Category Archives: Painting

ABOUT ARTISTS: PAULA REGO

Photograph: Antonio Olmos for the Observer, 15 November 2015: "Paula Rego, 80: ‘Painting is not a career. It’s an inspiration’"
Photograph: Antonio Olmos for the Observer, 15 November 2015: “Paula Rego, 80: ‘Painting is not a career. It’s an inspiration’”

The British Council introduces Paula Rego as follows:

Paula Rego was born in Lisbon and studied at the Slade School of Fine Art, London. She had her first exhibition at the Sociedade Nacional de Belas Artes in Lisbon. Following her marriage to the painter Victor Willing, Rego returned to Portugal to live in Ericeira. The storybooks and atmosphere of her Portuguese upbringing were an important source of inspiration throughout her career as an artist. Of particular importance has been her insistence that her paintings must be built on a ‘story’ – not the illustration of a narrative, but emerging directly from a psychological situation producing a realisation of personal significance. While she consistently used animals as surrogate humans on satirical, sometimes cartoon-like, compositions, the direction of her works from the late 1980s had been towards a greater realism that allowed more directness in bringing private insights into the public realm.

Continue…

TAL R: CHIMNEY SCHOOL OF SCULPTURE │ Victoria Miro, London → 30 May 2015

(Posted 28 April 2015. The text is in an older version of Ñspel.)

“Victoria Miro z dlîtd t priznt Čimni scūl v sculpčr, an xibišn v ny wrc bî ɖ Côpnhāgn-bêst ātist Tal R.

Tal R hz ofn yzd ɖ wrd kolbojnik, mīnñ leftovrz in Hībru, t dscrîb hiz practis v swsñ n c̣lctñ a wîd renj v imijri, fiğṛtv n abstract, fṛm hî n lo culčr. Instwld c̣lctvli, Tal R’z wrcs cn gv ɖ imprešn v a grūp šo, az adhiṛns t a sngl isʈetc stîl z isčūd in fevr v a nonhạrācicl xpḷrešn v mtirı̣l n fwm. Ɖs wl b xplord in ɖ xibišn, ẇč stêjz sculpčrz alñsd frničrwrcs n a siriz v pêntñz n wrcs on pêpr.

Ɖ lowr gaḷri wl b popyletd bî a dispṛt c̣lẋn v sramic, crīčr-lîc sculpčrz. Tal R hz implýd a prôses v racūfîrñ, an ênčnt tecnīc ẇč orijinetd in sixtīnʈ-senčri Jpan. Ɖ prôses pṛdysz ntwrı̣sli unpridictbl rzults – ɖ cle’z srfis z blacnd or ẇîtnd acwdñ t ɖ intnsti v its xpožr t ɖ smôc n z laybl t crac or īvn xplod, a voḷtiḷti ɖt hz drwn ɖ ātist t ɖ mtirı̣l.

Alñsd ɖ racūsculpčrz wl b a nmbr v minimlist sculpčrz v fabric-cuvrd wŭd. Ɖz ljr-ɖn-lîf flūmz, wɖ candīcên strîps n bilt-in ervents, cwl t mînd ɖ industrı̣l čimni. Hvr, ɖz wrcs r dvōst fṛm eni funẋnñ sistm. Instd ɖe sjst a jýflṇs ɖt rbycs a factrīlojc v in-pts n ât-pts, n imbodi a strenjr n ls qontifaybl prôses.

Tal R z olso nôn fr pṛdysñ ynīc, hand-md sôfz, or ôpı̣mbedz, ẇč r md fṛm old n ny rugz swst ʈrt Scandinevia n trītd wɖ pênt n dai in ɖ stydio. A nmbr v ɖz pačwrct pìsz v frničr wl pṛvîd anɖr pspctv fṛm ẇč t vy – or fṛm ẇč t b vyd bî – ɖ sculpčrz. Xplorñ ɖ dmstc qoḷti v frničr az an ātistc mīdı̣m, Tal R plez wɖ ɖ bândri btwn āt n lîf. Nɖr ɖ practcl prṗs v ɖz wrcs nr ɖer isʈetc qoḷtiz têc catgoricl presdns. Ɖ îdīa v ɖ ôpı̣mbed sjsts a hêzi, lêtnt spês v unfetrd ʈncñ, ɖ funẋnl objct dlinietñ a non-funẋnl spês v ʈt.

