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In which I continue to seek part time employment as the ruler of the world.

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Category archive: Painting

Friday October 19 2018

More and more of my photo-time is spent collating the photos I have already taken.  Last night, for instance, I went looking for (more) photos of London taxis with adverts on them.  There is something especially appealing, to me anyway, about a large number of objects all exactly the same shape, but each decorated differently.  (Some time, I must go searching for my photos of elephants.)

Equally appealing, to me, were those Gormley Men.  In that case, each Man was the same, and undecorated in the more usual and rather bland sculpture way.  But, each one was in a different place and a different sort of setting.  My Gormley Men photos did not need collating, because Gormley had already collated them, by putting all his Men in the same part of London at the same time.  Therefore my photos of the Gormley Men mostly collated themselves.

Not so the elephants, or taxis.  When looking for taxis, I am looking for taxis photoed in the course of all manner of different photo-expeditions each with their own directories.

But my point is that in the course of all this taxi-collating, I was clicking through literally thousands of non-taxi photos, and I kept coming across non-taxi photos that I particularly liked.  Like (kike as in “such as” – this is not a command) this one, for instance, taken last June:

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I like doing modified cliches in writing, and I also like them photographically.  A view, for instance, of some London Thing that has been photoed to death, but put beside or in front of or behind something that is not so usual.  Most photoers would regard the above scaffolding as a problem rather than any sort of solution, to the Eros-has been photoed-to-death problem.

The scaffolding’s wrapping has the effect of clearing away all the usual clutter from Piccadilly Circus and replacing it with something a lot like sky on a dull day.  It puts Eros in an empty field in the countryside, you might say.  And yes I know, I like clutter.  But not always.

Here is another modified cliché photo:

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The Wheel has been photoed to death, and that’s a view I regularly see – and regularly photo - of it, from the point where Strutton Ground meets Victoria Street, looking down Victoria Street towards Parliament Square and beyond.  But that sky behind The Wheel made The Wheel look amazing, on that particular day in January of this year.

Finally, one of many photos I took this year of Battersea Power Station:

image

The Power Station and (if you are a craniac like me) its crane cluster are the clichés.  And if you want to take the sting out of a cliché, one way is to reflect it in something.  At that point its extreme recognisability becomes more a virtue and less of a bore.  Its very clichéness becomes helpful to the photo.

This photo was taken from the upstream side of the Power Station, where there is already a big chunk of new flats up and running, with accompanying tasteless sculpture, coffee serving places and the like.  All sparked, I believe, by the new USA Embassy.

This photo of mine turns Battersea Power Station upside down.  I’ve always thought that an upside down Battersea Power Station would make a rather good table.  But, until now I never thought to go looking for such a table on the www.  Here we go.  That took about three seconds, so I bet there are plenty more that are cheaper.  This guy had the same idea, but those two links were all I could quickly find concerning this notion.

Here is another modified cliché photo of Battersea Power Station, the modification this time being smoke.

Come to think of it, all those London taxi photos I’ve been digging up are also modified cliché photos, aren’t they?  London taxi = cliché, adverts = modification.

Tuesday October 16 2018

I’ve asked it before and I’ll ask it again.  Why do I regard most of Modern Art as silly, yet relish real world objects which resemble Modern Art?  Objects like this:

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The above photo was taken on The last really fine day of 2018, just minutes after I had taken the one in that earlier posting.

You don’t need to go to an exhibition of sloppily painted abstract art, when the regular world contains wondrous looking objects like that.  And what is more, they are wondrous looking objects which have worthwhile purposes.  This wondrous object is for supporting and protecting workers as they work on a building.

Here is how that same scaffolding looked, unwrapped, about a month earlier:

image

I particular enjoy how the sky changes colour, in my camera, when a big white Thing is inserted into the picture.  (This afternoon, I encountered this, by Real Photographer Charlie Waite.  Same effect.)

