Tag Archives: still life

Paul Cézanne and Katherine Mansfield: I, myself, am changing into an apple, too

19 Jan

Paul Cézanne was one of those painters who are here to show us that sometimes what is painted is less important than how something is painted. Cézanne is our birthday boy today, he was born on this day in 1839.

Paul Cezanne, Four Apples, 1881

The simple, yet striking composition you see above with four apples, ripe and idle, gracing the table, is typical for Cézanne. Unlike some Dutch Baroque master who wanted to show his skill in painting with perfect accuracy or displaying wealth symbolised by flowers and fruit, Cézanne’s motifs were of an entirely different nature. He used every motif to explore colours and shapes. Here we see four apples in different sizes and colours, we see the brushstrokes that created them but we can also feel how real and touchable they are, their red and green colours oozing life. They are placed on a grey surface, the edges of which are left unfinished, exposing the canvas and the thick brushstrokes of grey paint, leaving visible this pulsating line which visually divides the painting or “the illusion” and the bare canvas or “the reality”.

And now a small digression, since the motif of apples is present here, I will use the opportunity to share with you a very interesting fragment from a letter by Katherine Mansfield to her painter-friend Dorothy Brett.

What can one do, faced with this wonderful tumble of round bright fruits, but gather them and play with them—and become them, as it were. When I pass the apple stalls I cannot help stopping and staring until I feel that I, myself, am changing into an apple, too—and that at any moment I may produce an apple, miraculously, out of my own being like the conjurer produces the egg. When you paint apples do you feel that your breasts and your knees become apples, too? Or do you think this is the greatest nonsense. I don’t. I am sure it is not. When I write about ducks I swear that I am a white duck with a round eye, floating in a pond fringed with yellow blobs and taking an occasional dart at the other duck with the round eye, which floats upside down beneath me. (…) There follows the moment when you are more duck, more apple or more Natasha than any of these objects could ever possibly be, and so you create them anew.

What a beautiful, delightful and psychedelic idea; to imagine yourself turning into an apple, becoming the apple that you see in front of you!? But let’s get back to Cézanne. What he wanted to achieve was the illusion of depth without sacrificing the luminosity of colours. In a way, his ambivalence towards the art of proper drawing opened a gateway for many artists who followed. His brushstrokes, palette of colours and relentless interest in portraying similar scenes make Cézanne’s paintings highly recognisable. He was often repetitive in the choice of subjects and he was mainly concentrated on still lives and numerous landscapes with Mount Sainte-Victorie, but he also painted many interesting portraits of his family and imaginary figures. Unlike his contemporaries, the young bohemian artists who arrived to Paris to struggle and thrive in creating their art, Cézanne was from a well-off family and later even inherited a little fortune which allowed him to entirely devote his life to art, without any sacrifices, and to really explore his artistic visions without worrying about pleasing the possible buyers or earning for bread.

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Anne Redpath – A Splash of Colour in the Grey North

16 Jun

I am re-posting this post from last year because I don’t have much time to write a new one at the moment, and also, I’ve been really loving the paintings by Anne Redpath recently, so I thought, why not, I’m sure my newer readers haven’t read it yet. Enjoy!

***

After watching two documentaries by Michael Palin, one on the subject of The Colourists and the other on Anne Redpath, I was instantly captivated by this fresh and vibrant wave of art in the first half of the twentieth century.

Anne Redpath, Still Life of Flowers and a Teapot, c. 1950s

These intricate contrasts of grey or neutral backgrounds with splashes of vibrant colours: mauves, purples, pink, orange, lilac, yellow and misty blue, remind me of a contrast between reality and fantasy, everyday life and gaiety of circus. Scottish artist Anne Redpath (1895-1965) loved this contrast, especially after she moved to Edinburgh in 1949 and started making paintings that are now considered some of her best works. These ‘portraits’ of cheerful domesticity: bright and vivacious flowers in their grey vases, jugs, teapots, lace tablecloths, mantelpieces, armchairs and wacky carpets, all allowed her to explore colour to its full potential. If you take a look at the painting Still Life of Flowers and a Teapot, you’ll notice the excitement this contrast creates; first you see the gentle pinks and lilacs that exude serenity, and then the crimson red, blue and yellow frenzy on the left, daisies and roses are protruding from the vase, dying for someone to notice their beauty.

