GEORGIA O'KEEFFE (1887-1986) & EDWARD HOPPER (1882-1967)

These two great painters of the 20th century, both came to prominence in the inter war years in America. They are often regarded as the two “big names” of this period, even though they are of the same generation, working in the same environment at the same time there is a distinct difference between them.

O’Keeffe’s painting has its roots in the American response to European modernism, she was part of the 291 group based in New York and was greatly influenced by her fellow painters, Dove, Demuth, Sheeler and the photography of Stieglitz and Strand. Her early work leans toward abstraction, mainly landscapes and still life’s. It was through the magnification of shape and colour that she developed the large flower paintings for which she is best known. Running concurrently with this “flower period” are O’Keeffe’s New York paintings where she captured the essence of the city. The subject matter was often the city’s architecture and the way buildings respond to different light conditions, the use of light, shadow and reflection (day and night) produced work with a distinctly atmospheric quality. From the 1930s onwards O’Keeffe spent more time in New Mexico, where she would later make her permanent home. The desert landscape proved a great inspiration to her; she continued to evolve the use of close up, where she intensified the use of colour and shape especially in the paintings of local architecture. Although she travelled extensively in later life New Mexico remained her home and inspiration, she had a long and successful career and continued to paint until her death in 1986.

Edward Hopper on the other hand, stems from the realism of the Ash Can school, European modernism seems to have little influence (whenever questioned, Hopper stated he was an impressionist). He is often regarded as an American scene painter but this label is to limiting to what Hopper achieved in his painting. In both his landscapes and interior scenes Hopper paints pictures of modern life in an honest and personal way. His figures often appear lonely or isolated, many a discussion has taken place about the Freudian aspects of self or the social and personal impact of modern life and the economic depression of the times, he captures private moments in public places, restaurants, hotel rooms, cinemas and offices. His work has an aspect of sadness and strangeness that often leaves the viewer in a voyeuristic position. Hopper’s work continues to be an enigma to us, they have an indefinable quality that draws us to them, and maybe allows us to witness an echo or a reflection of our own lives.

Both these painters had long and successful careers, even through the economic depression and later when Abstract Expressionism became the prevailing style; this is surely a testament to their work and our response to it.

MALCOLM MCLAREN 1946-2010

STANLEY SPENCER

Born in 1891 in the Berkshire village of Cookham, a place that was to be his home and his main inspiration for most of his life. As one of eight children, Spencer came from a remarkable family, which produced a knight of the realm, two professors, a concert violinist, a professional stage magician, the director of the National Building Institute, an Oxford graduate and two professional artists.

After being educated in the local school, set up by his father (basically a shed in the garden next door, where his two sisters were teachers and lessons revolved around biblical studies, music and nature walks) Spencer went to Maidenhead Technical College and then on to Slade School of Art from 1908 to 1912, he commuted every day by train from Cookham. His fellow students at Slade included, Nevinson, Gertler, Bomberg, the Nash brothers and William Roberts. This put Spencer in the middle of a time of great upheavel in British painting, the forces of modernism began to inflict a great influence on many painters work, although its influence on Spencer is debatable, he did exhibit at Fry's 2nd Post-Impressionist show in 1912.

The Great War interrupted his career as a painter, he enlisted in the Royal Medical Corps and worked as a medical orderly at Beaufort Hospital in Bristol and then in 1916 he was stationed with the field ambulance in the Macedonian campaign. The war had a profound effect on Spencer and he began to conceive the idea of working on a memorial, this later came to fruition when in 1927 he was commisioned to decorate the Sandham Memorial Chapel at Burghclere in Berkshire. The murals he produced there are based on the every day soldiers experience and show us different aspects of Spencers time in both the Beaufort Hospital and on the front line.

