Wild Beasts of the Jazz Age – Matisse and Fauvism

Riverwalk1
Riverwalk by SAMA

The Matisse: Life in Color exhibit at the San Antonio Museum of Art, on loan from the Baltimore Museum of Art features more than 80 drawings, paintings and sculptures.  The extensive Cone Sisters collection contributes the bulk of these phenomenal works and will only be in San Antonio until September 7, 2014.  A pop up cafe  (The Wild Beast) and Matisse themed treats are offered around town, in the spirit of the man whose exquisite sense of color started a movement all its own.

Fauvism
Fauvism poster at the Wild Beast Cafe

Fauvism was a short lived but potent bridge between the impressionist and later avant-garde movements of the early 20th Century.  Henri Matisse was the acknowledged leader and the yin to Pablo Picasso’s Cubist yang. Wild beasts were loosed into Europe, through the advent of psychoanalysis, World War I and the Jazz Age.  Vibrant, living, emotive color flowed from the Impressionists into the palettes of these passionate, unruly artists.  In 1906, the 20th Century was full of promise, psychology having just lifted the lid off the unconscious mind.  ElevatorWild beasts fighting the repression of the Victorian era found a welcome home in Paris, which later became an international haven for writers, artists and African American jazz musicians in the 1920’s.  I’ve separated the photos I took at the exhibit into 2 parts.  The gallery below focuses on the undulating rhythms of color and form, the beasts.  The second post will focus on the emergence of the dark feminine, the liberated erotic woman of the new era.  Asian and Africa design themes influenced European culture in ways never imagined by colonialists who kept Queen and country sacrosanct.

Paris was the crucible of art, literature, philosophy and fashion in the early 1900s. France and Spain were always more open to the exotic influences of the Orient and of Africa than the English and Dutch colonialists. Artists began to see the world in ways that could be considered prescient, given the perspectives  science and technology afford us today. Light, form and color were transformed to capture the life of the mind, the spirit and speak directly to the flesh. It’s that experience of color splashing into the body, senses undulating with the rhythm of the paintings, the secret language of artistic seduction that a live viewing of these works convey.   Energizing the body, mind and spirit and lifting us out of the doldrums that being human imposes – this is the gift of art.  Go and see for yourself.  MatisseBed

I would like to recapture that freshness of vision which is characteristic of extreme youth when all the world is new to it.

SAMA presents “Tim’s Vermeer”

Cello_FlowersTim’s Vermeer is an amazing project and now a film in which Tim Jennison, a computer engineer attempts to replicate Vermeer’s The Music Lesson, despite having no formal training as a painter. Tim, the owner of NewTek, a post-production video tool and visual imaging software company, described his magnicent obsession at the San Antonio Museum of Art to an appreciative hometown audience.

The Camera Obscura is a device which projects an image of its surroundings onto a screen.  Artists and astronomers have been using projectors in many forms for centuries, with early mentions from China in the 4th Century, in 14th Century Islam and in Europe, where the astronomer Johannes Kepler coined the phrase camera obscura. Camera_Obscura Leonardo da Vinci was an enthusiast:

“Who would believe that so small a space could contain the image of all the universe? O mighty process! What talent can avail to penetrate a nature such as these? What tongue will it be that can unfold so great a wonder? Verily, none! This it is that guides the human discourse to the considering of divine things. Here the figures, here the colors, here all the images of every part of the universe are contracted to a point. O what a point is so marvelous!”

Speculation that Vermeer used a mechanical aid have been entertained for centuries, but no one could prove it. Tim Jennison had a stark realization, while looking closely at The Music Lesson, that drove him to recreate the studio and the device that would allow him to replicate the painting.  He began his talk admitting that it was an exercise in obsession, and he did go to almost unbelievable lengths to use exactly the same technology that Vermeer would have used in the 17th Century. Grinding_Lens This included grinding the lens for the mirror, making the paint from minerals of the era and building the furniture, including the harpsichord.  Most fortuitously, they found a rare, 15th Century Persian rug that exactly matched the rug in the painting.  I would highly recommend renting the movie to see how one man’s passion became a labor of love and an amazing journey for all the people involved in the project including his friends, magicians Penn and Teller. David Hockney, the painter and physicist Charles Falco wrote about Renaissance artists’ use of optics in their controversial book Secret Knowledge in 2001, prompting outrage and near hysterical resistance on the part of art historians and artists alike.
SetupSo, when Tim realized that the human eye was incapable of perceiving the many gradations of white to grey that he saw in the wall of Vermeer’s painting, he decided to see if the camera obscura  would make the difference. What he found, was that once he set up his device he could paint from the projection until the color on the canvas blended with the image, whether or not  it looked “right” to his eye.  It worked like magic, which is kind of expected when you’re working with magicians. It’s a great story, including the clincher which made it almost certain that Vermeer used a lens, but you’ll have to rent the movie to find out.  Shown below is Tim’s painting of The Music Lesson.

Faux_VermeerThe art community has become less defensive on behalf of its revered masters and indeed, ingenuity and painstaking craft are tools of the trade, however transcendent the final expression.  As David Hockney has said on many occasions, the use of a device does not diminish Vermeer’s genius in any way. The soul of the artist shines through.

Fabric, fashion and texture

The McNay Museum in San Antonio has a wonderful costume exhibit made even better by its masterful presentation.  Costumes and Cinema features fashion from Pirates of the Caribbean, The Duchess, Sense and Sensibility, Sherlock Holmes and others. I focused on the textures and elegant lines, shifting between my appreciation for the exquisite craft of the costumers and the many dimensions of touch my eyes allowed me to feel.

