To the Ends of the Earth, Painting the Polar Landscape

Through March 1, 2009 at the Peabody Essex Museum, Salem Massachusetts



Aurora Borealis, 1865, Frederic Edwin Church, 56 x 83½ inches, oil on canvas

Capturing the high drama and stark beauty of historic polar expeditions, To the Ends of the Earth, Painting the Polar Landscape presents more than 50 works by prominent artist-explorers, from monumental romantic canvases to early modernist works in pastel — all rarely shown in a single exhibition. The exhibition offers a range of artistic responses to the unique landscapes of the Arctic and Antarctic — from the documentary to the sublime and existential, by renowned painters such as Frederic Edwin Church, Rockwell Kent and Lawren Harris.

(from the PEM website)


My Wife and I had the opportunity to go to the opening of the new exhibit at the Peabody Essex Museum, entitled “To the Ends of the Earth, Painting the Polar Landscape. I’ve posted on things related to exhibits at PEM before, and it is always a joy to go there. This new exhibit is no exception. I believe this is the largest exhibit ever to focus on Polar landscapes in art. The works, covering a century of exploration and styles in painting are really remarkable. For those (like me) who collect exhibition books or catalogues, the companion book is not only complete with all of the exhibited paintings, but is excellently done and inexpensive. (Though those, again like myself, who have an eye for a more permanent personal library, may wish for a hardback version).

The larger works follow the grand scenic painting styles of the nineteenth century. As such, if you are not familiar with early modernist painting, the transition to the twentieth century works can be anticlimactic. I would strongly suggest perusing the numerous books on the topic that the PEM has at the bookstore, and will probably have strewn around the seating areas throughout the exhibit (not there for the opening, but usually feature at past exhibits). Especially look to materials on Rockwell Kent. There was a special film shown on Kent at the opening, which is not listed on the website, but if it is available I highly recommend it. These materials will help the viewer understand the stylistic transitions, and to see the change in the early twentieth century where artists began to represent these regions in their inherent drama and beauty, and not as a backdrop for human adventure. With the big dramatic canvases, it would also be easy to overlook the various notebook sketches and smaller works. Take the time to dwell over these, as they are absolutely marvelous. I was especially drawn to the pastels of David Abbey Paige (1901-1979) in which he recorded many different atmospheric phenomena.

The PEM posts a PDF file for printout with information on the works, a list of references, and brief biographies of the artists and explorers, which would make a handy pre-visit read.

If you are in Eastern Massachusetts between now and 1 March 2009, To the Ends of the Earth, Painting the Polar Landscape would make for an excellent excursion.

For additional information, see the Press release.


(links good at time of post) UPDATE: bad link coding fixed (my bad)

OK, I need this guy



Saint Expeditus, AKA Saint Elpidius, patron saint against procrastination...

... OK, OK! I'm off to the studio now. Time to work.

H/T Neat-O-Rama

Tease



A detail of the project on my paint frame...

The Right Brush

Painting in acrylic is murder on brushes. An average brush lasts me maybe one year, sometimes two. As a result of this, I had been loath to try more expensive brushes, like Kolinsky Sables, even though I wanted the level of control that such a good brush brings.

Never the less, I broke down and bought a set of Performen Kolinsky brushes by Creative Mark from Jerry's Artarama when they were on sale...

... last summer.

Even though these are not very expensive (especially for Kolinsky Sable, which can retail for between $400.00 and $700.00 per brush for the larger sizes), I was still uptight on using such a brush and automatically condemning it to an early death.


Well, I bit the bullet yesterday, and started using them.

It was amazing! They hold more paint, so that I can do longer strokes and cover more in less time. They have excellent control, allowing me to pull long lines and to accurately pull an edge. And they rinse and wash out better and easier than any brush I've ever owned.


Just goes to show that there is no substitute for quality.

Website News!

I am happy to note that my studio art website, Jerub-Baal Studio is finally getting a long needed updating, thanks to the tender ministrations of Chris Costello.

Go take a look! More will be coming soon.

Noah



Noah acrylic on canvas, 48 X 72 inches ©2008 MJAndrade all rights reserved

I had previously posted a teaser detail of this project, and now it is finished.