Thank you to the (to me) invaluable PhotoCat, for enabling me to crop both of the above photos in a way that makes them more alike in their scope and which thereby points up the differences.  I’m talking about the invaluable Crop But Keep Proportions function that PhotoCat has, but which PhotoStudio (my regular Photoshop(clone)) 5.5 seems not to offer.  (I would love to be contradicted on that subject.)

Despite all my grumblings about how silly most Modern Art is, I do nevertheless greatly like the way that this Big Thing (the Reichstag) looks in the pride-of-place photo featured in this BBC report, an effect which presumably makes use of the same sort of technology as we see in my photo, but on a vastly grander scale:

image

I have to admit that this is several orders of magnitude more impressive than my scaffolding.  (Maybe that was the last really fine day of 1994.) My scaffolding looks lots better than some badly painted little abstract rectangle in an Art gallery, but it’s not nearly as effective as the Reichstag, as wrapped by Christo and Partner.

Because this Big Wrapped Thing was so very big, and because it is such a very interesting shape, it really does look like it added greatly to Berlin, in that summer of 1994.  I entirely understand why all those people assembled to gaze at it.  Had I been anywhere in the vicinity, I would have too.  And had there been digital cameras then, I would have taken numerous photos, as would thousands of others.  Thus giving permanence to this vast piece of temporariness.

Because, what I also like about this Reichstag wrapping is that, just like my scaffolding, and just like all the other wrapping done by Wrapper Christo and his Lady Sidekick, it is temporary.  That BBC report calls it Pop-Up Art, and it is of the essence of its non-annoyingness that any particular piece of Pop-Up Art by Christo will soon be popping down again.

This Reichstag wrapping happened in 1994, but is now long gone.  Did you disapprove of what Christo and his lady did to the Reichstag?  You just had to wait it out.  Soon, it would be be gone.

Do you think scaffolding, especially when wrapped, is ugly?  Ditto.

Sunday September 09 2018

Photoed by me, this afternoon, just outside Acton Central London Overground station:

image

Time was when I would have completely trusted a blog posting like this one, which says good things about this enterprise.  Now I merely trust this blog posting enough to link to it, and enough to hope that what it says is true.  I’ve no reason to think that it isn’t, apart from the fact it’s on the internet.

I know what you’re thinking.  How can you be sure that I am for real?  I am, but I would say that, wouldn’t i?

Saturday June 02 2018

Indeed:

image

Usual story.  Started to write a piece for here.  Realised it would go better there.  Carried on writing it anyway.  So, here?  That.

Thursday May 24 2018

In Quimper, the city in Brittany which I recently visited on account of having friends who live there, I photoed this:

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My camera’s ability to notice details that I didn’t notice at the time …

image

… immediately enabled me to learn who did it, and what else he has done.

I love the internet.

Sunday May 20 2018

Next Friday, my good friend Adriana Lukas will be giving a talk at my home entitled Personal Recollections of Life Under Communism.  While concocting some biographical information for my email list members, I took a closer look than I have before at her Twitter feed.

Way back in 2015, Adriana retweeted this remarkable image:

image

It looks like some ancient oil painting, rather than the latest-thing highest-of-high-tech imagery, which of course is what it is.

GE Healthcare’s 3D-printing software works seamlessly with GE Advantage Workstation systems already working inside hospitals around the world. After a scan, the anatomy is rendered as a 3D image using GE’s Volume Viewer software, a 3D-imaging platform that combines data from sources like CT but also MRI and X-ray. The software then converts the image file generated by the Volume Viewer and within seconds translates it into a file format that can be interpreted by a 3D printer.

“In the past, it would take several days to get the images back” from an outside 3D software processor, Cury says. “The advantage of the new software is it’s in the same workstation where the technologists already do work on 3D images. The steps are a lot quicker and easier.”

More than 100 hospitals around the world have already ordered GE’s 3D organ printing software, which can be used for any type of organ as well as models of bones and muscles. GE says that as more hospitals use the software, it will be easier and quicker for doctors like Cury to share files with each other and have 3D models to use for planning and education prior to procedures.

