Decision Corridors, 2015. Photograph by Delvendahl Martin Architects
Flying Mushrooms. Photo: Linda Nylind/Observer
Photo: Linda Nylind
“Searle almost does himself a mischief during an encounter with a giant dice. Photograph: Christian Sinibaldi for the Guardian”
“Searle contemplates the red and white capsules that rain, one every three seconds, from the ceiling. Photograph: Christian Sinibaldi for the Guardian”
“Adrian Searle tries in vain to get some sleep in Carsten Höller’s exhibition at the Hayward Gallery. Photograph: Christian Sinibaldi for the Guardian”
“Wn v ɖ acnolijd sūṗstarz v twentiiʈ-senčri āt, Amideo Modiłani (1884-1920) z olso ɖ bst nôn n most luvd v ol modn Itałn pêntrz. Wrcñ at ɖ episentr v avãgād xperimentešn in Paris btwn 1906 n 1920, h dveḷpt an ātistc vižn ɖt wz intîrli hiz ôn. Ɖs ny xbišn z ɖ frst t b dvotd t ɖ ātist at ɖ Esṭric C̣lẋn, n fôc̣sz on hiz wrcs on pêpr, šowñ ɖ spiričl n stîlistc dveḷpmnt v hiz ptreyl v ɖ hymn fês n fwm.
Modigliani, photographed in about 1909 (GETTY)
Modiłani’z hyṃnistc vižn v tîmls byti dru on a wîd renj v inflụnsz, imbresñ Itruscn, Ijipšn, Grīc, Africn, Ežn n ŕli Itałn Rnesns imijri. Têcñ ɖoz eḷmnts ɖt acwdd wɖ hiz ôn caṛcter n vižn, h crietd a rmācbl bodi v wrc ɖt sîd-stept Fôvizm, Kbizm n ɖ mni uɖr ātistc muvmnts v ɖ de.
Ɖs xbišn includz several wrcs fṛm ɖ c̣lẋn v Modiłani’z clôs frend Pwl Alixandra – wn v hiz fy ŕli pêtṛnz – alñ wɖ pìsz fṛm uɖr prîvt c̣lẋnz, includñ ɖt v Eric Esṭric. Ɖ mjoṛti r rerli sīn drōñz dêtñ fṛm ɖ ŕli yirz v Modiłani’z c̣rir, pṛvîdñ a fasinetñ n rvilñ insît intu ɖ ātist’s dstilešn v a stîl unmistecbl fr its pyṛti, simplisti n grês.”
Dr François Brabander, 1918. Oil on canvas, 46 x 38 cm.
Nude with Cup, c1916. Watercolour, Indian ink and pencil, 64.5 x 50 cm
Standing Female Nude in Profile with Lighted Candle, c. 1911
Kneeling Blue Caryatid, c1911. Blue crayon, 43 x 26.5 cm
Woman Reclining on a Bed, c. 1911
Male Head and Shoulders, c1911. Blue crayon, 42.8 x 26.7 cm
Columbine with Fan and wearing a Tutu, 1908. Black crayon, 31 x 24.3 cm
Portrait of Maud Abrantès, 1908. Watercolour with traces of black crayon, 41 x 32 cm.
Standing Nude, 1908. Black crayon, 43 x 26.7 cm.
Caryatid Seated on Plinth with Lighted Candles, n.d. Black crayon, 42.7 x 26 cm.
“Ɖs srveexbišn v ɖ Americn fiğṛtv pêntr, hiz frst in Lundn sns 2000, hîlîts ci aspcts v ɖ ātist’s ŕvra fṛm ɖ 1950z untl hiz deʈ in 2004.
