I vote

I made this to mark the announcement of the results of the European elections

Inspired by the Speaker of the House of Commons, John Berkow. He went to Finchley Manorhill school which was on the same site in North Finchley as The Compton where one of my boys went.

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Art Vandals 5: Indelible Marx

Weapon: (1) Hammer (2) Red Paint

Reason: (1 & 2) political

Three miles down the road from where I am writing is this North London landmark – the tomb of Karl Marx. Buried beneath this grizzly bust are Marx, his wife (Jenny von Westphalen) and other members of his family, all gathered together there in 1954 after having been buried elsewhere in Highgate Cemetery (about a hundred yards away). The tomb has been listed since 1974, elevated to Grade I in 1999.

The monument was attacked for a second time in a month a week ago today (15th-16th February). The first attack was on 4th-5th February. Whether this fully constitutes Art Vandalism is a moot point – it is not the sculpture that has been targeted but, firstly, the plaque with text and, secondly, the pedestal.

The tomb (as it is generally referred to) was designed by English sculptor and artist Laurence Bradshaw. He was for a while assistant to Frank Brangwyn who in turn was assistant to William Morris, creating a resonant Socialist chain of heritage.

The memorial was officially unveiled on 15th March 1956 at a ceremony led by Harry Pollitt, the General Secretary of the Communist Party of Great Britain. The party funded the tomb.

The tomb is topped by the bronze bust of Marx. It sits on a marble pedestal. The words top front on the pedestal – Workers of all lands unite – are the final words of The Communist Manifesto. The central panel – target of the first attack – comes from the original 1883 grave and lists those interred, which include Marx’s housekeeper Helene Demuth. The text at the bottom comes from the conclusion of Marx’s Eleven Theses on Feuerbach.

Marx was a political exile in London, arriving in June 1849. There are various Marx-related London landmarks including at 28 Dean Street, Soho

2nd floor, 28 Dean St.

and in Maitland Park Road, South End Green/Belsize Park, where he moved in 1875 and remained until his death in 1883. The house there was replaced by a Camden Council housing block in the 50s due to bomb damage from the Blitz.

site of 41 Maitland Park Road

He wrote Das Kapital in our city, famously using the British Library reading room at the heart of the affluent thinking territory of Bloomsbury.

This month’s attacks are not the first. There were two bombing attempts in the 1970s, including a pipe bomb set off in January 1970 which damaged the front of the memorial.  And there have been numerous other incidents of vandalism ever since its unveiling in 1956. It has had paint daubed over it before. The bronze bust has been dragged off the plinth with ropes.

Hammer attack on the panel from the original grave

The weapon of choice earlier this month seems to have been a hammer, a rusty one. The words targeted seem to be centred on the second occurrence of his name.

The second assault was with ironically Communistic red paint.

The daubed words include “doctrine of hate”, “architect of genocide” and “memorial to Bolshevik holocaust 1917 1953 66,000,000 dead”.

Morgan: a suitable case for treatment – David Warner as Morgan

One of my first encounters with the tomb was as a teenager getting deeply into cinema, watching the 1966 film Morgan: a suitable case for treatment directed by Czech-British director Karel Reisz. He was a child refugee from the other more famous Holocaust, rescued by Sir Nicholas Winton along with 668 others. Both his parents died in Auschwitz.

The Friends of Highgate Cemetery called the hammer attack “a particularly inarticulate form of political comment”. Suits the times.

After the first attack the Metropolitan Police said: “Initial enquiries have been completed and at this stage the investigation has been closed. If any further information comes to light, this will be investigated accordingly.” Another sign of the times.

Officials from the cemetery are getting in touch with the tomb’s owners, the Marx Grave Trust (based at the Marx Memorial Library in Clerkenwell). The monument is uninsured. They are to discuss the possibility of installing CCTV around it.

After the second attack the Metropolitan Police said they had received a report of criminal damage at around 10.50am on Saturday. “There have been no arrests. We would appeal to anyone who has any information to contact us.” The Met spokesman also confirmed no arrests had been made over the 4th February attack.