The most impressive 3D printing stories often feature hopelessly old-school businesses, like GE.  This is because 3D printing is the ultimate non-disruptive technology.  It attaches itself to existing businesses and makes them better.  If you know only about 3D printing, and are not willing to cooperate with a regular business, forget about it.

All those stupid 3D printers that they tried to sell in Currys PC World a few years back were just ridiculous junk for making further even more ridiculous junk.

Friday May 11 2018

When you go by train to Quimper from London, you start by going by Eurostar to the Gare du Nord in Paris.  And when you step outside the main entrance of the Gare du Nord, you find yourself next to a big red bear with wings.

Although I noticed this big red bear with wings when I first got to Paris, I only photoed it on the way back, a week later, when I and GodDaughter 2’s Mum were in less of a hurry between trains and when the weather was much better.

Also, on the way back, we didn’t suddenly see the big red bear with wings.  We could see it as we approached the Gare du Nord, and I had my camera ready to go, as it had been all afternoon:

imageimageimageimageimage
imageimageimage
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I quite like this big red bear with wings, but I am less sure about whether I admire it.  It seems like a mixture of too many unrelated things.  The lots-of-holes style of sculpting, which I associate with 3D printing, is one thing.  Making a bear look like a bear is something else.  And then, there are those wings.  On a bear.  Wings with holes in them.  The idea of the wings is that they turn the bear into an angel bear.  Something to do with global warming and the melting icecaps, I read somewhere and then lost track of.  The artist, Richard Texier, is not big on logic.  He prefers to stimulate the imagination.  To evoke magic.

The big red bear is called, see above, “Angel Bear”, and it has an inescapable air of kitsch abou it, to my eye.  Like something you’d buy, smaller but still quite big, in a posh gift shop, for far too much money.  I prefer a bull that Texier has also done, in the same 3D printed style.  No wings.  Much better, to my eye.  Cleaner, as a concept.

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But still a bit gift shoppy, I think.  Which is another way of saying that I bet these big old animals are by far his most popular works.  I suspect that Texier may be a bit irritated by this.  He likes being popular and he likes these big animals.  But he also likes his more abstract less gift shoppy stuff, and wishes the populace liked them more too.  Things like this:

image

I found both of those images at the Richard Texier website, at this page.

Despite my reservations about the big red bear with wings and my preference for other Texier works, I can, when I look at his big red bear with wings, feel Paris trying.  Trying to become that little bit less of the big old antique such as, compared to London, it now is.  I mean, you can’t miss the big red bear with wings.  Personally, I don’t find it to be wholly successful.  But it is holey.

Saturday February 10 2018

You Had One Job (a current Twitter favourite of mine) calls this “Brilliant”:

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Agreed.

At a site called Idiot Toys they also do lots of gadgets with faces.  Or, they did, because (I just looked) things seem to have slowed down there lately.  But I can’t recall anything nearly as dramatic as the above image.

LATER: this.

Tuesday February 06 2018

After a hard afternoon yesterday, exploring Churchill and his wartime government’s subterranean lair, I was, in the evening, in no mood to do much else.  But Christian Michel had one of his 6/20 evenings (yes I know, on the 5th (there was a reason but I have forgotten it)), and I forced myself to attend, knowing that I would not regret this.  And I didn’t.

The highlight of my evening was undoubtedly getting to talk with an artist and art teacher by the name of Elina Cerla.  We spoke about how we were both fascinated by the difference between how two eyed people see things, and how one eyed cameras, or camera-like gadgets used by artists, see things.  Summary: very differently.  Also about how she is more concerned to help people solve the artistic problems they consider important, rather than to shape them all into her preferred sort of artist.

She gave me her card before we went our separate ways, so I’m guessing she will have no problem with me linking you to that website.