Ʈrt hiz c̣rir Goḷb wz gîdd bî hiz blif ɖt āt šd hv reḷvns. Hiz wrcs r pṛfândli sîc̣lojcl n imotv – ofn pêntd on a hyj scêl – n rtrn agn n agn t ʈīmz v oprešn, vaylns n ɖ msys v pâr. Hiz pêntñz fṛm ɖ 1950z dpict ynivrsl imijz v man n refṛns ɖ clasicl figr fând in antiqti, ẇl hiz hîli ṗlitcl siriz v ɖ 1970z n ’80z drwz on ɖ Vietnam Wor, Americn foṛn poḷsi n ɖ rîz v paṛmilitri soljrz in plêsz sč az Sâʈ Africa n Latin America. Hiz wrc fṛm ɖ 1990z incwṗrets slôgnz, txt, gṛfīti n simblz intu distopı̣n sìnz v ŕbn xistns.
Goḷb xperimentd wɖ scêl, n ɖ wrcs asmbld fr ɖs xbišn renj in sîz fṛm ɖ smlr wrcs on pêpr t monymntl, unstrčt canvsz ɖt xtnd fṛm flor t sīlñ at ɖ Srpntîn Gaḷri.
Born in Šcago in 1922, Goḷb bgan pêntñ in ɖ fiğṛtv stîl in ɖ ŕli 1950z. Lebld az a Šcago Imijist, h wz a membr v ɖ pôst-wor ātists’ grūp nôn az Monstr Rostr. Svṛl membrz v ɖ grūp, includñ Goḷb, srvd in Wrldwor II, subsqntli obtenñ fîn āts dgriz az a rzult v ɖ Americn GI Bil. Jrñ a tîm ẇn abstraẋn wz hêld az ɖ fyčr v cntmprri pêntñ, ɖ grūp crietd wrcs rūtd in ɖ xtrnl wrld, wɖ ɖ hymn figr n cntmprri ivnts infwmñ ɖer stîl n content.
Ɖ film šôn on ɖs pêj wz pṛdyst bî Lion Goḷb in 1995 az a contribyšn t ɖ d it projct. Kretd bî Hanz Ŭlrih Obrist, d it bgan in Paris in 1993 az a convsešn btwn Obrist n ɖ ātists Cristiã Boltansci n Bertrã Lavie. Obrist wz cnsrnd wɖ hâ xbišnfwmats cd b rendrd mr flexbl n ôpn-endd. Ɖ rzult z an on-gwñ xbišn ɖt cnsists v instruẋnz set ât bî ātists fr eniwn t folo.
Lion Goḷb
Lion Goḷb wz born in Šcago, Iḷný, in 1922 n dîd in Ny Ywc Siti in 2004. In 1940 h wun a scoḷršp t studi Āthistri at ɖ Ynivrsti v Šcago. Hiz mastr’z prôgram wz cut šwt in 1942 ẇn h inlistd in ɖ āmi n srvd az a cātogṛfr in Yṛp. On hiz rtrn in 1946, undr ɖ GI Bil, Goḷb bgan a Fîn Āt Dgri at ɖ Scūl v ɖ Ātinstityt v Šcago, ẇr h rsivd a BFA n MFA. Jrñ ɖs tîm h met felo stydnt n ātist Nansi Spero, hūm h marid in 1951. Bʈ ātists wr membrz v ɖ pôst-wor ātist’s grʈp ɖ Monstr Rostr. Goḷb, Spero n ɖer čildṛn muvd t Paris in 1959 n steid untl 1964 ẇn ɖe muvd t Ny Ywc Siti. Ɖs sem yir ɖe bcem actv membrz in ɖ Ātists n Raitrz Prôtestgrūp agnst ɖ Vietnam Wor. In ɖ 1980z ɖe wr membrz v ɖ muvmnt Ātists Cwl Agnst Americn Intvnšn in Latin America n rmend anti-wor activists ʈrt ɖer lîvz.”
Agent Orange, 1993
White Squad IV (El Salvador) 1983 (Picture: Collection of Ulrich and Harriet Meyer)
Mercenaries IV, 1980 at the Serpentine gallery, courtesy Ulrich and Harriet Meyer Collection. All images: c/o the Nancy Spero and Leon Golub Foundation for the Arts
Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV
“Wɖt hm, sd Mone, w wd’nt hv svîvd.
So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.
Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.
Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)
Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.
Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.
Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.
Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”
The Sheepfold, Moonlight, 1856-60 by Jean-François Millet. Photograph: Alamy
Edouard Manet’s Boy with a Sword, 1861. Photograph: Alamy
Manet’s sketch for his 1882 work A Bar at the Folies-Bergère
Édouard Manet, Music in the Tuileries Gardens (1862) Photo: The National Gallery
Édouard Manet: The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama”, 1864
Claude Monet, The Thames below Westminster, about 1871. Oil on canvas. Picture: The National Gallery, London
The Artist’s Garden (detail), Monet, 1873 (Picture: Board of Trustees, National Gallery of Art, Washington DC)
The Ballet Class, Hilaire-Germain-Edgar Degas. Oil on canvas, about 1880. (Picture: Philadelphia Museum of Art)
Two Sisters (on the Terrace)’, 1881, by Pierre-Auguste Renoir
The daughters of Paul Durand-Ruel, Marie-Thérèse and Jeanne, Pierre-Auguste Renoir. Oil on canvas, 1882. (Picture: Chrysler Museum of Art, Norfolk, Virginia)
Pierre-Auguste Renoir, Dance in the Country, 1883, Oil on canvas (Picture: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski)
Pierre-Auguste Renoir: Paul Durand-Ruel in 1910 (Archives Durand-Ruel)
Mary Cassatt: The Child’s Bath, 1893. Art Institute of Chicago
Ʈrt ɖ frst hāf v ɖ twentiiʈ senčri, š seḷbretd ɖ modn wrld v muvmnt, tecnoḷji n ŕbn lîf, xplorñ ny îdiyz abt culrʈiyri tgɖr wɖ hr huzbnd Robt Ḍlwne.
Ɖs wl b ɖ frst YC retṛspctv t ases ɖ bredʈ v hr vîbṛnt ātistc practis acrs a wîd renj v mīdia. It wl fīčr ɖ grândbrecñ pêntñz, txtîlz n cloɖz š md acrs a sixti-yir c̣rir, az wel az ɖ rzults v hr iṇvtv c̣laḅrešnz wɖ powts, coriogṛfrz n manyfacčrrz, fṛm Diagilev t Liḅti.
Propeller (Air Pavilion), 1937, at Tate Modern. Photograph: Tim Ireland/AP
A nocât šo. (Êdrı̣n Srl, Ɖ Gādı̣n)
Ɖs šo mcs a pârfl āğmnt fr Ḍlwne az a tru radicl: ahd v hr tîm, ṣprīmli reḷvnt t ârs. (Ben Lūc, Īvnñ Standd)
Ḍlwne z wn v ɖ crūšl refṛnspýnts in modn āt n dzîn. VÔG”
Yellow Nude 1908 Musée des Beaux-Arts de Nantes, Nantes
Bag from beach set, 1922-3
Coat for Gloria Swanson, 1923-24. Photograph: Private Collection
Simultaneous Dresses (The three women), 1925. Museo Thyssen-Bornemisza, Madrid
Day coat, 1925
Court shoes, 1925. Photograph: Les Arts Décoratifs, Musée de la Mode et du Textile, Paris
Rhythm Colour no. 1076, 1939
Syncopated rhythm, so-called The Black Snake 1967 Musée des Beaux-Arts, Nantes, France
“Lı̣nwra Carñtn invîts y t dscuvr ɖ fntastcl criešnz v ɖ pṛlific pêntr n inṭnašnli seḷbretd membr v ɖ sriylist muvmnt, Lı̣nwra Carñtn (1917-2011).
Ɖ xibišn xplorz Carñtn’z dvrs crietv practis, têcñ a ṣlẋn v ci pêntñz md ʈrt hr c̣rir az its stātñpýnt. A pṛlific pêntr, ɖ xibišn xplorz hâ Carñtn istablišt hr dstnctv têc on sriylizm. Wrcñ alñsd uɖr ci membrz v ɖ muvmnt, sč az Salvdor Dali n Max Ŕnst, hr pêntñz, fild wɖ xntric caṛctrz ẇč šift btwn plant, animl, hymn, objcts n evrʈñ in btwn, wl rmînd vizitrz unfmiłr wɖ hr wrc v hr btr nôn pirz.