The quality of political debate in this country is about on a level with the effectiveness of an over-stretched police force. Morgan would love it.

Art Vandals 2: La Pietà

Weapon: Geologist’s Hammer

Reason: Religion, religious delusion

La Pietà by Michelangelo (1499)

The exquisite Renaissance sculpture La Pietà by Michelangelo was attacked with a hammer in 1972 in St. Peter’s Basilica in the Vatican where it resides. On 21st May a man with a professional interest in stone, geologist Laszlo Toth (then 33), hit the statue 15 times while exclaiming: “I am Jesus Christ, risen from the dead!” Toth was a Hungarian-born Australian who moved to Rome in June 1971, knowing no Italian. He  wanted to be recognised as Christ. He was born into a Roman Catholic family. He sent letters to Pope Paul VI and tried to meet him, without success.

He chipped the Virgin’s head, nose, left eyelid, neck, veil and left forearm. The forearm fell off and the fingers broke on the ground. Most of the fragments were saved and collected but a few were taken by tourists.

Toth was subdued by other tourists (the good kind), including American sculptor Bob Cassilly, who hit Toth several times as he dragged him away from the Pietà.

The sculpture was repaired and is now shielded by bulletproof glass.

Toth was not charged with a crime (due to his evident insanity) but was sent in January 1973 to a psychiatric institution in Italy for two years. On his release in February 1975 he was deported to Australia. He died in September 2012.

Art Vandals 1: Ivan the Terrible & His Son Ivan

Weapon: Metal pole (2018) / Knife (1913)

Reason: Politics (2018) / Aesthetics (1913)

Ivan the Terrible and his son Ivan by Ilya Repin (1883-1885)

The full title is: Ivan the Terrible and His Son Ivan on 16 November 1581. It was painted by the Russian Realist painter Ilya Repin between 1883 and 1885. It shows grief-stricken Russian ruler (first Tsar of Russia) Ivan the Terrible cradling his fatally wounded son, Ivan Ivanovich. The father dealt the fatal blow to his son in a fit of rage. It is considered one of Russia’s most famous paintings. It resides in the Tretyakov Gallery, Moscow.

It has been vandalised twice – first in 1913 and again in May last year.

25 May 2018

Igor Podporin (37) attacked it with a metal pole, smashing the security glass around the painting. It was one of the security poles used to hold the rope to keep visitors at a distance. He told police he attacked it after drinking vodka. In court he added that he had done it because the painting was “a lie”. Some Russian nationalists believe Ivan the Terrible was not so terrible and his name has been blackened unfairly. (Russian leader depicted as murderous – who’d have thought?)

The canvas was torn in three places though luckily not near the faces and hands of the two characters. The artist had used a heavy canvas so the painting was able to withstand the attack relatively well. The damage was still “serious” and a special group of art experts have been charged with planning and executing the restoration, which is expected to take several years. They have Repin’s notes from the first attack which may help with restoration work.

16 January 1913

Abram Abramovich Balachov attacked the painting with a knife, making three parallel slashes above the faces of the two characters. The then director of the Tretyakov Gallery, Ilya Ostroukhov, resigned. The curator of the Gallery, the landscape painter Georgy Khruslov, was so upset about the attack that he threw himself under a train.

Repin returned to Moscow from Finland to restore the work. Repin thought the attack motivated by extreme dislike of his adopted artistic style which some considered very old-fashioned. He suspected the attack was “the result of that monstrous conspiracy against the classic and academic monuments of art which is daily gathering momentum”.

Balachov’s vandalism was applauded by Symbolist poet Maximilian Voloshin, who published an essay On the significance of the catastrophe that befell Repin’s painting and lectured on the subject, sponsored by Futurists at the Moscow Polytechnic Museum. Repin himself was in the audience and came up to the podium to respond.

At the time of the attack Balashov was removed from the scene shouting: “Enough blood! Down with blood!”