 

Magnificent Yosemite

I enjoyed my trip to the 32nd Annual Vintner’s Holiday at the gorgeous Ahwahnee Hotel where the focus is on fine wines and Californian’s in the know. Still, I was not deterred from hitting the trails and drinking in the magnificent scenery and profound quiet of the forests of Yosemite. Meeting Hitching Post owner/chef Frank Ostini and his partner (and former fisherman) Gray Hartley, hearing the wonderful stories of their alchemical adventures in wine making was definitely a highlight of my trip.  I’m a sucker for a good tale and these two are great storytellers.  Hoping they will come down to Austin sooner than later and bring some 2002 Highliner with them.  Enjoy the gallery of snapshots from the gorgeous golden state. Thanks so much, John Muir, for your stewardship and devotion to Yosemite.

Come to the woods, for here is rest. There is no repose like that of the green deep woods. Here grow the wallflower and the violet. The squirrel will come and sit upon your knee, the logcock will wake you in the morning. Sleep in forgetfulness of all ill. Of all the upness accessible to mortals, there is no upness comparable to the mountains.
John of the Mountains: The Unpublished Journals of John Muir, (1938), page 235.

Autumn in Santa Fe

Autumn in Santa Fe: green and gold, trails with a light frost on the leaves. Winding through mountains after the aspen leaves FrostedLeaf White Forestflamed off the trees, leaving white forests reaching up into blue, blue skies.  The fresh, cool air flowing down the mountains, thin at 8,000 feet.

Mountains

We followed the greens and golds Yellow Flowersfrom the hills in Hyde Memorial Park into the town of Santa Fe.  With minstrels serenading shoppers on the plaza and purveyors of art, jewelry and native crafts, it’s impossible to Streets of SantaFeresist the old world charm of this lovely town.

The Guggenheim – Kandinsky in Paris

Before, during and after World War I, artists sought to create paradigms that would move European culture in a new direction, a tabula rasa for the arts. The German Bauhaus, the Dadaists at the Cafe Voltaire in Zurich and the post impressionists performed a fresh aesthetic that would integrate art, architecture, music, philosophy and spiritual psychology. The Avant garde, infused with musical and intellectual dissonance clashed with nationalistic myths perpetuated by nascent fascist regimes. Wassily Kandinsky sought to express the soul of art, each piece becoming the sum of its prior parts.  Having studied music and the law as a young man growing up in an affluent Russian family, he found new life in art and resonance with Madam Blavatsky and the Theosophists as he  describes in his book The Art of Spiritual Harmony. While he remains a noted theorist among symbolist artists, his insistence on remaining true to the expression of the most vital inner compulsion of his soul and in translating music visually is most apparent in the development and increasing abstraction of his work.

European art in the late 19th and early 20th Century expressed the transformation of naturalism as it was expressed in the Art Nouveau period into more symbolic and abstract styles of the Modern Art movement.

The dissonance of the modern era is lyrically expressed in the explosion of sub-conscious imagery in the turn of the 20th Century. Electrified music has done the same for the 21st. Kandinsky sought to project the impulse of his soul, much like James Turrell projects his inner light onto the public canvas. Will we recognize the essence of our humanity in their expression?

If the emotional power of the artist can overwhelm the “how?” and can give free scope to his finer feelings, then art is on the crest of the road by which she will not fail later on to find the “what” she has lost, the “what” which will show the way to the spiritual food of the newly awakened spiritual life. This “what?” will no longer be the material, objective “what” of the former period, but the internal truth of art, the soul without which the body (i.e. the “how”) can never be healthy, whether in an individual or in a whole people.

James Turrell: the Light is the message

James Turrell first greeted the light growing up in Southern California as a Quaker.  His ongoing fascination with and dedication to the transformative experience of light suffused spaces has found international recognition and response.  Currently exhibiting in the Los Angeles County Museum of Art (opening May 26); the Museum of Fine Arts, Houston (June 9); and the Guggenheim Museum in New York (June 21), The University of Texas at Austin will dedicate a Turrell Skyspace installation in the Fall of 2013.
Turrell’s observation of the differences in light while flying his plane and in the studio, coupled with his study of mathematics and perceptual psychology, fueled early experiments creating light paintings by means of various projectors. At 70, he continues to refine his installations, creating a mystical experience of changing, light filled-rooms, complimented by smooth fabric walls. The Guggenheim’s eliptical gallery created a soft, womb-like environment for an audience leaning back on the curved bench around the wall’s perimeter. Looking up at the rich shades of slowly transforming colors a hundred people greeted the light. The outer projection of his inner awareness of light affords us the opportunity to step directly into the experience. While building houses of light in every time zone, Turrell continues to create his summum bonum, the Roden Crater project in Arizona.

JAMES TURRELL: It’s about perception. For me, it’s using light as a material to influence or affect the medium of perception. I feel that I want to use light as this wonderful and magic elixir that we drink as Vitamin D through the skin—and I mean, we are literally light-eaters—to then affect the way that we see. We live within this reality we create, and we’re quite unaware of how we create the reality. So the work is often a general koan into how we go about forming this world in which we live, in particular with seeing.

NY NY People who love people

People who need people should definitely consider living in NYC.  The intersection of cultures, class, mood and generation on the subway brings the collective subconscious center stage.  If I were to imagine purgatory it would be here with pockets of gentility, poverty, of money, art and businesses of every kind jostling for attention.  There is nowhere to run, nowhere to hide. People’s faces wear the expression of their inner preoccupations, little planets orbiting their cascading thoughts.

Despite my thoughts of swarming ants, I respect the acceptance of these people for each other, pressed cheek to jowl at every turn.  The multi-faced human being, streaming through a city of such immense beauty and grime is just too much to feel at once.  Still, my feelers are out, taking small bites of the big apple, probing the soul of the city as I blow through the streets like a moth flitting through the dark and light.