Āğbli mr fems fr hr prsnl lîf ɖn hr āt, hr bîogṛfi z olmst az unyžl az hr māvḷs criešnz. Ɖ dwtr v a welʈi Britiš industrı̣list, in 1935 š trnd hr bac on hr upr-clas upbrññ in nwɖn Ñgḷnd aftr imbācñ upn a complicetd rlešnšp wɖ Ŕnst, n via sriylist srclz in Frans n Ny Ywc, istablišt a ynīc výs wɖn ɖ vîbṛnt crietv culčr v Mexico in 1941.
It wz in Mexico ɖt Carñtn’z practis bgan t xpand n ivolv. Š fild plez, šwt stwriz n txtîlz wɖ hr xtrōdnri wrldz, imbresñ set n costym dzîn fr pṛduẋns includñ hr ôn, Pneḷpi. Lı̣nwra Carñtn wl šôcês hr wrc in pêntñ alñsd xamplz v powtri, sculpčr, taṗstri n dzîn fr ʈiytr n film.
Leonora Carrington photographed by Chloe Aridjis in 1994
Leonora Carrington in her Mexico City house in 2000. Photograph: Daniel Aguilar/Reuters
Rfyzñ t b cnstrend or rstrictd bî cnvenšnl limitešnz, Carñtn’z xpandd practis hz md hr an inspirešn t mni cntmprri artists wrcñ acrs crietv čanlz n platfwmz. Hr pêtṛn Edwd Jêmz comntd in 1975 ɖt š hz nvr rlnqišt hr luv v xperimentešn, ɖ rzult biyñ ɖt š hz bn ebl t dvrsifî n xplor a hundṛd or mr tecnīcs fr ɖ xprešn v hr crietv pârz.”
Sir Francis Chantrey: Queen Victoria, 1838 – 1841. Royal Collection Trust
“Pârfl, bytifl n invntv, ɖ Victorı̣n ira wz a goldn êj fr sculpčr. Têt Britn’z xibišn Sculpčr Victorı̣s seḷbrets sm v ɖ most astonišñ n laviš wrcs pṛdyst in ɖs grândbrêcñ pirı̣d.
Xplorñ ɖ orijinl tecnīcs n mtirı̣lz dveḷpt jrñ ɖs tîm, ɖ xibišn brñz t lît ɖ injňwti n crı̣tiṿti v ɖ Victorı̣n êj. In a pirı̣d v unpaṛleld iṇvešn acrs inḍstriz, Victorı̣n sculpčr profitd fṛm grândbrêcñ ny mtirı̣lz n meʈdz ɖt crietd a ʈrilñ n cutñ-ej invîrnmnt fr Victorı̣n sculptrz.
Ɖ xibišn includz mni xtrōdnri objcts, fṛm magnifisnt mābl, lîmwŭd n ṣramic sculpčr šôn at ɖ Grt Xibišnz, t xqizit jlri n silvrwrc, n ōnet cāvñ v byti n wundr sč az Monti’z Veild Vestl. Wrcs fṛm ɖ xibišn tuč on ol aspcts v Victorı̣n lîf, xplorñ dmestc poḷtcs, ɖ rīč v ɖ empîr, n ɖ impact v ɖ sạntific n industrı̣l êj.
Rvird wrcs sč az Fredric Lêtn’z An Aʈlīt Reslñ wɖ a Pîʈn n Hîṛm Pârz’z Ɖ Grīc Slev r t b injýd alñsd lsr-nôn ātists sč az Mẹri Wots n Wiłm Renldz-Stīvnz. Az wel az ofrñ an oṗtyṇti t xplor sm v ɖ Victorı̣n ira’z most čerišt n grândbrêcñ wrcs, Sculpčr Victorı̣s pṛvîdz an in-depʈ xpḷrešn v ɖ ātistc n historicl dveḷpmnts v wn v Britn’z most pṛlific iṛz n z a fīst fr ɖ îz.”
