Tag Archives: White

John Singer Sargent’s Watercolours – Ladies with Parasols

9 Apr

It so happens that most of the paintings I talk about here on the blog are oil on canvas, but deep down in my heart I am an ardent lover of watercolours. I think it’s a medium full of spontaneity and feelings. So, let’s take a look at some beautiful watercolours with a mood of spring and indolence by an American Impressionist John Singer Sargent.

John Singer Sargent, The Lady with the Umbrella, 1911, detail

A beautifully dressed woman with a parasol, in nature, enjoying the sunshine and summer breeze; not quite a foreign subject to the artists, especially not to the Impressionists; Claude Monet for one painted plenty of such scenes. Still, I feel that John Singer Sargent’s explorations of this theme are particularly interesting. Firstly because they are made in watercolours, and secondly they were made in moments when Sargent was taking a break from his highly appraised oil-on-canvas portraits of Victorian and later Edwardian nobility, therefore they are more experimental and more intimate. These show Sargent’s heart, not his business.

John Singer Sargent, The Lady with the Umbrella, 1911

In “The Lady with the Umbrella”, a beautiful woman dressed in a beautiful white gown is lying on the grass; her umbrella has just rolled over and she has to hold it gently with her hand, lest the summer’s breeze might blow it away. There is an air of sweetness and delicacy about her, she looks like a large white anemone flower, but there is a hint of sensuality as well; her flushed cheeks and direct gaze, the way her little hand is holding the umbrella, the S-silhouette of her body, so typically Edwardian, clad in soft whiteness. The sitter is actually Sargent’s niece Rose-Marie Ormond. I like how closely cropped her body is; look how her dress and the umbrella are delightfully ‘cut-off’. The artist hesitates to show us all of her charms, but rather invited us to daydream of the nature surround this beauty and makes us believe her dress is indeed a flowing sea of white silk that goes on and on, lavish and soft. The painting reminds me of a scene you’d find in Merchant-Ivory films such as “A Room with a View” (1985) or “Howards End” (1992) with the beautiful Helena Bonham-Carter. Also, because of the woman’s gaze, pose and the way she’s closely-cropped, it almost reminds me of fashion photography, from the sixties and seventies as well as now. Example of what I mean is right below:

John Singer Sargent, Madame Roger-Jourdain, 1883-85, watercolour on paper, 30.5 x 55.8

Still, “The Lady with the Umbrella” isn’t the first painting of this kind that Sargent made. After 1900, Sargent often used the motif of woman lying on the grass with her parasol near her, but when he painted Henriette, this was a new thing for him. His watercolour portrait of Madame Roger-Jourdain made decades earlier is perhaps the painting that started it all. Henriette Roger-Jourdain was a daughter and the wife of two artists; her father was Henri Moulignon, and her husband was the artist Joseph Roger-Jourdain. Henriette was not just a society hostess but also a friend and a muse to many artists; composer Gabriel Fauré dedicated his composition “Aurore” to her in 1884, Paul Albert Besnard and Sargent both painted her. Sargent became acquainted with the Roger-Jourdain family because they were neighbours in the boulevard Berthier in Paris.

The painting is similar to the one we’ve seen above; a lady lying on the grass with her parasol near her, but here her body isn’t closely cropped and she is surrounded by grass; freedom all around her. One can imagine her laughing when tickled by the grass, stretching her arms and breathing in the fresh air, laughing at the tree tops that open before her eyes, wishing she could fly with the birds and be one with the baby blue sky… Dressed in a white dress, lying on that dark green grass she looks like a lotus flower on the flickering emerald green surface of a lake. The portrait oozes that fantastically indolent and sensuous “dolce far niente” mood.

John Singer Sargent, Woman with Parasol, 1888, watercolour on paper, 17.2 x 24.1 cm

Now, this third example is a tad different; the colours are darker and the woman appears more demure. She is depriving the viewer of her coquettish gaze, choosing rather to stay hidden underneath her gauzy white scarf. I really appreciate the sketch-like brushstrokes here; look how the parasol was painted with its taupe brown shadings and details in white, then the grass in a strange moss-green colour, perhaps it was an autumn day. Again, the woman’s hat and her parasol are slightly closely-cropped which helps us imagine that we are there with her, it gives an immediacy to the scene.