You could become one of Elina Cerla’s pupils by doing what this says:

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Having already wandered about in the website, I was particularly struck by that naked figure when I came across it elsewhere on the website, so I was intrigued later to find that she chose it to illustrate her teaching advert.  I think you will agree that this image inspires confidence that the time of pupils will not be wasted.  This is someone with definite skills to impart.

I am presently listening to this YouTube interview.  Refreshing absence of art-speak bullshit and political infantilism, of the sort commonly emitted by those who practice (or who are attempting) shock-art.

Sunday January 14 2018

This is a strange photo, which looks somewhat like Modern Art, but which actually isn’t (a pleasing phenomenon which I referred to in passing in this recent posting of mine).  What it is is a photo of some home decorating:

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Aren’t you supposed to put the glue on the wallpaper, rather than on the wall?  Perhaps both?  Personally, I chose my wallpaper by not caring what it was when I moved in and thus keeping it as was, so I have never done anything like this.

Also, what are those peculiar white marks on the right?  They look like random smudges of white paint.  But why are they there?  Very strange.  Presumably something else was being painted before the wallpaper went on.

All is explained here.  It’s number nine of those thirteen photos, which I found out about here.

Wednesday December 06 2017

I am trying once again to clear open windows from my computer.  Two days ago I referred to something very interesting that had been hanging around for some time on my computer screen.  I am now doing this again.

This photo explains it pretty well:

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This appeared at Dezeen early in October, and I’ve been meaning to mention it hear ever since.

You want more?  Here you go:

An app has launched that allows users to instantly identify artworks and access information about them, by simply scanning them with a smartphone.

Smartify launched at the Royal Academy of Arts in London last week. It has been described by its creators as “a Shazam for the art world”, because - like the app that can identify any music track - it can reveal the title and artist of thousands of artworks.

It does so by cross-referencing them with a vast database that the company is constantly updating.

There was a time when art galleries and museums would try to stop you taking photos, but those days are pretty much gone.  It was the smartphoners what done this, because there are just too many of them to stop with their photoing, and anyway this can’t be done because you can never really tell whether they are taking photos or whether they are just doing social media with their mates or catching up on their emails.  This app will end this argument for ever.  People are just not going to tolerate being told that they mustn’t use this in an art gallery, and if they do use it, its use will look exactly like they are photoing.  The key to stopping photoing is that you have to know when it is happening.

Friday October 20 2017

Today, I was thinking, what with it being Friday: What can I put here about cats or other creatures that would be of interest?  But instead of looking for something along those lines, I was listening to a video conversation between Jordan Peterson and Camille Paglia, about the sorry state of the humanities departments of American universities.  I can’t remember why or how, but I was.  And twenty four and a half minutes into this, I listened in astonishment as Peterson suddenly started talking, fascinatingly, about zebras.

Why do zebras look the way they do, so very black and and so very white, and so very stripey?

This has long puzzled me.  The arch enemy of the zebra is the lion, and the lions are impeccably camouflaged.  Their coats are the same colour as the veldt, or whatever it is that the zebras roam about on and that the lions hunt the zebras on, and so the zebras don’t see the lions coming.  But the zebras, with their garish black and white plumage, are nothing at all like the colour of the land they live on.  What gives?  Why the lurid and fantastically visible stripes?

Today I learned the answer to this question.

The answer is: When lions hunt zebras, they do this by deciding on just the one zebra that they are going to hunt, and they concentrate entirely on that one zebra.  Eventually, the chosen zebra is exhausted, and the lions catch it and kill it.

And how do zebras respond, evolutionarily speaking?  Answer: By becoming extremely hard to distinguish from each other.  Their very stripey stripes do exactly this.  The result of that is that although the lions try to hunt just the one zebra, thereby exhausting it and killing it, they instead keep getting confused about exactly which zebra is the one they are trying to hunt.  And the result of that is that instead of hunting one zebra to its death, they hunt half a dozen zebras, not to any of their deaths, and go home without their dinner.