Here is a close-up of the lantern itself, where (hopefully) you can see the figure of 'Noah' and above him, the silhouette of the raven.

Another New Sketch



the Burden of the Prophets, Modern Theology Series
Watercolor on Paper, 8x10 inches © 2008 MJAndrade

Modern Theology, its critique and its results are turning out to be a fertile ground for painting concepts.

More on this as it comes...

El Greco to Velázquez Art During the Reign of Philip III

at the Museum of Fine Arts, Boston through July 27, 2008

For any of you who are in striking distance of Boston, I highly recommend this exhibit. It is absolutely wonderful, has several paintings that I am familiar with from years of reading art history, but also many pieces I had never seen in print or otherwise. Much of the work by the two 'headliners,' El Greco and Velázquez, were real revelations in person. Even with modern high-quality reproduction, there is nothing like seeing the original, up close.

For this post, however, I'd like to focus on some of the still life paintings. These didn't seem to get the same attention from the viewers as the bigger and showier religious paintings. Yet these pieces are exquisite, and well worth the time and ticket to see just in themselves.

A few examples:



Felipe Ramírez Still Life with Cardoon, Francolin, Grapes and Irises, 1628
Oil on canvas, 28 X 36 3/16 in. (71 X 92 cm)
Museo Nacional del Prado, Madrid




Juan Sáchez Cotán Still Life with Fruit and Vegetables, about 1602
Oil on canvas 27 3/8 X 38 in. (69.5 X 96.5 cm)
Varez Fisa Collection, Spain




Juan Sáchez Cotán Still Life with Quince, Cabbage, Melon and Cucumber, about 1600
Oil on canvas 27 1/4 X 33 1/2 in. (69.2 X 85.1 cm)
San Diego Museum of Art




Juan Sáchez Cotán Still Life with Game Fowl, about 1600
Oil on canvas 26 11/16 X 34 15/16 in. (67.8 X 88.7 cm)
The Art Institute of Chicago


These pieces and about a dozen other still lifes and domestic paintings by other artists including Alejandro De Loarte, Juan Van Der Hamen Y León, and Velázquez could have held my attention for hours.

Add to that the many portraits, the religions works and mythological works, the previously mention opportunity to see all of these up close, and the exhibit provides an incredible view of art in Spain at the end of the 16th Century on into the 17th.

The show also includes several amazing wooden polychrome sculptures of Saints on loan from Spanish churches, and has a reconstruction of a "treasure room" of glassware, pottery, silver and objects of curiosity (sort of a "Cabinet of Curiosities" of the craftwork of men) originally set up by the Spanish Royalty to impress their visitors.

Again, I can not say enough how highly I recommend seeing this exhibition.


Images from El Greco to Velázquez, Art During the Reign of Philip III by Sarah Schroth and Ronni Baer, with essays by Ronni Baer, Laura R. Bass, Antonio Feros, Rosemarie Mulcahy, and Sarah Schroth MFA Publications, Museum of Fine Arts, Boston, Published in association with the Nasher Museum of Art at Duke University. © 2008 ISBN 978-0-87846-726-6 (hardcover) $65.00 (Museum Members get a discount).

I also highly recommend the book, which contains much useful information, and a catalogue of the show, for a total of 162 high quality color illustrations

Milestone!

Yesterday, my one-year-old baby girl held a paintbrush for the first time.

She was totally fascinated with it.



I not sure if that bodes well or not....

Sketch of new piece in the "Modern Theology Series". I'm still thinking about a primary title...

watercolor, prismacolor and polychromos pencils, pencil and ink on paper. 8 X 14 inches. Copyright 2008 MJAndrade

created by request from the gallery...

Bombing of London, by Charles Andres

Sad News

I heard today from an old friend, who told me the the illustrator, Charles Andres, who had been my first art teacher in high school, passed away on Friday.

Some of his work can be found here. The interface is a little clunky, but it's worth a look. Choose a 'room' at the top of the image, then you can view the images in that area.

I remember the painting above, Bombing of London from his classroom/studio at Berwick Academy. He used it as an example of how to make contrast and composition work, since it had no color to distract the eye.