All painting/drawing techniques have their strengths and beauties. Drawings with pencil exude sincerity, those with charcoal possess the gloom and the strength of a tall oak. Pastels are raw pigments and their vibrancy is so psychedelic and childlike. All yet, I adore watercolours! Painting with them is such a thrill; you dip your brush in that watery paint, press is gently to the paper and let is either sink in or mingle freely with the colour next to it… and you feel like a magician, like a witch over her cauldron creating a love potion. Pure magic! Everyone should try it, it’s really therapeutic, it feels like travelling on a rainbow and making friends with each colour. I feel that, with watercolours, the painting almost creates itself; you can make a brushstroke in blue and add a mere drop of red, when water touched the two, you’ll see purple. You can play with it and see where it takes you.

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Aesthetic Movement: Oriental Lyricism vs Sumptuousness of Renaissance

19 Feb

L’art pour l’art, art for art’s sake; welcome to the world of Aestheticism!

James Abbott McNeill Whistler, Symphony in White, No. 3, 1865-67

“Now at last the spring

draws swiftly to its finish.

How alone I am.”

(Natsume Soseki, Kusamakura)

I bet that hearing the young Chelsea bohemians and aesthetes, such as Whistler and Rossetti, boasting about their art for art’s sake motto, was like a slap in the face to all that Ruskin had achieved in his writings and life long devotion to art. The English aesthetes continued in their paintings what the French poet and a devotee of Beauty, Théophile Gautier started. Art for art’s sake principle claims that the only purpose of art is to create Beauty; art should be its own purpose, and ought to remain detached from society, politics, philosophy or science. Perfection of execution and harmony of colours were seen as important means of achieving the Beauty. In the preface to his novel Mademoiselle de Maupin (1835) Gautier wrote: “Nothing is truly beautiful except that which can serve for nothing; whatever is useful is ugly.” This view of art having merely an aesthetic value clashed with John Ruskin’s opinion that art should convey the moral truths and influence us on a spiritual level.

Representatives of this wave of aestheticism in England, James Abbott McNeill Whistler, Dante Gabriel Rossetti, Albert Moore, Frederic Leighton and Edward Burne-Jones, filled their canvases, in most cases, with beautiful women in sumptuous surroundings, wearing gorgeous clothes and evoking a mood of languor and sweetness smelling of violets and roses. This obsession with Beauty went in two different directions; the first was the Oriental-inspired musings, while the other went into the past and revisited the luxurious settings of Titian and Giorgione’s paintings.

James Abbott McNeill Whistler, Le Princesse du Pays de la Porcelaine, 1863-65

“The temple bell stops –

but the sound keeps coming

out of the flowers.”

(Basho, translated by Robert Bly)

Whistler is the representative of the first path; inspired by both his fellow painter Albert Moore and Japonism or the madness for all things Japanese, Ukiyo-e prints, porcelain and fabrics that ruined the minds of Parisian artists like plague, he created delicate, serene and lyrical paintings bathed in white and lightness. His famous “Symphonies”, the third one you can see above, were admired by his fellow painters such as James Tissot, Alfred Stevens and Edgar Degas, but also highly criticised too. Model for the girl lounging on the couch was Whistler’s mistress, model and muse Joanna Hiffernan who also posed for the Symphonies in White no. 1 and 2.

A painting needn’t always have a lady dressed in a kimono, white clothes or cherry blossom tree in it, for us to say that it was Japanese-inspired, it’s more about following the principles of Ukiyo-e prints and Japanese design by observing their use of perspective, flat portrayal of space, composition and bold outlines. This is also how Edgar Degas explored Japonism, by incorporating its interesting perspectives into his ballerina scenes, unlike Monet who opted for the simpler way: painting his wife in a colourful kimono.

Dante Gabriel Rossetti, Monna Vanna, 1866

Artists who took the second path, Dante Gabriel Rossetti and Edward Burne-Jones, partly continued the Medieval reveries, but were mostly inspired by the luxurious, richly-coloured paintings of Renaissance ladies by Titian, Veronese and dreamy idyllic world of Giorgione. Ever since he painted “Bocca Bacciata” in 1859, Rossetti continually returns to the subject of a beautiful sensual and vain woman-enchantress with bloody lips of a vampire, clad in luxurious fabrics, surrounded with objects of beauty such as fans, jewellery or flowers. Her long and lustrous hair is ready to smother every man who dares to set his eyes upon her, her eyes are cold and large gemstones. “Monna Vanna” is another beautiful example of the rich-coloured dreamy splendour that Rossetti portrays, using different models but painting the same archetypal face with heavy-lidded eyes, strong neck and large lips.