Anne Redpath, Still Life, Flowers in a Vase, c. 1950s

Anne Redpath, Flowers, c. early 1950s

Anne Redpath, Summer Flowers, 1945

This enthusiasm for colours, although reflected in different ways, is something that connects Anne Redpath with the Scottish group of painters called The Colourists. Anne said herself: ‘I am someone who is very interested in colour – and by that, I mean bright colour, gay colour; but at the same time, if you are a colourist, you like quiet colour as well and I think this love of gay colour is contrasted in my mind with this love of whites and greys.‘ Still, don’t be mistaken that Anne Redpath painted only these simple still lives. Oh no, she travelled a lot, more so near the end of her life than she did in her youth, and where ever her foot stepped, her brush followed.

Redpath led quite an exciting life; while studying at the Edinburgh College of Art she used her scholarship to travel to Bruges, Brussels, Paris and Italy, then, in 1920, she married an architect James Michie and soon her focus shifted from art to raising their three sons in sunny French Riviera. In the mid 1930s, now separated from her husband, she returned to the Scottish Borders along with her sons, and started painting again as a way of earning money. Travelling to warm and colourful places kept her artistically stimulated, and so she travelled to Venice, Spain, Brittany, the Canary Islands and Corsica. Along with her oh-so-famous still lives, scenes of catholic churches in Venice and France, houses in Corsica and boats at Concarneau, landscapes of French Riviera or Kyleakin and portraits of her family members are all part of her oeuvre.

Anne Redpath, Corsican Village, 1955, Glasgow Museums

Anne Redpath, Boats at Concarneau, 1953

Besides her beautiful still lives, I was particularly drawn to two other paintings, Corsican Village (1955) and Boats at Concarneau (1953). Corsican Village slightly reminds me of Chaim Soutine’s nervous brushstrokes, but only slightly. The painting is so vibrant; these tall dense houses clinging one to another, painted in greys, salmon pinks and olive greens, and then the beautiful careless brushstrokes in the left corner, as if Redpath is reminding us that she is here, the person behind the painting. This painting is really a moment captured in time, you can almost feel the waves crashing onto the shore and hear the seagulls.

Boats at Concarneau has a completely different mood. It’s a rhapsody of greys and blues where, instead of people, the sitters are tiny white houses in the background and small boats. Their red and green colours match the surroundings, and stand out at the same time. The blueness is just beautiful, though I still can’t decide whether this is a night scene or a moment before the storm, just when the dark clouds gather and everything is still until it starts pouring rain.

Anne Redpath, Still Life with Teapot on Round Table, 1945

Perhaps the thing I like the most about Anne Redpath’s art is its honesty. When you draw a parallel between her life and art she was making, you realise that all her paintings are truly her visual diaries, records of the places she visited and the unique way she saw them. And in her still lives, she painted objects that surrounded her and things she liked; the tea cups, jugs and vases all belonged to her, and most of it came from her travels. Her paintings show us how fully she embraced her life.

Anne Redpath – A Dash of Colour in the Grey North

10 Jul

After watching two documentaries by Michael Palin, one on the subject of The Colourists and the other on Anne Redpath, I was instantly captivated by this fresh and vibrant wave of art in the first half of the twentieth century.