Carolus-Duran, 1879. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (photo by Michael Agee).
Ramón Subercaseaux, c.1880. The Dixon Gallery and Gardens, Memphis, Tennessee
‘Édouard and Marie-Louise Pailleron’ (1881)
Dr. Pozzi at Home 1881. Oil on canvas. 79 3/8 x 40 1/4 in. (201.6 x 102.2 cm). The Armand Hammer Collection
Robert Louis Stevenson and His Wife, by John Singer Sargent, 1885. Photograph: Dwight Primiano/NPG
Carnation, Lily, Lily, Rose, 1885-6
Robert Louis Stevenson, 1887. Taft Museum of Art, Cincinnati, Ohio
‘Claude Monet Painting by the Edge of a Wood’, 1888
Paul Helleu sketching with his wife (An Out-of-Doors Study), 1889. Brooklyn Museum of Art
La Carmencita, 1890. Paris, Musée d’Orsay
W. Graham Robertson,1894
An Artist in His Studio, 1904. Museum of Fine Arts, Boston
Group with Parasols, c.1904-5. Private Collection
Henry James, 1913
“Jon Sñr Sājnt (1856-1925) wz ɖ grtst pwtritpêntr v hiz jeṇrešn. Aclemd on bʈ sîdz v ɖ Atlantc, h wz clôsli cnctd t mni v ɖ uɖr līdñ ātists, raitrz, actrz n myzišnz v ɖ tîm. Hiz pwtrits v ɖz frendz n cntmprriz, includñ Ōgūst Rodĩ, Clwd Mone n Robt Lui Stīvnsn, wr rerli cmišnd n alaud hm t criet mr intiṃt n xperimntl wrcs ɖn wz psbl in hiz fwml pwtričr.
Ɖs mêjr xibišn v ovr sevnti pwtrits spanz Sājnt’s tîm in Lundn, Paris, Bostn n Ny Ywc az wel az hiz travlz in ɖ Itałn n Ñgliš cuntrīsîd. Impwtnt lounz fṛm gaḷriz n prîvt c̣lẋnz in Yṛp n America mc ɖs an unmiṣbl oṗtyṇti t dscuvr ɖ ātist’s most dẹrñ, prsnl n dstnctv pwtrits.
PARIS, 1874-1885
Born in Floṛns in 1856 t an xpatrı̣t Americn cupl, Jon Sñr Sājnt spent hiz fwṃtv yirz turñ Yṛpiyn sitiz n rzwts. On dsîdñ t studi pêntñ in Paris, h inrold at ɖ École des Beaux Arts in 1874 ẇl simlteňsli dveḷpñ hiz briłnt gifts az a pêntr undr ɖ tīčñ v Carolūs-Dŭrã, a fašṇbl Frenč pwtritist.
Sājnt wz at īz in ɖ wrld v Paris stydioz n fwmd frendšps wɖ a wîd renj v Frenč ātists n felo xpatrı̣ts. Wn v hiz clôsist frendz wz Pwl Êlu, ɖ eḷgnt pêntr n ečr v ɖ bômõd. H sōt ât Clwd Mone, hu wd rmen a lîfloñ frend v bʈ men, n Ōgūst Rodĩ, a tîtn v ɖ Frenč ātwrld. Sājnt wz xpšnli wîdli réd, ispešli in ɖ Frenč clasics, bt olso in cntmprri litṛčr.
An ŕli pêtṛn, ɖ Frenč plêrît Edwād Pîerõ, cmišnd pwtrits v hmslf, hiz wîf n hiz čildṛn, fr ẇč Sājnt wz cmperd t Von Dêc. Ɖ ātist wz a giftd piynist n a pašṇt myzicoḷjist. Hiz moḍnist cridnšlz wr demnstretd bî hiz admirešn fr ɖ myzic v Ričd Vāgṇr, n olso bî hiz inʈyziastc rspons t Spaniš myzic n dans, ẇč inspîrd fḷmnco picčrz n pwtrits.