Ɖ upsterz flor v ɖ gaḷrīspês wl b têcn p wɖ a slf-cntend coridorstrucčr strečt ovr wɖ canvsmtirı̣l. Wɖn it r pêntñz n wrcs on pêpr, ol dpictñ a clozd blînd. Rpitd acrs ɖ wōlz v an inclozd spês, ɖs reprizentešn v šutrd vižn cnvez a visṛl sens v intirioṛti n pzišnz ɖ vywr in an ambiğs spês ɖt z nɖr insd nr âtsd.

Bạgraficl dītelz

Born in Tel Avīv in 1967, Tal R livz n wrcs in Côpnhāgn. H hz hd sôlo xibišnz at ARoS Aarhus Kunstmuseum, Āhŭs, Denmāc (2013 – 2014); Pinakothek der Moderne, Mynic (2013); Galerie im Taxispalais, Inzbrŭc, Ostria, travlñ t Kunsthalle Dūsldwf (bʈ 2013); Museu Brasileiro da Escultura, Sâ Pâlu (2012); Museum Kunstpalast, Dūsldwf (2012); Kunstverein Augsburg-Holbeinhaus, Âgzbrg, Jrṃni (2011); Der Kunstverein, Hambrg (2011); Maġzīn III Myziym n Fândešn fr Cntmprri Āt, Stochom (2009); Kunsthalle Tūbñn, Tūbñn (2009); Bônefãtõ Myziym, Māstrict (2008); Camdn Ātșentr, Lundn (2008); Luīziana Myziym fr Moderne Kunst, Denmāc (2007); n Kunsthalle Manhîm (2007). Tal R wz a pṛfesr at Kunstakademie Dūsldwf fṛm 2005–2014.”

 GAḶRI WEBSAIT

Continue reading TAL R: CHIMNEY SCHOOL OF SCULPTURE │ Victoria Miro, London → 30 May 2015

RUBENS AND HIS LEGACY: VAN DYCK TO CÉZANNE │ Royal Academy of Arts, London → 10 April 2015

Tiger, Lion and Leopard Hunt (detail), 1617
Tiger, Lion and Leopard Hunt (detail), 1616

(Posted 27 January 2015. The text is in an older version of Ñspel.)

“Pītr Pwl Rūbnz hz bn dscrîbd az ɖ prins v pêntrz. A bold clem? Juj fr yrslf at ɖs, ɖ frst mêjr ovrvy v hiz wrc n leġsi.

'The Garden of Love' (c. 1633), by Peter Paul Rubens
‘The Garden of Love’ (c. 1633), by Peter Paul Rubens

Rūbnz n Hiz Leġsi brñz tgɖr mastrpìsz pṛdyst jrñ hiz lîftîm, az wel az mêjr wrcs bî grt ātists hu wr inflụnst bî hm in ɖ jeṇrešnz ɖt folod. W si ɖ inflụns v Rūbnz in ɖ prints v Picaso n Rembrant, in ɖ pwtričr v Van Dîc, in ɖ huntñsìnz n dvošnl wrcs v Deḷqā, n in ɖ landsceps v Cunsṭbl n Gênzbra. It z a far-rīčñ n rmāc̣bl leġsi.

'Christ on the Straw', by Rubens, 1617-18. © Royal Museum of Fine Arts Antwerp
‘Christ on the Straw’, by Rubens, 1617-18. © Royal Museum of Fine Arts Antwerp

Rūbnz, bst nôn fr hiz fleši nyd wimin, olso imbrest a brwd are v subjcts, fṛm rlijs n myʈ̇lojcl sìnz t landsceps n pwtrits. W lc at č v ɖz erı̣z ʈru ɖ lenz v six ʈīmz; pâr, lust, cmpašn, eḷgns, powtri n vayḷns.

Set t b wn v ɖ bgist specṭclz v 2015, ɖs z an unpreṣdntd oṗtyṇti t si mastrpìsz bî Rūbnz sîd bî sîd wɖ ɖ wrc v hiz ātistc érz.

