A keen salesman

Elephant_240

Many years ago when we vere on holiday in India, we visited a historic Hindu temple complex in the State of Karnataka.

When we left the enclosure containing the amazing temples with thier intricate stone carvings, we were approached by a little boy, who could have been no more than ten years old. He wanted to sell us some quite attractive miniature elephants carved in stone. Out of politeness, rather than curiosity, we asked the price.

“200 rupees,” he said.

We told him that we did not want the carvings.

“100 rupees,” he said, hopefully.

“We don’t want them, thanks,” we said.

“50 rupees?”

“Really, no thanks”

“25 rupees?”

“Really, no”

“10 rupees?”

We tried to make it clear that we did not want the carvings at any price.

“Have them for nothing,” the little boy offered.

We still did not take them. I often wonder what would have happened next, had we accepted his three elephants as a free gift.

Man in the waves

GORM

 

At first sight, I thought I saw a man standing alone and naked out in the waves at Margate on a sunny but very windy afternoon. Crazy, I thought to brave those rollers on suchb a cold day and without a wet suit. Then, I noticed that he was coloureed green and motionless despite the battering he was getting from the sea. He was not a man, but a sculpture.

This sculpture braving the sea is Another Time  created in 2013 by the British sculptor Antony Gormley (born 1950).

The clever thing about this sculpture is placing it in the water. Though static, the waves dashing against it can create the illusion that the sculpted man is moving. Also, by putting it in the sea, the whole sea becomes an important part of the artwork.

Although I am not too keen on Gormley’s art works, this piece at Margate, just outside the Turner Contemporary art gallery satisfies me greatly. 

You can now see the sculpture and the waves in this short video:  http://www.ipernity.com/doc/adam/48815810

Glass in the garden

 

Once again, London’s Kew Gardens is hosting an exhibition of glass sculptures by Dale Chihuly (born 1941). The amazingly crafted glass artworks of often quite complex design have been placed both in the open-air and inside some of Kew’s lovely old glass-houses. 

The curvy tubes with pointed ends shown in my photograph have been tastefully planted in a grassy field dotted with tulips. In the Temperate House, a large glass mobile has been suspended from the ceiling and smaller objects mingle with the plants. Wherever you look, you will find glass artefacts in  intimate contact with the plants growing around them. In the Water-Lily House, large glass sulptures evoking the flowers of water-lillies mingle with the real plants whose fronds float on the water.

As time passes and the plants grow more, some of Chihuly’s colourful glass objects will become harder to find.  The plant-like forms of many of the artworks mix with the plants to provide in some cases a stark contrast or in others they almost blend with the plants around them.

It is well worth visiting Kew whilst these sculptures are on display. However much I like the glass artworks, the stars of the show are for me the plants themselves (rather than the sculptures). This highlights how difficult it is for man to compete with nature on the aesthetic playing field.

 

The Chihuly works are on display at Kew Gardens until the 27th October 2019

A carved Crusader

A life no longer,

Remember’d in timber:

Farewell, Crusader knight

 

 

14th century wooden effigy in church at Paulerspury in Northamptonshire, England

 

For more information about this rare mediaeval carving, see: History of Paulerspury

website from which this information was extracted:

Under the arcade between the chancel and the north chapel, on a freestone tomb panelled with cusped ogee blind tracery enclosing shields, are wooden effigies of a lady (c. 1340) and an armoured man (c. 1346-9), now placed side by side but not necessarily originally associated with each other. The male figure may represent Sir Robert de Paveley.  The monument was restored by Frederick H. Crossley of Chester in 1920, following a report on its condition by the S.P.A.B. in 1915

Tanning at the Tate Modern

 

One of the great features of possessing a Tate Card (an annual season ticket) is that one can enter (with or without a companion) the regular special exhibitions without paying extra for tickets, which tend to be quite costly. What I particularly like is that if an exhibition does not meet one’s expectations, one can spend a short time viewing without worrying about having wasted, maybe, as much as £18 per person.

Recently, I visited the much-hyped special exhibition of works by the French painter Pierre Bonnard (1867-1947) at the Tate Modern in London. Without the Tate Card, the two of us would have had to shell out £36 (about 30% of the cost of a Tate Card) to see what I thought was a tedious exhibition. 