Edward Burne-Jones, Le Chant d Amour (Song of Love), 1869-77

And at springtide, when the apple-blossoms brush the burnished bosom of the dove,
Two young lovers lying in an orchard would have read the story of our love;
Would have read the legend of my passion, known the bitter secret of my heart,
Kissed as we have kissed, but never parted as we two are fated now to part.
(Oscar Wilde, Flower of Love)

Edward Burne-Jones, a young admirer of Rossetti and a follower of Pre-Raphaelite ideas, also paints idealised worlds with much beauty but little content. In those reveries inspired by the Italian High Renaissance, like the “Song of Love” time stands still and figures are sinking deeper and deeper into the sweet languor that arises from imaginary sounds. Warm glowing colours are melting and draperies are heavy, as if carved from stone. Faces are strong and gazes distant. Claustrophobia and stillness almost painful, rapture captured for eternity, the height of ecstasy, the trembling of sighs, the caressing twilight that flickers in the distant sky, cold stone of the castle, eyelids closed by the intoxicating perfume of the tired tulips in the foreground.

No breeze, no movement, no bird is heard, the hand that lightly touches the keys of an instrument produces no sound, the drapery and the fine hair not dancing in the wind but stopped in the movement, the gaze is forever fixated. The figure on the right dressed in red, seems to be whispering Oscar Wilde’s lines “Had my lips been smitten into music by the kisses that but made them bleed” from “Flower of Love”. The painting itself has a mood of a flower which, unable to bloom or wither, chooses to stay crouching for eternity in the painfully agonizing stage of the bud.

Titian, Sacred and Profane Love, 1514

Just by looking at Titian’s “Sacred and Profane Love” and Giorgione’s “Pastoral Concert”, it is easy to see their influence on both Burne-Jones’s “Song of Love” and Rossetti’s “Monna Vanna”. The same sweet languor pervades the air, the background reveals contours of a castle and a yellowish sky, and the draperies are similar as well. In Giorgione’s “Pastoral Concert”, people are enjoying the music and each others company as warmth and indolence hang over them like a bright soft cloud.

Giorgione, Pastoral Concert (Fête champêtre), 1508-09

So, which direction of Aesthetic movement in painting do you prefer; oriental or Renaissance? It is pretty clear that I am all for the serenity of Whistler’s Symphonies in white influenced by Japanese-influence, but both possess their beauty. Whistler’s paintings can sometimes seem distant and cold, and the intensity of Rossetti and Burne-Jones’s colours and details can sometimes be overwhelming.

Edwardian Daydreams of the 1970s – Lace, Pastel Colours, Countryside Idyll

8 Sep

Today we’ll take a look at the Edwardian influence on the fashion of the 1970s and the dreamy world it created where white lace, straw hats, floral prints and pastel colours rule.

Photo by David Hamilton, 1970s

Fashion-wise, the 1970s were an eclectic decade, a trend-driven one, especially compared to the previous ones, like the 1950s which were homogeneous. Fashions ranged from Hollywood-inspired Biba glamour, Glam rock, Yves Saint Lauren’s gypsy exoticism to disco, Studio 54 extravagances, Punk and New wave. There was also one trend that I absolutely adore at the moment – the Edwardian revival which brought a gentle, girly and romantic touch to one’s wardrobe. It is in stark contrast to the bold patterns and bright colours of sixties mini dresses.

I already wrote about the influence of the late Victorian and Edwardian era along with Art Nouveau on sixties psychedelia, both in visual art and in fashion here, but this influence is a tad different. Forget the vibrant colours and shapes of Mucha’s paintings that go perfectly with groovy sixties posters. Open your mind for something whiter, gentler, dreamier….