Redpath, Anne; Still Life of Flowers and a Teapot; National Trust, Fenton House; http://www.artuk.org/artworks/still-life-of-flowers-and-a-teapot-217649

Anne Redpath, Still Life of Flowers and a Teapot, c. 1950s

***

These intricate contrasts of grey or neutral backgrounds with splashes of vibrant colours: mauves, purples, pink, orange, lilac, yellow and misty blue, remind me of a contrast between reality and fantasy, everyday life and gaiety of circus. Scottish artist Anne Redpath (1895-1965) loved this contrast, especially after she moved to Edinburgh in 1949 and started making paintings that are now considered some of her best works. These ‘portraits’ of cheerful domesticity: bright and vivacious flowers in their grey vases, jugs, teapots, lace tablecloths, mantelpieces, armchairs and wacky carpets, all allowed her to explore colour to its full potential. If you take a look at the painting Still Life of Flowers and a Teapot, you’ll notice the excitement this contrast creates; first you see the gentle pinks and lilacs that exude serenity, and then the crimson red, blue and yellow frenzy on the left, daisies and roses are protruding from the vase, dying for someone to notice their beauty.

***

1950s Anne Redpath - STILL LIFE – FLOWERS IN A VASE

Anne Redpath, Still Life – Flowers in a Vase, c. 1950s

1950s Anne Redpath - Painting 2

Anne Redpath, Flowers, c. early 1950s

***

This enthusiasm for colours, although reflected in different ways, is something that connects Anne Redpath with the Scottish group of painters called The Colourists. Anne said herself: ‘I am someone who is very interested in colour – and by that, I mean bright colour, gay colour; but at the same time, if you are a colourist, you like quiet colour as well and I think this love of gay colour is contrasted in my mind with this love of whites and greys.‘ Still, don’t be mistaken that Anne Redpath painted only these simple still lives. Oh no, she travelled a lot, more so near the end of her life than she did in her youth, and where ever her foot stepped, her brush followed.

Redpath led quite an exciting life; while studying at the Edinburgh College of Art she used her scholarship to travel to Bruges, Brussels, Paris and Italy, then, in 1920, she married an architect James Michie and soon her focus shifted from art to raising their three sons in sunny French Riviera. In the mid 1930s, now separated from her husband, she returned to the Scottish Borders along with her sons, and started painting again as a way of earning money. Travelling to warm and colourful places kept her artistically stimulated, and so she travelled to Venice, Spain, Brittany, the Canary Islands and Corsica. Along with her oh-so-famous still lives, scenes of catholic churches in Venice and France, houses in Corsica and boats at Concarneau, landscapes of French Riviera or Kyleakin and portraits of her family members are all part of her oeuvre.

***

Redpath, Anne; Corsican Village; Glasgow Museums; http://www.artuk.org/artworks/corsican-village-85811

Anne Redpath, Corsican Village, 1955, Glasgow Museums

1950s Anne Redpath - Painting 4

Anne Redpath, Boats at Concarneau, 1953

***

Besides her beautiful still lives, I was particularly drawn to two other paintings, Corsican Village (1955) and Boats at Concarneau (1953). Corsican Village slightly reminds me of Chaim Soutine’s nervous brushstrokes, but only slightly. The painting is so vibrant; these tall dense houses clinging one to another, painted in greys, salmon pinks and olive greens, and then the beautiful careless brushstrokes in the left corner, as if Redpath is reminding us that she is here, the person behind the painting. This painting is really a moment captured in time, you can almost feel the waves crashing onto the shore and hear the seagulls.

Boats at Concarneau has a completely different mood. It’s a rhapsody of greys and blues where, instead of people, the sitters are tiny white houses in the background and small boats. Their red and green colours match the surroundings, and stand out at the same time. The blueness is just beautiful, though I still can’t decide whether this is a night scene or a moment before the storm, just when the dark clouds gather and everything is still until it starts pouring rain.

***

1946. Anne Redpath - The Worcester Jug

Anne Redpath, The Worcester Jug, 1946

1947. Anne Redpath - The Mantelpiece

Anne Redpath, The Mantelpiece, 1947

Perhaps the thing I like the most about Anne Redpath’s art is its honesty. When you draw a parallel between her life and art she was making, you realise that all her paintings are truly her visual diaries, records of the places she visited and the unique way she saw them. And in her still lives, she painted objects that surrounded her and things she liked; the tea cups, jugs and vases all belonged to her, and most of it came from her travels. Her paintings show us how fully she embraced her life.