Tag: David R. Marshall

Exhibition Review | Genius and Ambition. The Royal Academy of Arts, London, 1768–1918 | David R. Marshall

Genius and Ambition. The Royal Academy of Arts, London, 1768–1918 David R. Marshall   At the Bendigo Art Gallery 2 March–9 June 2014. (Closes 9 June; an exhibition of antique sculpture from the British Museum follows on 2 August.) The regional galleries have some interesting exhibitions on at the moment. At the Ballarat Art Gallery is Auld Lang Syne while at Bendigo, with only a few days to run, is Genius and Ambition, which consists largely of works from the Royal Academy, London and is an exhibition generated by Bendigo and the only Australian venue. Following the success of its fashion shows, especially Grace Kelly, the Bendigo Gallery has stimulated an arts-led tourism industry serving day-trippers from Melbourne who come by car, train or chartered bus. Bendigo has a lot of offer in this respect. Its architectural charms are considerable,…

Exhibition Review | Monet’s Garden at the National Gallery of Victoria. Reviewed by David R. Marshall

The latest NGV exhibition is, again, sourced largely from a secondary French museum (the Musée Marmottan Monet, henceforth MMM). Monet exhibitions have traditionally draw large crowds, and are much loved by gallery directors needing to feed the political machines to which they are beholden that equate numbers with success. But if ‘Monet’ is the brand of brands for art exhibitions, for organisers there is the problem of finding new ways to give a Monet show intellectual credibility and thematic coherence, while marketeers may feel the need to enrich a brand that runs the risk of becoming stale. And, given the economics of international exhibitions in Australia, the bulk of the works need to come from a single source. Hence Monet’s Garden.

‘Monet’s Garden’ is an idea rich in possibilities: it connects cultural tourism (a trip to Giverny) with high-art glorification of artistic genius. While previous NGV exhibitions have emphasised, through videos, places associated with the objects on display (notably the Musée Moreau in the Moreau exhibition and Malmaison with Napoleon), Monet’s Garden takes the place/artwork nexus one step further. I once taught a subject in art history on the history of gardens called Visions of Paradise: Art of the Garden, a title stolen from a picture book by Marina Schinz, and did a week on Monet and Giverny. One of the essay questions was whether Monet was a better gardener than painter. This generated some interesting responses. By asking this question one is forced to look at his Giverny paintings differently: as topographical painting, subordinate to the place represented, rather than a this-is-a-work-of-genius painting. It is quite intriguing, after studying the now well-known colour photos of Monet in his garden nearest the house (e.g. pp. xxiv-xxv of the catalogue) (Fig. 1), to be able to identity what the paintings actually represent. The strength of Impressionism was that it accepted the facts and went from there, so that its underpinning of visual factuality is there if you choose to look. A visit to the waterlily pond at Giverny makes you realise that his Nymphéas paintings are much more realistic than you had thought when you saw them in a gallery (Figs. 3, 14). This helps us to see Monet differently: as the last of the estate topographers, rather than as a wannabee modernist abstractionist.

Exhibition Review | Radiance: The Neo-Impressionists. Reviewed by David R. Marshall

Radiance. The Neo-Impressionists Reviewed by David R. Marshall Radiance: The Neo-Impressionists. National Gallery of Victoria, 16 November 2020 – 17 March 2021 Impressionism was killed by theory, the theory that gave the Neo-impressionists their identity. Neo-Impressionist theory picked up on Impressionism’s naturalism and acute observation of outdoor light effects (coloured shadows and so forth) and married them to contemporary colour theory. The result was a pseudo-scientific artistic practice that proved to have interesting artistic possibilities wholly at odds with the theory that underpinned it. The science was the idea of optical mixing of colours and the theory of complementary contrasts. These were set out by in a book published forty years earlier by Michele-Eugène Chevreul, who had been director of the Gobelins tapestry works. Optical mixing derived from the practice of tapestry workers of twisting differently coloured threads together to…

Review | In Search of the Picturesque: The Architectural Ruin in Art Reviewed by David R. Marshall

In Search of the Picturesque: The Architectural Ruin in Art Reviewed by David R. Marshall In Search of the Picturesque: The Architectural Ruin in Art at Geelong Art Gallery (closing this Sunday 24th June). I have finally caught up with the exhibition In Search of the Picturesque: The Architectural Ruin in Art at Geelong Art Gallery (closing soon on 24 June) so go quickly if you haven’t done so already. This exhibition showcases Colin Holden’s collection of Old Master prints, to which have been added loans of paintings from the National Gallery of Victoria and Art Gallery of South Australia, prints from the State Library of Victoria, and various items from the Geelong Gallery collection and other sources. In the main room it is good to see some old favourites brought together: from the NGV there is the Panini Cumaean Sibyl…