La Peregrina
Cntemprri wrcs t jýn Rūbnz n Hiz Leġsi

Az pāt v ɖs landmāc xibišn, seḷbretd ātist n Royl Acaḍmišn Jeni Savil hz kretd La Peregrina, a prsnl n cntmprri rspons t Rūbnz n Hiz Leġsi.

Fr La Peregrina, Savil hz čozn a ṣlẋn v wrcs bî mêjr 20ʈ n 21st senčri ātists. Az wel az pêntñz bî Wiḷm d’Cūnñ, Pablo Picaso, Fransis Bêcn, Sẹra Lūc̣s, Lūšn Frýd n uɖrz, y cn si xtrōdnri ny wrc crietd bî Savil ispešli fr ɖs ocežn.

Jeni Savil z bst nôn fr hr lj-scêl ýlpêntñz v fīmel figrz. Wɖ hr dīp fasinešn in ɖ palṗbiḷti v fleš, xtreṃtiz v anaṭmi n ɖ gṛtesc, Savil’z ātwrc invocs ɖ inflụns v Rūbnz. Ɖ renj v wrcs š hz brwt tgɖr rflct bʈ hr prsnl rspons n dīp undrstandñ v wn v ɖ grt mastrz v āthistri.

Ẇɖr y ʈnc y lîc Rūbnz or nt, hiz inflụns runz ʈru ɖ paʈwez v pêntñ. Lîc Wōhol, h čenjd ɖ gem v āt. Jeni Savil RA”

GAḶRI WEBSAIT

Continue reading RUBENS AND HIS LEGACY: VAN DYCK TO CÉZANNE │ Royal Academy of Arts, London → 10 April 2015

REMBRANDT: THE LATE WORKS │ National Gallery, London → 18 January 2015

(Posted 15 October 2014. The text is in an older version of Ñspel.)

Rembrant’s lêtr yirz wr trbylnt n māct wɖ cntrovsi, bt ɖe olso pṛdyst sm v hiz most soulfl, dīpli mūvñ n strîcñli modn wrcs.

Hvñ olrdi sufrd ɖ ŕli los v hiz wîf n ʈri v ɖer čildṛn, Rembrant’s lêtr yirz wr brdnd wɖ bancrupsi, acrimoňs līgl pṛsidñz wɖ a fwmr luvr, n ɖ los v hiz comnlw wîf n onli rmenñ son. Hvr, far fṛm diminišñ az h êjd, Rembrant’s crı̣tiṿti gaɖrd ny eṇji.

Fṛm ɖ 1650z untl hiz deʈ in 1669, Rembrant psyd an ātistc stîl ɖt wz xpresv n radicl. Hiz bold mnipylešn v printñ n pêntñ tecnīcs n pṛgresv intrpṛtešnz v tṛdišnl subjcts inspîrd jeṇrešnz v ātists, ŕnñ hm a repytešn az ɖ grtst mastr v ɖ Duč Goldn Êj.

Ʈru fems mastrpìsz n rer drōñz n prints, Ɖ Lêt Wrcs xaminz ɖ ʈīmz ɖt priokpîd Rembrant az h gru oldr: selfscrūṭni, xperimentešn, lît, obẓvešn v evrīde lîf n īvn uʈr ātists’ wrcs; az wel az xprešnz v intiṃsi, contmplešn, conflict n recnsiliešn.

Īvn ʈri-n-a-hāf senčriz aftr hiz deʈ, Rembrant cntinyz t astoniš n amez. Hiz tecnicl invnšnz, n hiz pṛfând insît intu hymn imošnz, r az freš n reḷvnt tde az ɖe wr in ɖ 17ʈ senčri.

Rembrant: Ɖ Lêt Wrcs, ōġnîzd bî ɖ Našnl Gaḷri, Lundn, n ɖ Rîcsṃseum, Amsṭdam, ofrz y an oṗtyṇti t xpirı̣ns ɖ pašn, imošn n iṇvešn v ɖ grt mastr.”

GAḶRI WEBSAIT

Continue reading REMBRANDT: THE LATE WORKS │ National Gallery, London → 18 January 2015