Jane Birkin (1970) and Edwardian lady (1900)

Photo by David Hamilton, 1970s

Left: Bette Davis, Right: Jerry Hall by David Hamilton

Wearing certain clothes can transport you to a different place in imagination, don’t you agree? Well, the mood of this Edwardian revival fantasy is that of an idealised countryside haven where a maiden in white spends her days in romantic pursuits such as pressing flowers, strolling in the meadows, picking apples, lounging on dozens of soft cushions with floral patterns and daydreaming while the gold rays of sun and gentle breeze peek through the flimsy white curtains, reading long nineteenth century novels by Turgenev or Flaubert in forest glades, Beatrix Potter’s witty innocent world of animals, illustrations by Sarah Key, all the while being dressed in beautiful pastel colours that evoke the softness of Edwardian lace, Lilian Gish and Mary Pickford’s flouncy girlish dresses, long flowing dresses with floral prints and delicate embroidery, straw hats decorated with flowers and ribbons, lace gloves, pretty stockings, and hair in a soft bun with a few locks elegantly framing the face, or all in big rag curls with a large white or blue bow, resembling a hairstyle of a Victorian little schoolgirl.

Brooke Shields in “Pretty Baby” (1978)

Left: Lillian Gish, Right: Mary Pickford, c. 1910s

As you know, films have an influence over fashion. I myself often watch a film and caught myself mentally going through my wardrobe and looking for similar outfits that a heroine is wearing. It’s beyond me. Many films from the seventies have the same romantic Edwardian revival aesthetic, such as Pretty Baby (1978) set in a New Orleans brothel at the turn of the century, women are lounging around in white undergarments and black stockings which is so typically fin de siecle, and Shield Brooks in a white dress holding a doll, adorable.

In Australian drama mystery film Picnic at the Hanging Rock (1975) set in 1900 girls from a boarding school go out in nature for an excursion and are dressed in long white gowns, have straw hats or parasols and white ribbons in their hair, Polanski’s Tess (1979) brought an emphasis on the delicate beauty of floral prints on cotton and that also inspired the designer Laura Ashley, even the film Virgin Suicides (1999) which is set in the seventies has a wardrobe of pastels and florals and all the girls wear such dresses to a school dance.

Left: Brigitte Bardot and Right: Nastassja Kinski

ELLE France, 1978, Gilles Bensimon

Left: dreamy hairstyle, Valentino Haute Couture Spring 2015, Right: photo from 1910

Virgin Suicides (1999)

Left: Picnic at Hanging Rock (1975), Right: two Edwardian ladies, 1900s

Models of the era are also seen wearing the fashion, such as Twiggy with her straw hat with cherries and Jerry Hall in white dress. Many photos by David Hamilton also capture the mood of this Edwardian revival; there’s something dreamy and ethereal about them, a frozen moment with girls in a reverie, either lounging on bed half-naked or surrounded by trees and flower fields wearing long floral dresses and hats, looking so serene as if they belong to another world. The first picture in this post is my favourite at the moment, a girl with a straw hat with ribbons, and stocking, and those warm Pre-Raphaelite colours… mmm…

Edna May photographed by Alexander Bassano, 1907

Jane Birkin looking so Edwardian and adorable!

Even Brigitte Bardot couldn’t resist elegance in white.

Tess (1979)

Seventeen magazine, February 1974

Twiggy in Valentino by Justin de Villeneuve for Vogue Italy, June 1969

Brigitte Bardot

Wedding dress ‘Faye Dunaway’ by Thea Porter, 1970, England – All that lace!!!

Left: Abbey Lee Kershaw by Marcin Tyszka, Vogue Portugal (2008), Right: Alexis Bledel in Tuck Everlasting (2002)

As you can see in the pictures above, the Edwardian revival has found its place in contemporary fashion and cinematography as well. If you like this style, look for things that capture the mood, regardless of the decade.So, do you want to be a pretty and dreamy Edwardian lady too? Well, it is simple, you can wear a white dress, have a cup of tea, read Flaubert’s “Madame Bovary” or Forster’s “A Room With a View”, stroll around wearing a straw hat, pick flowers, press flowers, chase butterflies, surround yourself with white lace and indulge in reveries!