Some scientists who were studying zebra plumage did what turned out to be a rather cruel experiment which proved this.  They squirted some colour onto one of the zebras in a zebra herd.  The lions, confident now that they would not be confused about which zebra they were hunting, proceeded to hunt that one marked zebra to its inevitable death.  Without such marking out, they couldn’t tell which zebra was which.  With such marking, hunting success followed, every time.  Every time, they chose the marked and hence easily distinguishable zebra.

I did not know this.

Peterson’s point was that American humanities professors are like this.  They all have totally crazy, yet totally similar, opinions.  That way, their enemies can’t fixate on one of them and destroy him.  Or something.  In this version of the zebra stripes story, Peterson is saying that people in general are like zebras.  But I really didn’t care about that.  It was the zebras and their stripes that interested me.

I love the internet.

Monday October 16 2017

One of the reasons I was so keen to read Ross King’s book The Judgement of Paris (see this recent posting for details of this book and of earlier postings based on it) was that I hoped to learn more about the various ways in which photography and painting influenced and impacted upon each other.  There are occasional references in this book to photography, but I was hoping for several pages which summarised this big picture, so to speak.  These pages never came.  But, there were some entertaining references to the earlier stages of this very complicated story.

One of the paintings that figures prominently in King’s narrative is this one, Manet’s Olympia, which features one of Manet’s favourite models, Victorine Meurent:

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I found that version of this painting, along with more stuff about it, here.

Concerning the process by which this painting was created, King says (pp. 105-106):

Manet may also have made other images of Victorine.  Painters had been supplementing their drawings with photographs ever since Louis Daguerre, twenty-five years earlier, had created the first workable camera.  A writer in an 1856 issue of La Lumière, a journal dedicated to photography, noted the “intimate association of photography with art.” By the 1860s more than three hundred professional photographers were working in Paris, and a great many of their clients were painters for whom they did nude studies. Indeed, as many as forty per cent of all photographs registered at the Dépôt Légal were asserted to be académies done for painters - photographs of nude (usually female) models posing on chaises longues amid paraphernalia such as lyres, shields, plumed helmets, and antique vases and busts.

Even the most renowned painters of the day availed themselves of this new technology. In the 1850s Delacroix had collaborated with the photographer Eugène Durieu, who took pictures of nude models that Delacroix proceeded to turn into his paintings of odalisques. Other painters, such as Gérôme, had female models shot for them by Nadar, the most renowned photographer of the day. Born Caspard-Félix Tournachon, Nadar was a printer and caricaturist (his pseudonym came from the expression tourne à dard, meaning “bitter sting") who had also published a novel and spent time in a debtors’ prison. At the age of thirty-three, in 1853, he had turned his considerable energies to photography, taking portraits of many artists and writers and then, in 1861, a series of eerie-looking pictures of Paris’s new sewer system and water mains. An intimate of Baudelaire, by the early 1860s he was also friends with Manet, whom he photographed on several occasions. No photographs of Victorine, by Nadar or anyone else, have come to light, but she may well have appeared before his camera, either in Manet’s studio or in Nadar’s own workshop in the Boulevard des Capucines.

But King says that the impact of photography went deeper than merely aiding the creative process.  It also influenced it in others ways.  Olympia was a succèss de scandale, and one of the many complaints made about it was the seemingly crude and brash way in which it was painted.

Concerning that, King agrees (pp. 108-109) that Manet did indeed paint …:

… Victorine’s face, torso and limbs with none of the sculptural three-dimensionality and careful modulations of colour to which Salon-goers were accustomed. Instead, using sharp contrasts of colour, he created her body through a series of flat planes, producing a two-dimensional image that almost served to make the canvas seem a parody of Titian’s curvilinear Venus of Urbino.

Personally, I don’t really see this.  But I am sure that those who have seen more paintings of the sort that King is contrasting Olympia with will know what he means.