What are you looking at? | David R. Marshall, The Napoleon Exhibition at the NGV International

The Napoleon Exhibition by David R. Marshall The Napoleon: Revolution to Empire exhibition is now on at the National Gallery of Victoria. Here I want to muse a little on a few works that caught my eye at the opening. That this exhibition is about Napoleon is hard to miss, with his name in giant illuminated letters near the entrance and a huge banner of David’s Napoleon Crossing the Alps on the side of the NGV. In this respect the exhibition represents a departure for the Melbourne Winter Masterpieces series which lately has taken its cue from the series of exhibition on period styles at the Victoria and Albert Museum, such as Art Deco (which originated at the V&A) and Vienna: Art and Design. According to what I have been told the idea for this exhibition began as Marie Antoinette.…

What are you looking at? | David R. Marshall – Bernini’s Raimondi Chapel in S. Pietro in Montorio, Rome 1638–48

Bernini’s Raimondi Chapel in S. Pietro in Montorio, Rome 1638–48 David R. Marshall The Raimondi chapel in S. Pietro in Montorio is proof of the triumph of sculpture over painting. At 8.30am on a cold winter’s morning, when the church opens, it is the one well-lit part of the church (Fig. 1). Opposite, Sebastiano del Piombo’s Christ at the Column is plunged in gloom, from which it is barely rescued by artificial lighting (Fig. 2). To be sure it is a question of condition, but then the condition of the Raimondi chapel is not great either, with loose pieces of marble lying about, but it does not affect the experience. What stands out is the sarcophagus below the right hand Raimondi (Monsignor Girolamo, died 1628) (Fig. 3). The Bernini conceit of hinging back the top of the sarcophagus (which I…

Review | Alain de Botton, Religion for Atheists by David R. Marshall

Thoughts on Alain de Botton, Religion for Atheists David R. Marshall Alain de Botton’s new book is of interest because it directly addresses an issue important for atheistic art historians: if religion is bad, why was the art it produced so good? The usual answer is either (a) that religion is irrelevant to what really matters in such art—it embodies the individuals that created it, rather than the institutions that sponsored it— or (b) it is all a matter of history and so the question is beside the point. The first answer makes particular sense to those whose personal experience is that good things come about in spite of institutions, not because of them. De Botton takes the opposite tack: that it is a given that intellectual bases of religions are nonsense—myths left over from times of ignorance—but we should…

Opinion: Thoughts on the NGV’s latest acquisition: Correggio’s Madonna and Child with the Infant St John the Baptist by David R. Marshall

Opinion: Thoughts on the NGV’s latest acquisition: Correggio’s Madonna and Child with the Infant St John the Baptist by David R. Marshall The NGV today announced the purchase of a newly discovered painting by Correggio (Antonio Allegri) of the Madonna and Child with the Infant St John the Baptist at Sotheby’s 7 July sale. By chance I was shown this painting in late May when I was looking at something else, and had an interesting discussion about it with the people from Sotheby’s, including their conservator who was doing the conservator’s report. It was not an attention-grabbing picture at first sight (especially as it was a little yellowed by varnish), but gradually the subtleties of Correggio’s hand and imagery began to emerge. It is an early work, which is always interesting with Correggio because, like Giovanni Bellini, he begins slowly,…

Exhibition Review: Lorenzo Lotto, Rome Scuderie del Quirinale, until 12 June. David R. Marshall

Exhibition Review Lorenzo Lotto Rome Scuderie del Quirinale, until 12 June Reviewed by David R. Marshall The last big Lotto show was in 1998, but I suspect this one doesn’t quite match it. The illustrations to the introductory essays in the catalogue indicate the ones that got away. But even so, this is an impressive exhibition, mainly for the altarpieces. For those who do not know the Scuderie, it is the old papal stables on Piazza del Quirinale. It has two long and wide floors that once housed horses. It is one of the best Roman venues, as these spaces are roomy and flexible, although the transition between levels can be awkward. In this case the lower floor is devoted to large altarpieces. These are mounted above altar-table like structures on a plinth, which sets them at a good height…

Review – Watteau: The Drawings. Royal Academy, London. 12 March – 5 June 2011. David R. Marshall