BRWDWE, 1885-1889
Sājnt’s mastrpìs, Cānešn, Lili, Lili, Rôz, wz pêntd ẇn h wz btwn lîf in Paris n Lundn (1885-6). Ɖ ātist’s dsižn t muv rezidns fṛm wn t ɖ uɖr cem at a tîm v crîsis, ẇn hiz c̣rir wz in jeṗdi aftr hiz pṛvoc̣tv pwtrit v Madam X (Madam Pier Gôtro) cōzd a scandl at ɖ Paris Ṣlon in 1884. H fând solis in ɖ Anglo-Americn coḷni v ātists n raitrz in ɖ Cotswold vilij v Brwdwe, ẇč includd ɖ Americn ātists Franc Milit n Edwin Ostin Abi, ɖ Ñgliš iḷstretr Fred Bānād, n ɖ raitrz Henri Jêmz n Edṃnd Gos. Hir h pêntd hiz fems gādnpicčr, a cnstructd sìn yzñ ɖ Bānād dwtrz az modlz, n pwtrits v uɖr membrz v ɖ cmyṇti, includñ Lili Milit n Alis Bānād.
In Bwnṃʈ, at ɖs sem pirı̣d, h capčrd ɖ wîri frem n nrvs eṇji v ɖ raitr Robt Lui Stīvnsn in tu intns caṛcṭrîzešnz. Sājnt wz xperimentñ wɖ an Impreṣ̌nist paḷt, pêntñ vivid scečz v felo ātists at wrc ât-v-dorz, includñ Clwd Mone n Pwl Êlu, n landscêps az avãgād az eni biyñ pṛdyst in Ñgḷnd at ɖ tîm.
BOSTN n NY YWC, 1888-1912
Sājnt nvr gev p hiz Americn sitiznšp. H wz at hom in Bostn n Ny Ywc, ẇr h hd mni frendz n pêtṛnz n a brjnñ repytešn. In ɖ fwmr siti h carid ʈru hiz tu grt myṛl scīmz v dec̣rešn, in ɖ Bostn Public Lîbrri n ɖ Myziym v Fîn Āts.
In 1890, Sājnt hd ɖ oṗtyṇti v pêntñ sm v ɖ grt Americn actrz v ɖ êj fr ɖ Pleyrz Club in Ny Ywc, includñ Edwin Buɖ n Loṛns Baṛt. A fy yirz lêtr h pêntd ɖ Šêxpirı̣n actṛs Êda Riyn, n dru Mẹri Anḍsn. 1890 wz ɖ yir in ẇč Sājnt pêntd ɖ flamboynt Spaniš dansr Cāmenʈita, hu intranst Ny Ywc ōdı̣nsz wɖ hr fḷmnco dansñ.
Myzic wz a bond wɖ Iẓbela Stywt Gādnr, wn v Bostn’z culčṛl līdrz, t hūm h gev ɖ pwtrit v ɖ cmpozr Čālz Mātin Lrfḷr az a brʈdêgift.
LUNDN, 1889-1913
Sājnt wz imrst in ɖ vîbṛnt culčṛl lîf v Lundn, n a frend t mni ātists, raitrz n myzišnz. In ɖ 1890z, h wz imrjñ az ɖ līdñ Anglo-Americn pwtritpêntr v hiz jeṇrešn, n mcñ hiz māc az a myṛlist wɖ hiz cmišn, Ɖ Trîumf v Rlijn, fr ɖ Bostn Public Librri.
In 1894 Sājnt pêntd ɖ êjñ Ñgliš powt Covntri Patmor n, bî contrast, ɖ raitr n iḷstretr W. Greym Robtsn, ɖ ipiṭmi v yʈ n isʈetc rfînmnt. Ɖ noṿlist Jwj Meṛdiʈ n ɖ powt Wiłm Butḷr Yêts bʈ sat t Sājnt fr čācoldrōñz, n in 1913 ɖ ātist’s intiṃt frend Henri Jêmz, fr a pêntñ t seḷbret hiz 70ʈ brʈde.