I like Impressionist and Post-Impressionist art in general, but the Bonnard works left me cold (or at least lukewarm!). I cannot comment on the competence of their execution, but I found them short of visual excitement, almost boring compared with works of other artists painting during Bonnard’s lifetime. Consequently, we did not linger long in the exhibition. I may sound like a Philistine with my comments about the famous Bonnard, but it is only fair to write honestly about how the exhibition affected me. Incidentally, I noticed that many of the visitors at this show were more interested in chatting to each other than looking at Bonnard’s works. I saw one man sitting on a bench reading his newspaper rather than trying to enjoy Bonnard.

As we were still in the mood for looking at art, we decided to enter another special exhibition in the Tate Modern. Using our Tate Card, we saved up to £26 when we entered the exhibition of artworks by the American-born Dorothea Tanning (1910-2012). However, this is an exhibition that is well worth its entrance fee. Bonnard and Tanning’s working lives overlapped for a few years, but the American’s output made a far greater impression on me than the Frenchman’s. 

The exhibition at the Tate Modern commences with paintings from Tanning’s surrealist phase. Her execution and composition sets her amongst the best of the surrealist artists. Each painting has subtlety, excitement,  a sense of adventure, and creative freshness. As Tanning grew older, her works tended towards abstraction in an original way. In brief, Tanning was an artist whose visual language(s) really attract me. Her work has a freshness and impact that I found lacking in Bonnard.

In addition to paintings and designs for stage sets, the exhibition at the Tate includes some of rather weird soft fabric sculptures, which did not appeal to me quite as much as the framed works. However, they display another aspect of Tanning’s undoubted inventive talent.

I am glad we decided to visit the Bonnard, even though it disappointed me, because it got me to visit the Tate Modern after a long break (in India) and to discover the delights of Dorothea Tanning’s  artistic output.

 

The photo is a detail of a work, “Endgame” , painted by Dorothea Tanning in 1944

Art on the road

We have recently returned from Cochin (in Kerala, South India), where every two years there is a huge art exhibition, the Kochi Muziris Biennale, that is open for just over three months. The artworks on display are supposed to conform in a loose way to a theme chosen by the chief curator. The artworks are not for sale at the Biennale.

Once a year early in each January, a one day art festival called Chitra Santhe is help along Kumara Krupa Road in Bangalore. This tree lined thoroughfare runs past both the Bangalore Golf Club and also the Chitrakala Parishadh, a leading art school.

Many artists display their works along the street. Their aim is to sell to the thousands of passers by, who amble leisurely past them. The quality of the artworks varies from highly skilled to colourful kitsch. All tastes are catered for. Many visitors wander about with their wrapped purchases under their arms.

The atmosphere at Chitra Santhe is festive. The January temperatures make for pleasant outdoor art viewing. Unlike the Biennale in Cochin, there is no theme unifying the artworks on display apart from the artists’ desire to sell. The artists are happy to discuss their works and are not pushy salesmen. Prices range from very low to not unreasonably high.

If you happen to be in Bangalore on the first Sunday in January, then an hour or so at the Chitra Santhe should prove to be a rewarding and enjoyable experience.

Art gallery

Bangalore in south India is not blessed with many tourist attractions. I will describe one of them, which gives me great pleasure.

Almost 10 years ago, a branch of the National Gallery of Modern Art (NGMA) opened in Bangalore. Even if you have little interest in modern art this place is worth seeing. Part of the collection, which changes regularly, is housed in the former Manikyavelu Palace, a 19th century edifice which has been superbly restored.

The palace is linked to an elegantly simple contemporary building in which some of the permanent collection is displayed. The collection includes works mainly by Indian artists but there are also a few by European artists. Most of the artworks were created in the 20th and 21st centuries. There is a good selection of paintings by Bengali artists.

The new building also houses well curated temporary exhibitions. Currently, there is a wonderful exhibition of paintings and drawings by the artist Khanderao, who was born in Gulbarga. His early works were beautifully executed topographical scenes. He is also a superp portraitist. Like other great modern artists, for example Picasso, Khanderao has moved into abstraction, which he deals with beautifully.

A water feature separates the palace and its modern extension from another contemporary complex. This includes an auditorium, a library, a café, and a gallery shop.

The verdant gardens of the NGMA contain several modern sculptures.

The NGMA is, in my opinion, one of the loveliest attractions that Bangalore offers visitors and residents alike.