Inspiration: Straw Hats, White Lace and Promises

19 Jun

The is my “aesthetic” at the moment, and the inspiration for the title comes from the verse of the song “We’ve only just begun” by The Carpenters:

We’ve only just begun to live
White lace and promises
A kiss for luck and we’re on our way
We’ve only begun

 

J. A. M. Whistler – Symphony in White no 2 (The Little White Girl)

16 Feb

It’s impossible not to love this painting; it has a meditative, dreamy aura, wistful lady wearing a beautifully painted white dress, and delicate pink flowers, hinting at Whistler’s appreciation of Japanese art and culture.

1864-james-abbot-mcneill-whistler-symphony-in-white-no-2-the-little-white-girlJames Abbot McNeill Whistler, Symphony in White no 2 (The Little White Girl), 1864

Model for this ‘little white girl’ was an Irish beauty Joanna Hiffernan, a muse, model and a lover not only to Whistler but to Gustave Courbet as well, most famously in his painting ‘Sleep.’ Whistler’s biographers wrote of her: “She was not only beautiful. She was intelligent, she was sympathetic. She gave Whistler the constant companionship he could not do without.” Here, in Symphony in White no 2, Whistler painted her leaning against the mantelpiece in their love nest; a house they shared in Lindsey Row in Chelsea. She’s holding a Japanese fan in her hand. It’s interesting to note the ring on her left hand, but they were not married. There’s something ethereal about her; dressed in white gown that touches the ground, with long hair and a sad look in her eyes; she seems melancholic and detached from everything at the same time, as if she’s not really here, but is just passing through life without touching it, not allowing the harshness of reality to taint that beautiful whiteness of her muslin dress. If you close your eyes, you can imagine her slowly and elegantly walking across the room, then standing by the fireplace, her small hand barely touching the mantelpiece, while the other gently holds a fan. She is a silent Victorian woman living on the border of dreams and reality, like Millais’ Mariana, wrapped in the loneliness of her birdcage, longing for the imagined excitement of the real life out there. Or not. Perhaps she’s so engulfed in the sweetness of her daydreams and contemplation and doesn’t even walk to live the ‘real life’. At the same time, she knows that ‘dreams always end, they don’t rise up just descend’*, and this thought is the source of the wistfulness of her gaze that Whistler has so beautifully captured.

Here we see the typical elements of Japanese culture that can be found in many 19th century paintings; pink flowers, a fan, porcelain vase. Influence of Japanese Ukiyo-e prints, which were immensely popular at the time, is visible in the composition as well; you see how the picture looks like it’s cut on the ends, her wide sleeve on the left, pink azaleas at the bottom and her hand and the vase in the upper part of the painting. That’s something you don’t see in paintings of Academic Realism. Whistler is even said to have introduced Rossetti to Japanese art as a matter of fact.

Beautiful delicate pink azaleas are almost protruding into the composition, leaning their pink blossoms and delicate little leaves, as if they’re ready to listen to her sorrows and comfort her. ‘Don’t be sad, spring will soon come, and your woes will be gone‘, they seem to whisper. Joanna ignores them, her face turned away from the viewer. It’s the mirror which reveals the sadness and wistfulness of her gaze, and also the seascape that’s opposite the fireplace. She seems to be thinking:

I am weary of days and hours,

Blown buds of barren flowers,

Desires and dreams and powers,

And everything but sleep.” (Swinburne)

Perhaps the most beautiful part of the painting, besides the flowers, is her dress which is painted in soft, almost transparent brushstrokes. Its gentle, dreamy appeal is contrasted with the strict, geometrical line of the fireplace. White is the hardest colours to paint, but Whistler shows a complete mastery over it, and the painting deserves its title ‘symphony’, for it is indeed a symphony in whites. In one painting below, Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, whose beauty arrives from the subtlety of colours, you’ll see that mastery of white again, and the dress seems to flow effortlessly, like a river, decorated with the flowers that also serve as an interior decoration; it’s hard to say where reality ends and dream start because the more I look at these gorgeous studies in white, the more I am drawn into this ethereal, delicate world that Whistler has created, using just his brush and colours, not magic.