King continues:

Part of Manet’s inspiration for this technique probably came from photography. Painters had almost always required a muted light in which to work. The ideal studio was lit by a large north-facing window that diffused the sunlight and allowed the painter to see-and to capture in pigment-the softest and subtlest tones. Photographers, however, worked under quite different conditions. Anyone hoping to produce a photograph in the middle of the nineteenth century needed bright illumination since the first chemical emulsions were stubbornly insensitive to light. In the days before the invention of flash powder (a mixture of potassium chloride and powdered magnesium first successfully employed in the 1880s), photographers were forced to turn on their sitters various forms of artificial light. Most of their pyrotechnic devices, such as “limelight,” a sheet of lime heated with a hydrogen-oxygen torch, had provided a harsh, brilliant illumination that resulted in photographs with pronounced tonal contrasts. Photographs therefore displayed far fewer varieties of tone than was found on canvasses. If Victorine had indeed been photographed by Nadar (who sometimes used battery powered arc lamps to cast light on his subjects), the result would not have been dissimilar to the stark image Manet produced on his canvas, whose lack of detail, moreover, resembled the hazy images produced by photographers as a result of the long exposures required by paper-negative prints.

A pattern that repeats itself throughout the history of new methods of information storage and communication is that when a new technique is introduced it has immediate short-term impacts that are often very different from – sometimes even opposite from - the impacts it creates later, as the new technology develops and spreads.

When commentators now use the word “photographic” to describe a painting, they mean that it is more detailed and realistic than paintings usually are these days, the camera having cornered most of the market for pictorial detail.  Yet here is King explaining the rather slap-dash and crude – as contemporaries saw it at the time – beginnings of Impressionism as having been at least partly influenced by the very early versions of photography.

But, as to what influence photography had on painting once the best sort of photography got to be more “photographic”, well, if King writes about that at any length, I missed it.

I am hoping for a more thorough and wide-ranging discussion of this matter when I get around to reading this book, which I already possess and am much looking forward to, even if it is going to be rather big to be lugging around London.

Wednesday October 11 2017

So far, I have featured here three excerpts from from Ross King’s book about nineteenth century Frency art, The Judgement of Paris, about Ernest Meissonier, the Paris Salon, and Louis Napoleon.  In this excerpt (pp. 31-35), Ross King describes French government Art supremo, the Compte de Nieuwerkerke, who was in charge of the Paris Salon, among many other enterprises.  I found the picture, by Ingres, of Niewerkerke, the picture that King also places in his text, here.

King describes how the artists who were on the receiving end of Nieuwekerke’s policies reacted.  Rather surprisingly, one of them was Meissonier.  They were not happy:

Under the ancien régime, the fine arts had been the business of cardinals and kings. Since the French Revolution, the politicians had taken charge. Under Napoleon Ill, a special section of the Ministry of State known as the Ministry of the Imperial House and the Fine Arts had been given jurisdiction over artistic matters. The tasks of training young artists, organising exhibitions, commissioning works for churches and other public buildings-all became the responsibility of this Ministry, which was headquartered in the Louvre. Not the least among its duties was the administration of the Salon. To that end, each Salon year, usually in January, the Ministry published what was known as the règlement, an official set of rules and regulations stipulating the conditions under which artists submitted their works to the Salon’s jury, the composition of which was detailed in the document. The artists were informed, for example, by what date they needed to send their paintings or sculptures to the Palais des Champs-Élysées for judging, how many works they could enter into the competition, and how the Selection Committee - composed of separate juries for the different visual arts - would be formed.

