Tag Archives: April

My Inspiration for April 2019

30 Apr

I can hardly believe May has arrived already! Days drag slowly, yet time flies. Another May upon, another sweet May with its roses and sunshine. This month I finally read Charles Bukowski’s novel “Ham on Rye” and I really enjoyed it, it was interesting and funny, his witty remarks, cynicism towards society and other people, disregard for society’s customs and the proper way of living sure appeal to me, but at the same time I, as a big romantic and idealist, feel that the main character’s negative outlook on life is making him forgetting the beautiful little things in life such as flowers, birds, special moments in nature, dandelions, watching clouds. There is so much beauty to see for eyes that want to see. And speaking of beauty in everyday life, I was also into studio Ghibli films and watched “Spirited Away” and “When Marnie was There”; these films are so aesthetically enjoyable to watch and they make everything seem so magical, even if it’s mundane and boring, especially the little things in life like making bread, tending to your garden, everything is veiled in quiet gentle beauty and it makes you feel glad that you are alive so you may enjoy it. A dead person cannot smell flowers, so being alive is a luxury. I discovered new songs by The National, a really cool band that I think everyone should check out. And tulips, yes I must not forget tulips, I feel such affection for them, my heart beats faster when I see them. How could I not see their beauty all these years, I wonder.

“I’m always dreaming, even when I’m awake; it is never finished.”

(Peter Beagle, The Last Unicorn)

 

Edwardian blouse, photo found here.

Photo by Stefany Alves.

Photo of a little Edwardian girl, found here.

Advertisements

My Inspiration for April 2018

30 Apr

This April was an explosion of beauty with a touch of sadness; a perfect combination. The most beautiful things that I read were James Joyce collection of poems “Chamber Music” and Nathaniel Hawthorne’s “The House of the Seven Gables”. Amongst other things, I read Milan Kundera’s “The Joke” which I didn’t enjoy that much. My thoughts wandered to the cliffs of San Francisco (Kerouac took me to that adventure), white blossoms, warm shining Caribbean sunsets, paintings of Egon Schiele, Pierre Bonnard and Edouard Vuillard, lyrical and dreamy words of Botticelli and Giorgione, Winslow Homer’s watercolours of turbulent blue seas. I had a mini Renaissance regarding the Manic Street Preachers. Pink and red and lilac. Smell of lilac trees in the air, softness of spring sunshine and flower petals flying in the air. Birds on the window. Silver dandelions so alluring in the grass. Sunsets ever so beautiful, in colours of amber, candy floss and lavender. Nature is dreaming and I with her.

“Bewildered, burning with love, mad with sadness.” (Arthur Rimbaud)

Photo found here.Picture found here.

 

Caribbean sunset, photo found here.

Photo found here.

Photo found here.

Photo by Denny Bitte, found here.

Photo found here.

Photo found here.

Photo found here.

Photo found here.

Photo found here.

Photo found here.

My Inspiration for April 2017

30 Apr

This April I was inspired by Berthe Morisot’s loose brushwork and images of women, romantic ruins, heather fields and hawthorn trees, Chopin’s Mazurkas, Eugene Onegin, Winterhalter’s portrait of Empress Elisabeth Sissi in her gorgeous tulle gown, gardens in bloom, straw hats, Victorian fashion photography, Turgenev’s heroines, Beardsley’s decadent glamour, moonlit Dutch landscapes, portraits of women with harps, 1840s fashion. I’ve read a few interesting short stories; First Sorrow by Franz Kafka, and I’ve been rereading Gabriel Garcia Márquez’s short story collection Twelve Pilgrims; when I first read it six years ago and now still my favourite story is The Trail of Your Blood in the Snow; it’s about two wealthy Columbian newly weds, Nena and Billy Sanchez, who come to Europe on honeymoon, and Nena cuts her finger on a rose thorn, leaves a trail of blood in the snow… and, well read for yourself. The atmosphere of the story has similarities with Kafka’s style. I’ve watched an interesting three part BBC documentary narrated by Lucy Worsley called Elegance and Decadence: The Age of Regency, and a film with nice costumes set in times of the English Civil War – The Devil’s Whore (2008); both are on Youtube.