James Abbot McNeill Whistler (1834-1903) was an American artist, but after coming to England in 1859, he never returned to his homeland again, but instead divided his time between London and Paris, and nurtured friendships with other artists and writers on the each side of the Channel; Gaultier, Swinburne, Manet and Courbet to name a few. Whistler is famous for promoting ‘art for art’s sake philosophy’, and enraging Ruskin who emphasised the social, moralistic role of art. He was also known for giving his paintings musical names, such as ‘Symphony’ or ‘Nocturne’, which sometimes enraged the critics, but still fascinates the lovers of his art, myself included.

This painting, with Joanna’s ghost-like reflection in the mirror, inspired Swinburne to write these verses:

Glad, but not flushed with gladness,

Since joys go by;

Sad, but not bent with sadness,

Since sorrows die;

Deep in the gleaming glass

She sees all past things pass,

And all sweet life that was lie down and lie.

The critics have drawn a parallel between this painting and Ingres’ Portrait of Louise de Broglie, Countess d’Haussonville from 1845, which also has a lady standing by the mirror. Similar meditative mood, delicate whiteness, and touch of the East, can be found in many of Whistler’s paintings, here are a few:

1862-james-abbott-mcneill-whistler-symphony-in-white-no-1-the-white-girl-girl-is-joanne-hiffernanJames Abbott McNeill Whistler, Symphony in White, No. 1: The White Girl, 1862 (Note: model is Joanna again)

James Abbott McNeill Whistler (1834 - 1903) Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, 1872-1873 oil on canvas 77 1/8 in. x 40 1/4 in. (195.9 cm x 102.24 cm) Henry Clay Frick Bequest. Accession number: 1916.1.133James Abbott McNeill Whistler, Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, 1872-1873

1863-65-james-abbott-mcneill-whistler-le-princesse-du-pays-de-la-porcelaineJames Abbott McNeill Whistler, Le Princesse du Pays de la Porcelaine, 1863-65

My interest in these paintings arose because of my longing for Spring, so here’s a beautiful haiku poem for the season that’s upon us. Spring, I am anxiously awaiting you, please come quickly!

In these spring days,
when tranquil light encompasses
the four directions,
why do the blossoms scatter
with such uneasy hearts?” (Ki no Tomonori, c. 850-c. 904)

Inspiration: Sad Veiled Brides

4 Feb

Sad veiled bride please be happy

Handsome groom, give her room

Loud, loutish lover treat her kindly

Though she needs you

More than she loves you…” (The Smiths – I Know It’s Over)

said-veiled-bride-22

She’d walk on broken glass for love
She thought burnt skin would please her lover
To keep love alive and lust beside
Kind people should never be treated like…

Empty arms and naked heart
The love she sought through faltering thought
Table for two, such a sweet delight
Whispers “I love you my darling” tonight…” (Manic Street Preachers – She Bathed Herself In A Bath of Bleach)

bride1907-jacques-doucet-wedding-veil-1sad-veiled-bride-1

lemony-snickets-17

1860s-the-bride-abraham-solomon

Foto: SMK Foto Statens Museum for Kunst Sølvgade 48-50 1307 København K DANMARK e-mail: foto@smk.dk www.smk.dk

1840s-the-poetess-josephine-stieler-nee-von-miller-as-bride-portrait-by-her-husband-joseph-stieler-their-son-karl-stieler-became-a-famous-author

lemony-snickets-22lemony-snickets-21lemony-snickets-261844. march wedding dress and day dress

1920s-wedding-bride-and-groom

lemony-snickets-181920s-wedding-dresses1920s-anita-page-in-a-wedding-dress

1920s-wedding-dress-pretty1861. wedding dresses, godey's ladies bookhelena bonham carter miss havishancorpse bride 4

1911-frederick-william-elwell-the-wedding-dress-reminds-me-of-jane-eyre1915-wedding-dress-lucile-british-1863-1935-british-silk-cotton-plastic-metal1907-jacques-doucet-wedding-veil-21871-princess-louise-on-her-wedding-day 1860-adelina-patti-by-franz-xaver-winterhalter 1860-elisabeth-sissi 1862-princess-alice-of-the-united-kingdom 1867-william-powell-frith-alexandra-of-denmark-princess-of-wales-1867 is-this-a-design-by-galliano-inspired-by-luisa-casati lily-cole-8 madame-reve-sasha-pivovarova-by-miles-aldridge-6

