon1a

Drawing by Maggy Shell, charcoal, ~ 14” x 18”.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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Drapery_Study_for_a_Seated_Figure_c1470_Leonardo_da_Vinci

Leonardo was about eighteen when he made this study of drapery.  Doesn’t matter how old he was.  He was making drapery studies when he was forty-DraperyStudyLeonardoDetaileight, too.  It’s not something you master and then you’re done with it.  Drapery is mesmerizing, both for the artist working on it and for us, the viewers.  It draws you into a universe that envelopes you and at the same time feels utterly alien.

The Leonardo drawing activates your sense of touch, convincing you that you’re inhabiting a real world, as if you were feeling your way through a cave with a bizarre topography that nevertheless completely seduces your senses.

DraperyStudyLeonardoAnalysisYou can snap out of the trance, however.  And when you do, you’ll notice that some passages are unreal.  He just made some crinkles up—out of whole cloth, so to speak.  With your (momentarily) sober mind you can look at this passage, for example, (pink circle) and realize that cloth does not behave this way.

Leonardo lied.  He created this fiction. Why?  Because it’s fun to create fiction.  He creates the illusion of reality but he’s actually playing with form.

Look at Rogier van der Weyden, who’s about fifty years earlier than Leonardo.

Full title: The Magdalen Reading Artist: Rogier van der Weyden Date made: before 1438 Source: http://www.nationalgalleryimages.co.uk/ Contact: picture.library@nationalgallery.co.uk Copyright © The National Gallery, London

Are these green folds hammered out of aluminum?  You know very well, cloth does not drape, fold and crinkle this way.  Yet, here it is, captivating us, compelling us to its rhythms like a fierce drummer.  (Ha, I’m looking at 15th century drapery and thinking of Gene Krupa and Art Blakey.)

Drapery, in other words, is a wild thing.

Linné Dosé, whose love of form and composition lead to daring omissions in his choice of still life elements, came up with this cloth floating in space.  No table to rest on.  He apparently saw that shape, found it compelling and that was enough.

16AprilDrapery

Now, when you see this thing sitting there on the page, it harmonizes with the Drapery15%behavior of drapery, but it also becomes something in itself.  Your imagination kicks into the surreal.  What is this?  It looks like a critter, doesn’t it.  You’re now in that cave with Leonardo and Rogier.

Leonardo and Rogier worked for clients who were all-powerful and dictated the subject matter to be depicted.  The artist then set out to work as if he were saying, fine, I’ll give you your mythological characters, but I’ll go wild with the drapery. You can have your Magdalen, but the drapery is mine.

Leonardo da Vinci, 1452 – 1519

Rogier van der Weyden, 1400 – 1464

Linné Dosé, graphite on paper, ~12” x 18”

https://artamaze.wordpress.com/2016/09/01/the-square/

20160428_155310

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16MayLast2final

In an earlier painting, Untitled X, we saw the use of lines at the very edge of the painting, giving us a hint of framing.  Here, in Untitled XII, the frame idea comes through as if it were the key to interpreting this painting.

We’ve just looked at twelve works by this artist. I posted them in succession and with such haste in an attempt to simulate a gallery experience. When you see a solo show in a gallery you go from one piece to the next, you look close,  you stand way back, you circle around, and you go back to something you saw earlier. You try to get a feeling for how this artist’s mind and imagination work.

Notice that in Untitled XII the “frame” is not complete.  Not only is it conspicuously broken, but it waves in and out of the other elements.  Whereas in previous paintings, the crisp lines were placed on a field of undulating, bulging colors and we could talk about “background,” here background and foreground are interacting.  The “frame” is not separate from or placed on top of anything.  It is simply another element in the painting.

Think of a painting as a conversation. You, the viewer, are half of the conversation.  How you frame the conversation determines what you hear/see.

Magritte comes to mind.  His paintings, as all humor, rely on framing or Magritte-Time-Transfixed_360context.  Here the frame or context is a neat, bourgeois living room, which sets up certain expectations and assumptions. A model locomotive mounted into a fire place would be jarring enough, but a locomotive moving outward from a fireplace—notice the smoke—is beyond all your assumptions about what’s possible.  You can only take comfort from the realization that you are looking at a constructed image and not a real locomotive in a real fire place.  Small comfort! You immediately realize that you love looking at this and that this was Magritte’s intention. You’re trapped, looking at something that you don’t understand.  Sounds like the beginning of doubt and Cartesian introspection. Congratulations, you’re modern.

A Magritte painting has one joke in it.  Once you get it, it pretty much comes to rest.