Ivan the Terrible and his son Ivan by Ilya Repin (1883 – 1885)

The three slashes of 1913

The pole marks of 2018

 

Quote of the Day: Body’s Light

The Embrace [The Loving] by Egon Schiele (1917)

Bodies have their own light which they consume to live: they burn, they are not lit from the outside.

Egon Schiele

to mark my visit to ‘Klimt / Schiele’ at The Royal Academy of Arts, London

More on Schiele & me here:

On the Trail of Egon Schiele

More Egon Schiele

Bowie & Schiele

 

Quote of the Day: Resolution

‘Helmet Head No.1’ (1950) by Henry Moore (1898-1986)

“I think in terms of the day’s resolutions, not the year’s.”

Henry Moore

Picasso’s menagerie

Bull: Guernica (1937)

Horse: Guernica (1937)

Goat: Faun and Goat (1959)

Cock: The Rooster (1938)

Dove: Dove of Peace (1949)

Owl: Cage with owl (1947)

Bull (1945)

Boy Leading a Horse (1906)

The Goat (1946)

Woman with a Cock (1938)

Child with dove (1901)

Picasso and owl (1947) photographed by Michel Sima

 

Artistic Devices: Hockney in London 2017

I was working at Chelsea School of Art in Pimlico recently and took the opportunity, after a meeting about a prospective TV programme, to nick into Tate Britain which is directly opposite and see the David Hockney exhibition.

To mark the occasion of this major retrospective, entertaining if a little rammed, I’d like to dig out my Hockney Picture of the Month, Portrait Surrounded by Artistic Devices, which is in the show of course.

Portrait Surrounded by Artistic Devices (1965)

And to add an extra something to celebrate the exhibition I’d like to highlight some other artistic devices in evidence in this show. For the significance of ‘artistic devices’ I’ll quote from my earlier post:

The person portrayed is partly obscured by a pile of (obviously painted) cylinders. Above his head is a shelf on which are a selection of large brushstrokes. The cylinders are crude 3D representations, obvious devices or techniques, which stand out as abstract in a still figurative world of suits and rugs and shelves. The shelf is just a 2D line. The strokes on the shelf are more flat, abstract components of painting, exposing the technique and undermining the illusion. The pile of cylinders is actually painted on a sheet of paper glued to the canvas to leave the viewer in no doubt as to the artifice, physical materiality and flatness of the endeavour.

Sunbather (1964) – water devices (although it’s complicated – Hockney had painted lines on his pool floor)

A Bigger Splash (1967) – plant devices & more water devices

Henry Geldzahler and Christopher Scott (1969) – glass devices

Mr and Mrs Clark and Percy (1970-1) – carpet devices

Sound & Vision: 4 of the best from Bowie’s art collection

I had a bit of an art blow-out earlier this week with three thoroughly enjoyable exhibitions in a day:

View from a beanbag

You Say You Want A Revolution? at the V&A which looks at “records and rebels” from 1966 to 1970 – I went with my friend Kathelin Gray who was present at many of the events showcased and knew many of the people referred to, including Allen Ginsberg who is the person who first brought us together when I was on sabbatical writing in 2013-14. Walking through this excellent display with her certainly added a special, personal dimension. For a while we kicked back on beanbags to watch highlights from the Woodstock movie, including Jimi Hendrix’s era-defining rendition of the Stars & Stripes, perfect for US election day.

Endless Highway off the beaten track

The Path Beaten at The Halcyon which for the second time in as many years brings together in London a collection of Bob Dylan’s paintings and sculpture. The images which most appealed were ones like ‘Endless Highway’ which seem of a piece with his songs and how they capture the essence of America. Also perfect for an election day when that could easily get lost.