He was a man of humor and patience, an excellent teacher whom I did not listen to nearly enough, and from whom I learned more than from any other artist.


image copyright held by the estate of Charles Andres

Bobby Does Not Read



I had previously blogged about the work of Len Cowgill. He is a wonderful artist, and a very generous man.

I am very grateful to be able to say that his work is far more amazing in person than in photos.



Hmmmm.... I guess this makes me a collector as well as an artist.

Tease!





A finished detail of my current painting project.


More later...

Conversation With a Poor Unprepared Freshman

I got a call this evening from Northeastern University, my old Alma Mater.

This is somewhat paraphrased, as I'm not a steno...

N.U.(Brian) "Hi, my name is Brian, I'm from Northeastern University. We wanted to call and make sure our information is up to date and find out what alumni have been doing. Are you still at (... my address ...)?"

Me "Yep, haven't moved yet, but we're trying."

Brian "I see you studied Theatre, are you still working in that field."

Me "Actually, I'm a fine artist now."

Brian "Cool. Well, I'm glad that's working for you. Now, part of what I'm doing is trying to raise money for Northeastern. Gifting has always been a big part of what keeps the University going..."

Me (trying to interrupt in a polite way) " ... uh, Brian, that's 'Artist', as in 'Starving Artist'."

Brian (pause) "Oh, well, anything at all would help, even twenty dollars..."

Me "Sorry man, but we're strapped, thanks for calling though, and good luck tonight!"

Brian "Well,... thaannnks.... Good night."


Well, I did get a degree in the Arts and Humanities from the place, what did they expect?



At least I don't have a day-job where I have to ask, "Would you like fries with that?"

Assemblage Cabinets, Joseph Cornell and Len Cowgill



Over the summer, I went to an amazing exhibit at the Peabody Essex Museum in Salem Massachusetts. It was a beautifully set up and presented retrospective of the life and work of artist Joseph Cornell.



Untitled (Penny Arcade Portrait of Lauren Bacall) 1945-46


Assemblage art can look deceptive simple to a non-artist. It is amazingly easy to do poorly. Anyone can (and often have) thrown a bunch of found junk together and labeled it art.

To produce something truly evocative by assemblage is quite difficult. To be able to create a whole body of work, of quality and of lasting interest and impact is frankly a terrifying and daunting task. I have always loved and been fascinated by assemblage. It is a technique and concept central to many styles of Theatre Design, which is the discipline in which I originally trained. Assemblage is not an area I would try to build a body of work out of, for frankly, I don't have what it takes for that.

Joseph Cornell (December 24, 1903 – December 29, 1972) is the dean of assemblage artists. His amazing work draws you in, and makes you yearn to touch, to explore, to be a part of the tiny universes he created.



Untitled (Soap Bubble Set) 1936




Untitled (Medici Prince) 1952




Untitled (Aviary With Watch Faces) 1949


My favorite pieces of Cornell's work are from the "Soap Bubble Set" and the "Medici Slot Machines", though all of his work is fascinating. Boxes and cabinets filled with small drawers or bottles. The contents of the clear bottles are there to see, and mark you itch to remove them and investigate them at leisure. The drawers, which were often closed in the exhibit, are opaque and mysterious, making you wonder what is inside.

If you ever have a chance to see his work, I would highly recommend it. As an alternative there is the excellent book Shadowplay Eterniday with essays and commentary by Lynda Roscoe Hartigan, Richard Vine, Robert Lehrman, and Walter Hopps. Though the writing is rather wordy, it is enjoyable and is beautifully put together, with many gorgeous full color plates, and a DVD Rom giving insight into Cornell's work and life.


A current artist who is keeping the art of assemblage not only alive, but vibrant, is Len Cowgill. He has an excellent Flickr site showcasing his work. His work shows all the best and great potential that assemblage has. Small closed objects that demand opening.



THAT DAMNED VOICE INSIDE MY HEAD


Works large and small that present their own contained universes worthy of lengthy examination, with enough substance to reward long contemplation.