4X5 original

4X5 original

madame-reve-sasha-pivovarova-by-miles-aldridge-2 magnificent-excess-gemma-ward-for-vogue-italia-september-2005-by-mario-sorrenti veil-an-roses-macabreveil-and-roses-macabre-2jane-eyre-wedding-dress-and-a-veil jane-eyre-wedding-dress-5

Carl Holsøe – Gateway to Infinity

22 Jul

Carl Vilhelm Holsøe is a somewhat undervalued artist. His paintings aren’t really colourful or daring, his brushstrokes aren’t too decadent or passionate, his themes are already seen but there is something about these paintings that keeps puzzling me ever since that morning of 19th June. I remember it clearly; the rapture I felt because I’ve re-discovered some interesting artists, and full of enthusiasm I spent the entire morning half-mesmerised half-intrigued by Holsøe’s paintings, amongst other things. A month has passed, and these paintings continue to intrigue me.

1900s Carl Holsoe (Danish, 1863-1935) - Girl standing on a Balcony Carl Holsoe (Danish, 1863-1935) – Girl standing on a Balcony

Carl Vilhelm Holsøe was a Danish artist, famous for his interior scenes. A son of an architect, Carl attended Royal Danish Academy of Fine Arts in Copenhagen. He was famous during his lifetime not only in Denmark, but also in other Scandinavian countries. His paintings are often seen as brilliant extensions of the works of the seventeenth century masters, Vermeer most notably.

Holsoe’s paintings all follow a similar pattern: they’re usually very light, radiating the simplicity and bourgeois tastes in furniture and decoration, women or children bathed in soft daylight coming through the windows, dark and serious mahogany chests, chairs or tables, soft lights curtains, and modest details such as books, teapots, picture frames, and flowers. These domestic interiors radiate serenity, peacefulness and mystery. Doors and windows play a great role in most of his paintings.

I thinks they’re something more than just doors; they are passage ways, a transition, connection between two opposites. Aldous Huxley wrote “There are things known and there are things unknown, and in between are the doors of perception.” Holsøe’s doors and windows suggest a new worlds outside the domestic comfort of his clean Scandinavian living rooms and corridors, but he leaves the viewer with only a hint for we do not know what wonders or troubles hide behind those wide white doors to unknown.

1900s Carl Holsoe - Interior with GardenCarl Holsoe – Interior with Garden

1900s Carl Holsoe 5Carl Holsoe – The Open Window

1900s Carl Holsoe 4

Holsøe places a major emphasis on the play of lights and shadows and he is very detailed in that aspect. Just notice how carefully and gently he painted those white curtains, white is also the hardest colours to paint, and the soft yellowish light peeking through the curtains. In some paintings, the painter gives us a hint of the sunny day outside, flowers and exuberant nature, while the others show a brown and dull scenery, possibly Autumn. In the last painting I’ve presented here, Holsoe again indulged himself with lights and shadows, and painted one of those calm days when the sky is not engulfed in threatening grey clouds but it’s not sunny either, and the light in the house takes greenish shades, especially against the wonderful white walls and doors.

1900s Carl Vilhelm Holsøe (Danish, 1863-1935) Interior Carl Vilhelm Holsøe (Danish, 1863-1935) Interior

1900s Carl Holsoe - Interior with a CelloCarl Holsoe – Interior with a Cello

The figures in his paintings are mostly women and children, but they’re unimportant in this context which we can assume by the way he painted them – very blurry, turning their back on the viewer. His women are engrossed in their own activities; they are shown reading books, writing letters or simply sitting by the window and looking outside, or waiting by the white doors in a greenish light of a serene day. Their face expressions, their thoughts or feelings are unknown to us for they are irrelevant in these paintings, and like the furniture their role is to beautify the interior and bring focus to a subject that matters – doors and windows. In the painting Interior with Garden Holsoe used an interesting composition: we see a window but only through the open doors.

1900s Carl Holsoe 8

1900s Carl Vilhelm Holsoe 1

1900s Carl Holsoe 6

But again that magic and uncertainty of the unknown puzzles me. What hides behind these windows? What is their purpose in all of these paintings? Maybe what lies behind these windows and doors is the infinity itself. Mysteries, secrets, and a gateway. William Blake said ‘If the doors of perception were cleansed everything would appear to man as it is, infinite.