Egon Schiele – Neuelengbach Affair – Martyr for the Cause of Art: Part II

25 Apr

I do not deny that I have made drawings and watercolours of an erotic nature. But they are always works of art. Are there no artists who have done erotic pictures?” (Egon Schiele)

Egon Schiele, Prisoner (Gefangener), 24-4-1912

What are the two most important things that happened in April 1912? I shall tell you; Titanic sank and Egon Schiele was arrested. “Neulengbach Affair” is the name given to the string of events which took place in April 1912, and this affair holds an important place in the romanticised myth of Schiele as a tortured genius and a painter of perversity.

In the first part of this post, I’ve written about things that Schiele painted in Neulengbach; self-portraits, Wally, landscapes, and a very interesting Van Gogh-inspired painting of his bedroom, but he also did many erotic drawings, which was his primary subject. Schiele’s studio became a gathering place for the misfits, the delinquency, the mischievous children of Neulengbach, and he’d often paint them too. Sometimes, after he’d finished painting Wally, he’d let the children play around his house while carelessly or naively leaving his erotic drawings around the studio. Older children, who weren’t so innocent any more, started whispering things, and soon gossips and accusations started spreading through this peaceful town. All sorts of disgusting things have been said; that he invited children to his house, painted them nude and encouraged them to do improper things. While the people of Krumau disliked Schiele for no apparent reason, the inhabitants of Neulengbach at least had a motif to hate him, and soon complaints were made to the police. On 13th April 1912, Schiele was arrested and charged for seducing and abducting a minor, and exhibiting erotic paintings in front of children; only the latter has proven to be true.

Although the charges of abduction and seduction were quickly dropped when Schiele appeared in court after two weeks in prison, a large amount of erotic drawings found around the house certainly didn’t please the police, nor the town’s people, nor served good to Schiele. They confiscated more than a hundred of them and filed them under ‘pornography’.

Egon Schiele, Tür in das Offene (Doors in the Cell), 1912

The judge obviously shared the views of town’s inhabitants towards Schiele and his art because, at the end of the trial, he burned one of his drawings on a flickering candle flame, a gesture I find heartbreaking and could not watch without tears of anger. They burnt his drawing. They could have burnt all of his drawings, but the hands that made them were alive and full of vigour to produce more masterpieces, and they did. The Neulengbach affair only propelled Schiele to fame. Sometimes the ‘Neulengbach affair’ takes too much spaces in the myth of Egon Schiele, but it is important in a way that it cemented Schiele’s image as notorious figure in Vienna’s artistic circles. Just twenty-two years old and already the image of him as a dangerous and a provocative artist started spreading in Vienna. The myth of Schiele has started.

This is a fragment from “Schiele’s” prison-journal:

At the hearing one of my confiscated drawings, the one that had hung in my bedroom, was solemnly burned over a candle flame by the judge in his robes! Auto-da-fé! Savonarola! Inquisition! Middle Ages! Castration, hypocrisy! Go then to the museums and cut up the greatest works of art into little pieces. He who denies sex is a filthy person who smears in the lowest way his own parents who have begotten him.

A note: the journal is true to some extent, but it needs to be taken with reserve because it was not written by Schiele himself, rather, it was written by Arthur Roessler, an art critic and friend of Schiele.

What started as just an artist making erotic drawings, turned into sinister stories of abduction and seduction, but when it comes to the bottom of things, people of Neulengbach didn’t like him because he was different. In small towns the story goes like this: if you don’t fit in, you’re going down, if you dare to be different, you’ll get punished for that. I think that even if Schiele restricted himself to painting only landscapes and sunflowers, they’d still find something to accuse him of.

Egon Schiele, Self-portrait as prisoner, 25 April 1912

All in all, Schiele spent 24 days in prison, and while he was there, he wasted no time, but continued creating his art. Supplied by Wally with thin, bad quality paper and food, such as oranges, he drew his surroundings and many self-portraits. Don’t think he drew frantically day and night, he also spent many hours in deep thoughts and contemplation, and his self-portraits show the agony and torment the artist endured. Drawing above is a good example. In the upper right corner, Schiele wrote this: “Ich werde für die Kunst und meine Geliebten gerne ausharren” or “For my art and my loved ones I shall gladly endure.” Watercolour of greys and blue, anguished face in an agony, and yet he states he shall gladly endure. Schiele was full of such statements, elevated and full of pathos such as “I do not feel punished, but rather purified.” and my favourite “To restrict the artist is a crime. It is to murder germinating life“, which show what a drama queen he really was.