The author of this important document, for the previous fourteen years, had been a suave but ruthless aristocrat named Alfred-Émilien O’Hara, the Compte de Nieuwerkerke. Occupying majestic apartments in the Louvre, where he entertained lavishly amid his collection of antique armour and Italian art, Nieuwerkerke cut an impressive dash through both the Parisian art world andthe Imperial court. Despite his Irish surname, he was a Continental blueblood who could claim descent from both the House of Orange in Holland and the House of Bourbon in France. Born in Paris in 1811, the young Émilien had begun his career in the military, training as an officer at the cavalry school in Saumur; but a six-month visit to Italy in 1834 convinced him to try his hand at sculpture. He began studying under Carlo Marochetti - an Italian who had worked on the Arc de Triomphe - and regularly exhibiting at the Salon, to no particular acclaim, works such as his bronze sculptures of Réné Descartes and Napoleon I. An urbane séducteur with a thick mane of hair, a well-groomed beard and, according to one admirer, eyes of “silky blue,” Nieuwerkerke really made his reputation when he took as his mistress Princess Mathilde, the niece of Napoleon Bonaparte and the cousin of the Emperor Napoleon III.

imageFollowing vigorous promotion by Princess Mathilde, who was the daughter of one of Napoleon’s younger brothers, Nieuwerkerke had been appointed Directeur-Général des Musées in 1849. In this capacity he was given charge of a number of museums, including the Louvre and the Luxembourg, the latter of which had been founded in 1818 in order to exhibit works by living artists. Most important from the point of view of painters and sculptors, Nieuwerkerke oversaw the Salon. He had therefore become by far the most powerful figure in the French art world.

Nieuwerkerke concerned himself, naturally enough, with upholding what he regarded as the highest artistic and moral standards. He wanted both to encourage history painting and to discourage Realism, the new movement, led by Courbet, whose followers had abandoned noble and elevated subjects in order to depict gritty scenes featuring peasants and prostitutes. “This is the painting of democrats,” sniffed the debonair Nieuwerkerke, “of men who don’t change their underwear.” In order to achieve his lofty aims for French art, he had already forced through a number of reforms, such as taking the decision in 1855 that the Salon should instead be held only biennially in order to give artists more time to complete and display paintings of the highest merit. Then in 1857 he decreed that the painting jury should no longer be made up, as previously, by painters elected by their peers. Instead, the only men eligible to serve would be members of the Académie des Beaux-Arts, the self-perpetuating élite of forty “immortals” whose duty it was to guide and protect French art. With these wise and venerable men acting as gatekeepers, Nieuwerkerke believed, only works of the most compelling aesthetic and moral standards would be permitted into the artistic sanctum sanctorum that was the Paris Salon.

Then in 1863 Nieuwerkerke introduced yet another reform. Whereas previously artists had been allowed to submit an unlimited number of works to the jury, the latest regulations stated that they could submit no more than three. Nieuwerkerke’s reasoning was that artists had been sending as many as eight or ten rather inferior works, in the hope of having at least one or two accepted, instead of concentrating their efforts on a true masterpiece - a large and heroic history painting, for instance - that would take its honoured place in the pantheon of French art.

Nieuwerkerke’s previous reforms had not been popular with large numbers of artists. The fact that the Salon was held only every two years meant that an artist whose offerings were rejected from one particular Salon would face, in effect, a four-year exile from the Palais des Champs-Élysées. Furthermore, many artists were displeased by the complete domination of the juries by members of the Académie, most of whom had made their reputations in the dim and distant past, usually with grand history paintings. The majority of them were only too happy to enforce Nieuwerkerke’s ideals and exclude from show “the painting of democrats.” Indeed, these judges had rejected so many artists from the 1859 Salon - Édouard Manet among them - that Nieuwerkerke’s soirées in his Louvre apartments were interrupted by mobs of painters chanting protests beneath his windows.

Not surprisingly, a large group of artists also objected to Nieuwerkerke’s change to the rules for the 1863 Salon. Ten days after the publication of the regulations, on January 25, a letter with a signed petition was sent to the Minister of State, the Comte de Walewski, who was Nieuwerkerke’s superior as well as an illegitimate son of Napoleon Bonaparte. The letter complained that the new proviso was prejudicial to the fortunes of French artists. It argued that the Salon was intended to operate as a kind of shop window for collectors, and so exhibition in the Palais des Champs-Élysées was absolutely vital to the economic well-being of artists. Nieuwerkerke’s new regulations left them, however, with an even poorer chance of having their wares displayed. “A measure that would result in making it impossible for us to present to the public the fruit of our work,” the petition read, “would go, it seems to us, precisely against the spirit that presided over the creation of the Salon.”