In Boyer’s Untitled XII you may see a bird or a face, but only fleetingly.  The wit in a Boyer painting keeps ricocheting in your brain.

Painting by Bruce Hatton Boyer, oil on canvas, 40” x 30”

http://www.artic.edu/exhibition/magritte-mystery-ordinary-1926-1938

Rene Magritte, 1898-1967

Bruce Hatton Boyer is the author of:

The Solstice Cypher, 1979

The Natural History of the Field Museum: Exploring the Earth and its People, 1993

The Miniature Rooms: the Thorne Rooms at the Art Institute of Chicago, 2004

https://artamaze.wordpress.com/2016/08/25/black-dot-anthropocentrism/

https://artamaze.wordpress.com/2016/08/29/untitled-ii-stretch/

https://artamaze.wordpress.com/2016/08/29/untitled-iii-rack/

https://artamaze.wordpress.com/2016/08/29/untitled-iv-asperatus-clouds/

https://artamaze.wordpress.com/2016/08/29/untitled-v-blue-rectangle/

https://artamaze.wordpress.com/2016/08/29/untitled-vi-back-and-forth/

https://artamaze.wordpress.com/2016/08/30/untitled-vii/

https://artamaze.wordpress.com/2016/08/30/untitled-viii/

https://artamaze.wordpress.com/2016/08/30/untitled-ix/

https://artamaze.wordpress.com/2016/08/30/untitled-x/

https://artamaze.wordpress.com/2016/08/31/untitled-xi/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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15OctRedBlackYellHoriz
It’s something. But what!
I can explain why you would want to figure out what this represents: 1) there are definite shapes, 2) they’re clearly delineated, 3) they’re centrally placed and 4) there’s even an illusion of a horizon. So, of course, your smart, verbal brain gets to work on this puzzle. As soon as you’ve decided that the yellow square represents a structure, a building, say, you can move to the dip on its right and decide that here you have a valley and then you keep moving to the right and you can see an extended city block and, oh dear, this is not working. It’s just not coherent as a landscape at all. Even if you stick to the landscape-cityscape interpretation, what’s underneath the horizontal black mass just doesn’t compute. I mean, what’s that lavender roundish thing and that blue triangle there and then that blue smudge? Your brain now goes into overdrive and crashes. Wonderful! You’re having an aesthetic experience. You have entered the state of pure seeing. Congratulations.
It’s not easy to make art like this. Takes tremendous concentration.
Painting by Maria Palacios. Acrylic on canvas, 30”x 40”
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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RumpTower
In these blog ruminations on how to look at paintings I’ve never said anything nice about “the verbal mode.” The idea is to turn that thing off, so that you can take in the painting (or drawing) in as pure a visual mode you can muster. I’ll stick to that, but I do occasionally go verbal and when I do, I get fascinated by the origin of words.
When I was walking along the river recently, I looked up and saw the word “RUMP” on a building. How odd, I thought, to put such a word and in such an aggressive size on a building. One sometimes sees that word with a T in front and I wondered if there was an etymology that would lead back, not just to card-playing lingo, but to “triumph.” Given the current presidential race, wouldn’t that be appropriate.
I pulled the OED, always a good read, out of its case, and combed through twelve columns trying to find out what was up with “triumph.” Much of what I found spoke to political ambition. 1) One corruption of “triumph” is used to designate a “playing card so that any one such card can TAKE any card of another suit. Take that! 2) Over centuries, since the Romans, “Triumph” became “trumpet,” both the instrument and the person “who or that which proclaims, celebrates, or summons loudly like a trumpet.” Loudly, really? 3) A thing of small value, a trifle, pl. goods of small value, trumpery.” Trumpery is good. If these presidential ambitions lead to frustration, the next tower could have the word TRUMPERY in humongous, therapeutic letters on it.
But wait, the best is yet to come. The Middle English (12th-13th centuries) version of “trumpet” was “trompe.” Now, this is truly precious because tromper in French means to fool, deceive. Je trompe means I deceive. What a find!
But what about “rump?” Predictably, more windblown towseling. “With rump and rig, with rump and stump.” STUMP would be good on a building, wouldn’t it. Later. But wait, “rump” as a verb means “to flog or scourge.” No-no. If you say that, YOU’RE FIRED! How about YOU’RE FIRED on an office tower!?
Combing through the OED leads from one thing to another and I sometimes overcomb. We shall overcomb.


All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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http://katherinehilden.wordpress.com
http://www.katherinehilden.com
http://www.khilden.com

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