In these drawings, the cold greyness of his prison cell mingles with eloquently expressed angst and torment, and that’s what makes these prison-portraits so memorable. They are like a visual diary. Pencil lines and watercolour work in absolute harmony and the gradation of the blue-grey colour is gorgeous, like the sky and clouds on an overcast day, and the parts where the greyness mixes with orange-yellows is exquisite. I think watercolours in general are an excellent medium, I love the effect of lyricism and fragility they create, colours mixing freely, kissing one another and creating a new shade, there’s something bohemian about it. Another very interesting thing about these self-portraits is that they are the only self-portraits Schiele ever made using his memory, without a mirror. In his studio, he’d always use a mirror. But notice how old he looks in most of these drawings, he was just two months shy of his twenty-second birthday and yet he drew himself looking old, tired, worn out, and on the self-portrait down below, he almost looks dead, or at least creepy.

Egon Schiele, The Single Orange Was the Only Light, 19th April 1912

Along with self-portraits of himself as a prisoner, Schiele also drew his prison cell, and in The Single Orange Was the Only Light we see his bed and the doors of the cell. His pillow is actually his coat folded to serve the purpose of a pillow, and we see his blanket and one orange. We can understand the importance he attributes to a piece of shiny, orange-coloured fruit, given to him by Wally, if we think of his drab prison existence; the lonely hours filled with uncertainty in that cold, grey prison cell, sleeping in an uncomfortable bed, staring at barren walls, covered with a mangy blanket. It’s also great that we can know the exact dates these were made. No matter how rebellious and provocative he was, when it came to adding signatures and dates to his paintings, he was the most meticulous fellow out there.

I think Schiele himself had mixed feelings about his prison-time. One the one hand, he was worried about the outcome of his imprisonment because the prospects looked bleak in the beginning; exhibiting erotica was considered a serious offence with a maximal punishment of six month’ hard labour, while the offence of seducing a minor would result in twenty years of hard labour. From April 1912, Schiele had only six more years to spend on this earth. Imagine if he’d have to spent them all in prison. What a dreadful crime against art that would have been!? I shudder at the thought.

Egon Schiele, Self Portrait as St. Sebastian, 1914

On the other hand, for the dramatic, self-pitying side of Schiele’s personality, those three weeks spent in prison were just the thing that was needed to make him a true martyr for the cause of art. I’m sure that Serge Gainsbourg has a self-satisfied smirk on his face when he heard that the eroticism of his song ‘Je t’aime’ was deemed offensive and that the song was banned in many countries. He said himself once that provocation was his oxygen, and I think Schiele felt something similar because he was self-consciously provocative. Perhaps that’s just my view because I’d certainly enjoy being provocative. Schiele wrote himself that he feels ‘purified, not punished’, and he identified himself with St Sebastian, who is always presented in art with arrows; this is an identification that he shared with the German poet Georg Trakl, and both wrote similar poetry, full of anxiety and symbolism at the same time. Schiele’s yet another self-portrait from 1914 shows this fascination and identification with St Sebastian; he drew himself as a thin, fragile figure with half-closed eyes, almost falling down from the attack of the two arrows protruding his body. He didn’t fill in the drawing with watercolour, yet the paper and pencil lines are eloquent enough to tell us about the anguish he felt. No colour – no life. No colour because he’s fading away.

Egon Schiele, I Love Antitheses (self-portrait), 1912

All in all, the Neulengbach affair that seemed like a tragedy at first sight, turned out to be a stepping stone for Schiele’s career and it started the cult of Schiele as a tortured genius who endured suffering for his art – a martyr of art. After the darkness, followed the light. Schiele has risen from the ashes and once again he was arrogant, brazen, bursting with confidence, and the words he wrote to his mother in March 1913 confirm that a fruitful period lay in front of him: “All beautiful and noble qualities have been united in me… I shall be the fruit which will leave eternal vitality behind even after its decay. How great must be your joy, therefore, to have given birth to me!”