Myths of Childhood (open)


I strongly urge you to go poke around in his site, his work is wonderful!

top illustration, "Joseph Cornell" by Len Cowgill, from his work in progress.

UPDATE: I was remiss in not noting that Len Cowgill's artwork is available through the Tamarack Gallery


THAT DAMNED VOICE INSIDE MY HEAD, Myths of Childhood, and portrait of Joseph Cornell are all copyright by Len Cowgill, all rights reserved to the artist, and used here by permission.

New Books for a New Year

Recent acquisitions, some for reading, some just a artistic reference;

From Dover Books

Philosophy and Civilization in the Middle Ages by Maurice DeWulf

Form and Design in Classic Architecture by Arthur Stratton

A Manual of Historic Ornament by Richard Glazier

Masterpieces of Medieval Open Timber Roofs by Raphael Brandon & J. Arthur Brandon

Great Bridges: From Ancient Times to the Twentieth Century by Wilbur J. Watson

Book of Old-Time Trades and Tools Anonymous

And the following condensed from the writings of Leonardo da Vinci

A Treatise on Painting

Leonardo on Art and the Artist

Leonardo on the Human Body

and The Notebooks of Leonardo da Vinci, Vol. 1 and Vol. 2

For those of you interested in da Vinci, Dover has a wide selection of books and CD Rom image collections that include his work.

This probably means that I will re-read Kenneth Clark's excellent biography Leonardo da Vinci, which was one of last year's books.

There are a number of books that were purchased or given to me last year that I need to read or finish;

Edward Hopper (Exhibition Catalogue) which includes excellent biographical information and several essays.

The Ten Books on Architecture by Vitruvius. I have been reading through this, and it was fairly easy going, up until the section on acoustics....

Joseph Cornell: Shadowplay . . . Eterniday from the show last summer at The Peabody Essex Museum

I'm planning to post some thoughts on the Hopper and Cornell books later on.

Amazing Progression of a Painting

TheARTDEPARTMENT provides an amazing series of images of the progression of a painting by David Bowers. I haven't checked TheARTDEPARTMENT in a while, my bad. For those of you unfamiliar, it's a blog run by Irene Gallo, the art director for Tor, Forge, and Starscape Books. I'm glad I didn't miss this.

The progression actually goes clockwise, so don't be confused by the order. Click on the images for larger versions.

This is great stuff, and I love to see how artists build up their work from beginning to end. I post progressions at my Flickr site. The figurative work of David Bowers is truly wonderful. It's great to get an insight into his process.

This image was featured on the cover of Spectrum 12: The Best in Contemporary Fantastic Art, an annual of fantastic art and illustration.


Oh, I need to browse through my art-blog bookmarks more....

Amazing Progression of a Painting

TheARTDEPARTMENT provides an amazing series of images of the progression of a painting by David Bowers. I haven't checked TheARTDEPARTMENT in a while, my bad. I'm glad I didn't miss this.

(The progression actually goes clockwise, so don't be confused by the order. Click on the images for larger versions.)

This is great stuff, and I love to see how artists build up their work from beginning to end. I post progressions of my own at my Flickr site. The figurative work of David Bowers is truly wonderful. It's a treat to get some insight into his process.

This image from David Bower's website was featured on the cover of Spectrum 12: The Best in Contemporary Fantastic Art, an annual of fantastic art and illustration.


Oh, I need to browse through my art-blog bookmarks more....

Current Show!





I've been remiss. The new show at the Glass Garage Gallery went up on the 6th. (Click on the invitation for a larger version)

If you are in the Greater LA area, take a gander. They carry a number of incredible artists, as well as myself.

Below are the two pieces I sent out for the show.





"Charon"

acrylic on canvas 16 X 20 inches, copyright 2007 MJAndrade All rights reserved





"Crossing the Jordan"

acrylic on canvas 16 X 20 inches, copyright 2007 MJAndrade All rights reserved

I've been focused on getting paintings out to the gallery

(well, that and the last Harry Potter book) so posting has been light. The show is now up at the Glass Garage Gallery. "Ionas" is also on the LA City Beats page (scroll down to the "seven days" section and click the link).

Cool....