Sandwiched between was a visit to Bowie / Collector at Sotheby’s, a last viewing of Bowie’s personal collection (minus the stuff of sentimental value) before it went under the auctioneer’s hammer on Thursday 10th and Friday 11th November (yesterday and the day before). I went with my friend Doug to whom I picked out a single painting by Jean-Michel Basquiat as The One. As it turned out that canvas went for £7.1M, the top price at an auction which raised double the expected revenue, in this case more than doubling its top estimate of £3.5M. So I reckon I’ve got a good eye. And what that good eye spied on the day were these…

ONE Lot 22: Jean-Michel Basquiat – Air Power (1984)

Jean-Michel Basquiat – Air Power (1984)

For all the bullshitWar(se)hol(e)hype around Basquiat, the young man was a really dynamic artist with a beautiful sense of colour. Bowie played Warhol in Julian Schnabel’s biographical movie. The canvas displays Basquiat’s usual mix of lively paint (acrylic) and fat chalky lines (oilstick) looking like the bastard offspring of a blueprint and a Brooklyn wall. The white ladder shape on the chest and body of the main figure reminds me at once of one of those bone breast decorations Red Indians wear and a railway line reaching westwards. In other words JMB seems to really capture that essence of America.

 

TWO Lot 4: Peter Lanyon – Trevalgan (1951)

Peter Lanyon – Trevalgan (1951)

Hot on the heals of the excellent Lanyon exhibition, Soaring Flight, at The Courtauld last Christmas, Bowie/Collector afforded an encounter with another group of Lanyon’s fresh, original landscapes, of which this stood out the most. Trevalgan is a landmark work in Lanyon’s journey of reinvention of landscape painting, tilting it up to become a fusion of map, aerial photo and abstract expressionist take on the Cornwall countryside, the horizon curved around the picture surface on which sea, fields, cliffs and sky are transformed into a gigantic emerald of England.

Peter Lanyon – Picture of the Month

THREE lot 43: Patrick Caulfield – Foyer (1973)

Patrick Caulfield – Foyer (1973)

I’ve always had a soft spot for Caulfield as one inclined to a very graphic style in my own drawing and painting. This large acrylic captures much about modern life in a bland space of the hotel lobby variety (which is not much variety) – to get to anything of interest or colour you have to penetrate to the bar, a small bejewelled space of coloured glass and decorated alcoves, tucked away small in the background distance of the image.

FOUR Lot 101: David Jones – Crucifixion (c.1922)

David Jones – Crucifixion (c.1922)

I suspect Bowie bought this one because the artist shares his real name, plus of course Jones was a highly accomplished religious artist in the vein of Eric Gill. This sparse, stripped down pencil and watercolour drawing captures the agony of the Crucifixion, remembering even to bloody the knees, not just the stigmata. He achieves something truly ancient and in touch with the roots of Christianity.

I felt two things as I left the exhibition. (i) There was so much of it. Too much for any one person to own. It made me feel a bit sick being amongst so much. It must have been a relief for Bowie and his family to offload All This Stuff. David Jones #1’s Christ departs with just a delicate blue loin cloth and a crown of thorns. (ii) Having gone to so much trouble assembling some very fine sub-collections among his overall Collection (mainly of the 20th Century British Art I really love) I wonder why he broke it all up again? Why didn’t he donate little groups to museums to keep them together? I suspect his family don’t really need all £33M of the proceeds.

What Bowie did give – from my little perspective – was an introduction to my ideal drawer and one of my favourite artists, Egon Schiele. I heard him talking about this artist (who I, like most people at the time, had never heard of) on Radio 1 around the time of his Lodger record, the last of the Berlin trilogy. From there a life-long love sprouted. If Bowie had any Schiele’s he kept them back from the sale. The nearest is a single Oskar Kokoschka litho and an Eric Heckel woodcut figure with long boney hands. He certainly had a heroic eye for art. (Though he could have gotten arrested by the design police for his taste in furniture.)

 

 

Pictures of the Month

Autorretrato con Chango y Loro (Self-portrait with Monkey and Parrot) – Frida Kahlo

Skrik (Scream) – Edvard Munck

Joie de Vivre – Picasso

Portrait Surrounded by Artistic Devices – David Hockney

Portrait Surrounded by Artistic Devices (1965)

Merry-Go-Round – Mark Gertler

Merry-Go-Round by Mark Gertler (1916)

A Bar at the Folies-Bergère – Edouard Manet

Un bar aux Folies Bergère – Edouard Manet