Egon Schiele – Neuelengbach Affair – Martyr for the Cause of Art: Part I

21 Apr

This is the first out of two posts which will explore Egon Schiele’s artistic endeavours in a small town of Neulengbach and his time spent in prison for his erotic drawings.

Egon Schiele, Nude against coloured background, 1911

As I already wrote in my post about Egon Schiele’s Krumau Scenes, small towns and suburbs held a particular charm for this artist, and even before coming to Krumau in May 1910, just a month shy of his twentieth birthday, he’d dreamt of an artistic paradise in some small town where he could afford to rent a cheap studio and be surrounded by nature all day long. Also, he wanted to escape the dark city full of shadows – Vienna, or that is at least how he saw it. Krumau was the birthplace of his mother and that’s why it caught his attention. He first visited the place with his painter-friends; Anton Peschka and Ervin Osen, and then, in May 1911, he settled in a little house near the river Vltava (Moldau) with his new model, lover and a muse – Wally Neuzil. He painted her in the studio, and he also painted a lot of landscapes, capturing the densely situated colourful houses, emphasising their decaying mood, and sunflowers too.

Need I mention that the inhabitants of this little, dreamy, provincial town weren’t really pleased with having a cocky artist living in sin with his pretty little red-haired muse? Town had its charm indeed and Schiele produced some good paintings there, but their heaven came to an end sometime in July 1911, when he wrote to Roessler: “You know how much I like to be in Krumau and now life is made impossible. People boycott us simply because we’re red. Of course I could defend myself, even against all 7,000 of them, but I don’t have the time and why should I bother?” Term ‘red’ was used for a person not going to church. And so Schiele and Wally returned to Vienna.

Egon Schiele, The Self Seers (Death and Man), 1911

Schiele’s longing for a peaceful and creative mood of a small town or a village is so naive in my eyes. Yes, nature is beautiful, but the mood of a small town, the provincial claustrophobia, the judgemental and simple-minded people, there’s no beauty in that, and I should know. People of Krumau, in Schiele’s time, were a bunch of intolerant, simple-minded fools who probably couldn’t understand his art if their lives depended on it, but wait till you hear what happened in Neulengbach.

Schiele spent only a month in Vienna and already started looking for a new rural paradise where his art would thrive, and he found it very near Vienna, just 35 km away or a short train ride, a town of Neulengbach. Paintings that he made there are very interesting; dark, disturbing, painted with thick heavy brushstrokes in scarce, murky colours they are heavily influenced by the late nineteenth century Symbolist paintings. Just reading the titles of his paintings from these years, such as ‘Dead Mother’, ‘Prophet’ or ‘Pregnant Woman and Death’, gives us a sense of dark times and some serious questioning of life and meaning of existence, and while that may be true to a point, I can’t know what was in his head, his time in Neulengbach was actually a rather happy and productive time.

Painting The Self-Seers is a good example of things that he painted in Neulengbach, and it unites Schiele’s obsession with himself and his interest in morbid themes. Did I mention that he was immensely fascinated with himself? He painted many self-portraits; in some he presented himself in a wild embrace with death, in others – simply masturbating, but in this rather sinister self-portrait he painted himself with his Doppelgänger, the person’s exact double, and a very popular motif in German literature of Romanticism, but also in works of Shelley and Poe. Colours of mud, face expressions unsettling, fingers in a strange position, brushstrokes heavy; like the fingers of a corpse scratching its way from the coffin through the moist loam. While his drawings ooze lightness and colourfulness, his paintings are dark and distorted, like they grew from the muddy, scarce, infertile soil after the rain.

Egon Schiele, The Artist’s Room in Neulengbach, 1911

Perhaps the most important and most interesting of Schiele’s works created in Neulengbach is the painting The Artist’s Room in Neulengbach which obviously took inspiration from Vincent van Gogh’s Bedroom in Arles painted in 1888. In both cases, artists painted the bedrooms of their artistic havens. People of Arles and Neulengbach ought to have been privileged that an artist came to live and work in their town, but needless to say that they weren’t.