Sājnt wz xtrimli influenšl on ɖ Lundn myzicl sìn, pṛmotñ ɖ c̣rirz v mni myzišnz, amñ ɖm ɖ Frenč cmpozr Gabriel Fore. Ɖ Lundn ʈiytr z reprizntd bî ɖ ṣprb pwtrit v Eḷn Teri az Lêdi Mcbeʈ, a ʈiatricl n ātistc turd’fws; bî ɖ enigmatc Itałn actṛs Elionora Dūse, in a strenj n mstirı̣s imij, n bî ɖ plêrît n actrmaṇjr Hāli Granvil-Bācr, hu revluṣ̌nîzd ʈiatricl pṛduẋnz.
YṚP, 1899-1914
In ɖ pirı̣d aftr 1900, Sājnt agn trnd t landscêp az a rlif fṛm pwtritcmišnz, travlñ č sumr n ōtm t ɖ Alps, Venis n suɖn Yṛp. H wz inverı̣bli acumṗnid bî frendz, hu, f nt olwz in ɖ top flît v ātists, wr sbstanšl n taḷntd ppl. H md a pýnt v pêntñ ɖm az ɖe scečt, pirñ az it wr ovr ɖer šoldrz t si ẇt ɖe r dwñ.
Ɖz picčrz mt b cnstrud az a fwm v slfpwtričr, ɖ ātist myzñ on hiz ôn rôl in rcwdñ ɖ načṛl wrld ẇl wočñ uɖrz at wrc. W r preznt az āt z biyñ md, bt âr intrpṛtr z Sājnt n it z sīn ʈru hiz îz. Amñ ɖ mastrpìsz in ɖs žãra r An Ātist in hiz Stydio, dpictñ ɖ Itałn pêntr Ambrojo Raf̦ele; Ɖ Fânṭn, a picčr v Jên d’Glên scečñ wočt bî hr huzbnd Wilfrid, n Villa Torre Galli: Ɖ Lôja, ẇr Sr Wiłm Blêc Ričmnd n Wilfrid d’Glên cnfrunt wn anɖr fṛm oṗzit cwnrz v ɖ spês.”
The Fountain, Villa Torlonia, Frascati, Italy, 1907. Oil on canvas 71.4 x 56.5 cm
“Đ xibišn fīčrz a siriz v lj-scêl canvspanlz fṛm wn v ɖ most orijinl n aclemd Britiš pêntrz v ɖ 20ʈ senčri.
Ɖ Čapl wz bilt bî Jon Lui n Mẹri Beṛnd prîmṛli t hâz ɖ prodcts v Spensr’z ātistc jīňs – hiz casl in ɖ scî, az ɖe cwld it. It wz lêtr dedicetd t Mẹri Beṛnd’z bruɖr, Hari Sandm, hu hd dîd v an ilṇs h hd cntractd jrñ ɖ Frst Wrldwor, ẇlst fîtñ in ɖ fgotn frunt v Ṣlonica.
Spensr pêntd sìnz v hiz ôn wortîm xpirı̣nsz, az a hospiṭlōdrli in Bristl n az a soljr, olso on ɖ Ṣlonica frunt. Hiz rec̣lẋnz, pêntd intîrli fṛm memri, fôc̣s on ɖ dmestc rɖr ɖn cmbatv n ivoc evrīde xpirı̣ns – wošñ locrz, inspctñ cit, swtñ lwndri, scrubñ florz n têcñ ti – in ẇč h fând spiričl reẓnns n susṭnns.
Peprd wɖ prsnl n unxpctd dītelz, ɖe cmbîn ɖ riylizm v evrīde lîf wɖ drīmlîc vižnz drwn fṛm hiz imajinešn. In hiz ôn wrdz, ɖ pêntñz r a simf̣ni v rašrz v bêcn wɖ tīmêcñ obligāto n dscrîb ɖ bnal dêli lîf ɖt, t ɖoz fṛm ɖ batlfīld, reprizentd a hevn in a hel v wor. Fr Spensr, ɖ mīňl bcem ɖ mirakḷs – a fwm v recnsiliešn.