This letter concluded with a hope that the Comte de Walewski would “do the right thing with a complaint which is, for us, of such a high interest.” Six sheets of paper adorned with 182 signatures were attached. Many of the most prominent and successful artists in France had added their names, including both Delacroix and Jean-Auguste-Dominique Ingres, bitter professional rivals who usually disagreed on everything. Also signing the petition were a pair of accomplished landscape painters, Camille Corot and Eugene Isabey, the latter of whom had once been court painter to King Louis-Philippe. However, the signature boldly leading the charge, the one scrawled with a thick-nibbed pen at the top of the first page, was that of Ernest Meissonier.

Meissonier and Nieuwerkerke knew one another well. Meissonier had attended the soirées hosted by Princess Mathilde on Sunday evenings at her mansion in the Rue de Courcelles, and he and Nieuwerkerke shared a number of friends, such as Theophile Gautier. In r855, moreover, Nieuwerkerke had been Vice-President of the International Awards Jury when it presented Meissonier with the Grand Medal of Honour at the Universal Exposition in Paris. For these and other reasons, Nieuwerkerke might have expected Meissonier, of all people, to support his latest reform. After all, Meissonier was guaranteed a place at every Salon since he was classified as hors concours ("outside the competition"). This distinction, given only to those who had received three major awards at previous Salons, meant he was not required to submit his work to the jury for inspection. Nor was he guilty of the practice that Nieuwerkerke wished to snuff out - that of dashing off half-finished paintings and hoping that one or two of them might slip past the jury. Meissonier sought, indeed, the same high standards of morality and aesthetic purity as Nieuwerkerke: he regarded mediocre artists, he once said, as “national scourges.”

At issue for all of the petitioners, however, was the right of artists to exhibit their works to the public. And Meissonier ardently believed in this right - or, at any rate, he believed in his right to exhibit his own work in the Palais des Champs-Élysées in whatever quantities he desired. He had shown five paintings in 1861, while the Salons of 1855 and 1857 had each featured nine of his works. Under Nieuwerkerke’s new règlement. he would be allowed to show only three of his works every two years. For an artist possessing Meissonier’s large and enthusiastic following, this new regulation would make for a disappointingly slender offering to his public. He therefore dedicated the full weight and authority of his name to overturning Nieuwerkerke’s new rule. Given the prominent position of his signature, he may well have assisted with the argument and wording of the letter itself.

Whatever his involvement in the composition of the appeal to the Comte de Walewski, Meissonier soon took a much more drastic step than simply signing the petition. He let it be known that should Nieuwerkerke’s new reform not be struck down, he would personally lead a boycott of the 1863 Salon.

Friday October 06 2017

A couple of days ago, I photoed words, and I photoed the top of the Boomerang (although I would recommend scrolling down rather than following these links (a lot quicker (alas))).  But in among photoing all that, I also I photoed this ambiguous beast.  Ambiguous because originally, the beast looked a lot like this:

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But then someone else, by adding some alternative eyes, turned the beast into this:

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The original photo I took, from which both the above versions were cropped, looked like this:

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You see, that’s the trouble with the Leake Street Tunnel.  Nobody owns it, other than a sort of conglomerate of politicians, and what that conglomerate has decided is that whereas all artists may paint in the Leake Street Tunnel, none of them can prevent further painting by further artists.  The only immortality achieved is virtual and digital.

Or, maybe it’s a bit more complicated.  And if you aren’t part of the club, and you just turn up and paint, you get your knees broken, or something.

Whatever.  The thing I really admire about the beast, as originally painted by Artist One, is the state of its teeth.  Check them out.  Thought has gone into them.  No wonder Artist Two was envious, and decided to appropriate them for his alternative beast.