We can’t help notice the sombre and claustrophobic mood of his bedroom; high viewpoint, the usual palette of browns, black, a bit of yellow and muted red, all intensify the tense and static mood of the room which doesn’t seem that much different to that of a prison cell. Schiele again presents us with his nihilistic vision of the world, and his bedroom, no matter what it looked like in reality, is presented here looking as drab and miserable as the bedroom of Gregor Samsa from Kafka’s Metamorphosis must have looked like. In comparison, Van Gogh’s bedroom bursts with colour and frenzy. Ah, you know what it’s like, bright sun of Arles and some absinthe, and the world appears before your eyes in colours of a rainbow! In van Gogh – it’s passion and vigour, in Schiele – it’s death and decay.

While van Gogh’s room is oil on canvas, Schiele’s painting was made on a smooth piece of wood with colour being applied in many thin layers producing a kind of enamel effect. He made several paintings in this technique, and he called them ‘Bretterl’ or ‘little boards’.

Vincent van Gogh, Bedroom in Arles, 1888

In the following post you’ll find out why he was imprisoned and the effect his time in prison had on his art and the cult of him as a provocative artist. To be continued 🙂

My Inspiration for April III

30 Apr

April has gone by so quickly for me. I remember the evening of 1st April so vividly: magnolia blossoms, smell of freshly mown grass, bird song, sweet hopes for the weekend… Time flies.

My discovery for this month is a YouTube channel called ‘School of Life’, I especially liked their video ‘Are You Romantic or Classical?’ Do check it out, I’d like to know which one are you. It goes without saying I’m 100% romantic. Their videos, mostly about art, history, philosophy, sociology, are a perfect dose of intellect and pessimism. Also, watch their video about Lao Tzu – animations are nice.

My other inspirations include Romanticism, Mary Shelley, Aestheticism, and Oscar Wilde, Serge Gainsbourg, kitchen sink dramas. As for films, I have to mention a few ‘Withnail and I’ (1987) – mind blowing, Cheri (2009), Irma la Douce (1963), A Little Chaos (2014), Alfie (1966), Sparrows (1926) – gothic mood, Gainsbourg: Heroic Life, The Girl With the Green Eyes and The Knack… and How to Get it – both with Rita Tushingham, and The Heiress (1949) which I watched only because of Montgomery Clift. And I almost finished watching all the films from the list of ‘Best films set in the 1960s

1785-86. Thomas Gainsborough - Mrs. Richard Brinsley Sheridan

1782. Princess Augusta Sophia of the United Kingdom

Cheyne Walk c.1840 British School 19th century 1800-1899 Presented by E. Homan 1899 http://www.tate.org.uk/art/work/N01719

Cheyne Walk c.1840 British School 19th century 1800-1899 Presented by E. Homan 1899 http://www.tate.org.uk/art/work/N01719

1857. The Sister’s Grave by Thomas Brooks

romanticism architecturethe smiths there is a light that never goes out

1970s Debbie Harry, Call Me 31777-78. Thomas Gainsborough - Portrait of Anne, Countess of Chesterfield

1930s Joan Bennett 1  Gainsbourg Vie Heroique (2010) 3

GAINSBOURG: A HEROIC LIFE, (aka GAINSBOURG (VIE HEROIQUE)), from left: Lucy Gordon as Jane Birkin, Eric Elmosnino as Serge Gainsbourg, 2010. ©Focus Features

GAINSBOURG: A HEROIC LIFE, (aka GAINSBOURG (VIE HEROIQUE)), from left: Lucy Gordon as Jane Birkin, Eric Elmosnino as Serge Gainsbourg, 2010. ©Focus Features

1964. The Girl With The Green Eyes with Rita Tushingham 1

1946. Great Expectations (1946) 14 1946. Great Expectations (1946) 2 1938. Bette Davis in 'Jezebel' (1938) 101965. The Knack... and How to Get It 12

1776-78. Lady Elizabeth Hamilton (1753–1797), Countess of Derby by George RomneyA_LITTLE_CHAOS_2.jpg

1966. Alfie 1

W. Wordsworth – ‘My Heart Leaps Up’ or ‘The Rainbow’

7 Apr

English Romantic poet William Wordsworth was born on 7th April 1770.

(c) National Museums Northern Ireland; Supplied by The Public Catalogue Foundation

(c) National Museums Northern Ireland; Supplied by The Public Catalogue Foundation

Paul Sandby (1731-1809), Carrick Ferry, near Wexford, Ireland

The Rainbow

My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is the father of the Man;
And I could wish my days to be
Bound each to each by natural piety.