Ɖ pêntñz, ẇč tc six yirz t criet n wr cmplitd in 1932, r cnsidrd bî mni t b ɖ ātist’s fînist ačivmnt. Az wel az biyñ wn v Britn’z most impwtnt wōrātists, Spensr wz a ci figr in ɖ dveḷpmnt v fiğṛtv āt in 20ʈ senčri Britn, n ɖs xibišn pṛvîdz an oṗtyṇti t lc p clôs at hiz acumplišt pêntwrc, senṣtv ys v culr, n mastrli stiļîf. Ɖ xibišn olso srvz az a tîmli rmîndr ɖt ɖ wortîm čorz dpictd in hiz pêntñ r az reḷvnt nâ az ɖe wr bac ɖen.
Côkretd bî Amanda Bradli n Dêvid Têlr fṛm ɖ Našnl Trust, n dzînd bî aclemd xibišndizînrz Casn Man, ɖ xibišn olso includz pripaṛtri scečz bî Spensr, pêntñz bî Spensr’z frend n cntmprri, Henri Lam, alñ wɖ mtirı̣l on ɖ pêtṛnz v ɖ čapl, Jon Lui n Mẹri Beṛnd.”
A Gentleman in Adoration before the Madonna, Italian, c1560. Photograph: The National Gallery, London
A Gentleman in Adoration Before the Baptism of Christ, c1555-60. Photograph: Gerolamo and Roberta Etro
Gian Gerolamo Grumelli, c1560. Photograph: Lucretia Moroni Collection, Bergamo
Antonio Navagero by Giovanni Battista Moroni, 1565. Photograph: Photoservice ElectaUIG/Rex
Young Lady, c1560-65. Photograph: Private collection
The Tailor (‘Il Tagliapanni’) by Giovanni Battista Moroni. The National Gallery, London. Date painted: 1565-70. Oil on canvas, 99.5 x 77 cm. Collection: The National Gallery
Gian Girolamo Albani, c1570. Photograph: Private collection
“Jvani Bațista Moroni wz wn v ɖ grtst pwtritists v 16ʈ senčri Iṭli. Femd fr hiz gift fr capčrñ ɖ xct lîcṇs v hiz sitrz, h crietd pwtrits ɖt r az peṇtretñ n pârfl nâ az ɖe wr mr ɖn 400 yirz ago. Y wl b trnsfixt bî ɖer sîc̣lojicl depʈ n imījsi.
Ɖs z ɖ frst comprihnsv xibišn v ɖ ātist’s wrc in ɖ YC. W hv ṣlctd nt onli hiz rmāc̣bl pwtrits bt olso hiz lsr-nôn rlijs wrcs, ẇč wl b šôn sîd bî sîd. Amñ ɖm wl b nvr-bfr xibitd ōltrpìsz fṛm ɖ črčz v Berġmo n pêntñz md fr prîvt dvošn ɖt rflct ɖ ny rlijs îdiylz v hiz tîm.
Moroni’z pwtrits dpict ɖ ppl v ɖ wrld n tîm in ẇč h livd, fṛm elignt men n wimin v hî ssayti šôn in glitrñ dres t membrz v ɖ midl clas ingejd in ɖer trêd. Wn sč wrc z Ɖ Têlr, az hîli prezd in its tîm az it z nâ (reṿlušnri – Joṇʈn Jônz, Ɖ Gādịn). Ẇt ol v hiz wrcs šer z a stātlñ načṛlizm n vîtaḷti, rerli mačt bî uɖr ātists v ɖ pirı̣d n antisipetñ ɖ riylistc stîl v Caṛvajio n, lêtr, Mane.
Incumṗsñ hiz intîr c̣rir, ɖs xibišn z a loñ ovrdy seḷbrešn v an ātist ahd v hiz tîm n rîp fr rīdiscuvri.”