Watteau: The Drawings Royal Academy, London. 12 March – 5 June 2020 Reviewed by David R. Marshall This exhibition is organized for the Royal Academy and curated by Pierre Rosenberg and Louis-Antoine Prat, and based on their 1996 catalogue of Watteau drawings. In his essay Prat points out that the number of drawings (90) is less than at the big Watteau exhibition of 1984-85, but that the selection is more focused and unproblematic. The bulk of the drawings are from the Louvre and British Museum, but there are a number from other collections not often seen. The drawings are displayed in the Sackler wing of the Royal Academy, already showing its age, with it’s weird open lift shaft between the exterior facades of two buildings, and gallery spaces that work well enough in a routine way. On a Monday lunchtime late…

Comment: Thoughts on the Aesthetic Movement Exhibition. David R. Marshall

Comment: Thoughts on the Aesthetic Movement Exhibition David R. Marshall These are some thoughts after seeing the exhibition, The Cult of Beauty: The Aesthetic Movement 1860-1900, at the Victoria and Albert Museum (till July 17th 2011, see the review by Kim Clayton-Green on the MAN website). What struck me about this exhibition was how familiar it was, on both a personal and intellectual level. On the personal level it helps one make sense of one’s own familial history: that photo of great-grandmother in strange loose fitting costume with metal armlets in a dirty green and gold frame, or that pair of brass candlesticks in the form of rearing cobras remembered from childhood and spotted in an obscure corner of the exhibition. But more importantly it was familiar ideologically. The idea that the purpose of art is to enrich the lives…

MAN Opinion – David R. Marshall: Thoughts on the NGV’s Latest Acquisition

Opinion – David R. Marshall Thoughts on the NGV’s Latest Acquisition It was announced last week that the National Gallery of Victoria has acquired a new work: a late, and very Raphaelesque work, by Francesco Francia and his sons, Virgin and Child with the young Saint John in a garden of roses (c. 1515). We hope to hear more about this on the MAN website in due course, but here it may be worth noting the shabby treatment of the announcement in the Sunday Age. Over a picture of the director with the new painting was the heading ‘Gallery fights ‘moribund’ tag’. This turns out to be the complaint, here voiced by the journalist responsible for the item, Gabriella Coslovich, that the NGV does not have enough contemporary art. The editors of The Age have seen fit to give Coslovich a…

Review: David R. Marshall – Gustave Moreau and the Eternal Feminine at the NGV

Gustave Moreau & the Eternal Feminine Melbourne, National Gallery of Victoria 10 December 2020 – 10 April 2021 Reviewed by David R. Marshall Gustave Moreau (1826-1898) has always been hard to place. To his contemporaries he was an establishment painter distracted by eccentricity, and he did not fit the grand modernist narrative that lead from Impressionism to Modernism. He has settled down to being the precursor of Symbolism, the teacher who showed the way to Redon and the Symbolists but never quite made it there himself. But perhaps what emerges most from this exhibition is less his eccentricity or Symbolism than his obsessiveness. Why did he need to make so many studies, in so many various media and styles? He reminds me of his near contemporary Facteur Cheval (1836–1924), the obsessive French postman who single-handedly built a bizarre fantasy palace at…

David R. Marshall – Scientists and the Perspective of View Painters

Opinion Scientists and the Perspective of View-painters New Scientist (26 June 2010, p. 21) has recently reported on a scientific study of the perspective used by eighteenth-century view painters (vedutisti). The team, headed by Thomas Sharpless, a retired software engineer in Philadelphia, picked 14 vedute of the interiors of buildings for which they had ground plans. ‘They identified 20 points in each painting and located them on the corresponding plan. They then used this information to create a mathematical projection function and incorporated it into a piece of software, called “Panini”.’ No prizes for guessing which painting(s) and which building features prominently! The article goes on to state that ‘Panini [the program] can squash the width of a panoramic image while retaining perspective.’ Quite what this means is far from clear. It seems to assume that all 14 paintings employ…

David R. Marshall – A Carracciesque Landscape at the Powerhouse

What are you looking at? A Carracci School Landscape on the lid of a virginal at the Powerhouse Museum in Sydney On display in the Powerhouse Museum, Sydney, at the moment is a virginal, which according to the label is a Bolognese work of 1629, made by a local priest, Vincentius de Taeggiis (85/372 OIC) (Fig. 1). The underside of the lid is painted with a landscape, by an unidentified artist (Fig. 2).  It is in a rather old-fashioned (for 1629) Flemish style, with layered trees, hunting scenes, trees composed of broad leaves painted light over dark over light (centre) and a yellow light in the sky. But there are also Carracci elements: the stress on Pozzoserrato-like mounds (Louvre Hunting landscape), a composition extending laterally with evenly weighted vertical elements, open expansive landscapes between, and framing coulisses (Berlin River Landscape),…