Throughtout the 20s and 30s Spencer developed his own unique style. Much of his work was influenced by his own religious beliefs and many paintings show biblical stories taking place amongst the villagers of his beloved Cookham. Spencer once said that he had two lives, the physical, secular life he called his "down to earth life" and a metaphysical, creative life he called his "up in heaven life" these were combined in his work, thus many of his paintings show us an extended reality of his life by using religous iconography. To think of Spencer as a wholly religous painter would be a narrow concept, for his work often deals with many issuses of the human condition such as love, loss, sex, death and the whole range of human emotions. His work of this period has a deep complexity which often leaves us perplexed and unsure about what Spencer is trying to achieve, he is often labelled an enigma.

In 1940, Spencer was commisioned as a war artist and produced a series of pictures depicting ship building on the Clyde, known as the Glasgow series these paintings are now housed in the Imperial War Museum.

Spencer also produced a whole series of paintings in the 40s and 50s that seem to lack any of the complexity of his previous work, these are mainly landscapes and portraits, although these are wonderful paintings with distinct beauty we must consider the commercial aspect of Spencers life, his second wife, Patricia, would today be called "high maintenance" and Spencer paid her considerable expenses until the day he died.

His first wife Hilda remained the love of his life and he continued writing to her, even after her death. He was a most sociable person with many friends and surpporters. He is often considered an eccentric, Patricia in her diaries called him "mad" as a character he was certainly different and unusual.The small man with twinkling eyes and a mop of shaggy grey hair (often wearing his pyjamas under his suit) became a familiar sight wandering the lanes of Cookham pushing the old pram in which he carried his canvas and easel.

During his lifetime he awarded a CBE and a Knighthood, he represented Britain at the Venice Biennale and was a member of the Royal Academy. Spencer travelled extensively around England and across Europe on many painting trips, he also visited China in 1954, but it is with Cookham that he will always be associated, his own little piece of heaven in the Berkshire countryside.

THE RED BALLON (LE BALLON ROUGE)

An award winning and critically acclaimed film by Albert Lamorisse. Honours bestowed on this film include, Palm D'Or Cannes 1956, Oscar for best screenplay Academy Awards 1957 and special prize BAFTA 1956. This very visual, virtualy dialogue free film follows the relationship between a young boy and a red ballon that seems to have a mind of it's own. This film explores the poetic, magical and sometimes scary side of childhood experience amidst the backdrop of a romantic cityscape of 1950s Paris. It is a wonderfully observed piece of cinema.

The great filmaker Francois Truffaut describes it as "one of the most beautiful films ever made". This is one of those remarkable films that touches your soul. Watch this film! and spend 35 minutes with your inner child. I guarantee you won't regret it. (you could even let your kids watch it).

CONSTRUCTIVISM

Constructivism in Russia developed during WW1 and continued until its suppression by Stalin at the end of the 1920s. Its roots were in the Russian Cubo-Futurist movement, but it also owes much to the absract work of Malevich and the relief forms of of Dada. Painters like Tatin and Rodchenko started to create non-objective paintings and developed those ideas into reliefs and constructions in which they explored the material properties of the objects and the objects spatial presence, this then developed an industrial art and design style.

Constructivist eventually reached the point were traditional painting no longer held any relevance to the artistic process. The period of the Constuctivist style goes hand in hand with the period of revolution and civil war in Russia, these elements embraced each other, they both held the principle of out with the old and in with the new. The St Petersburg Academy of Fine Arts was dibanded in 1918 and replaced by the Commissariat of Enlightenment, many of the Constructivist artists produced work to promote the new revolutionary ideals in many different fields of the cultural landscape, we see new and exciting art and design ideas in, graphics, book design, posters, film and theatre. Lenins New Economic Policy of 1921 created new opportunities for artists to extend their commercial work alongside individual co-operatives and state run retailing.

By the end of the 1920s Stalin had become supreme leader of what was now known as the Soviet Union, he implemented a reversal of the N.E.P and began to supress modern artistic ideas, which were replaced by a tightly, state, controlled Socialist Realism. How ever the ideas of the Constuctivists had a huge impact on the modern world of the 20th century, Constructivism can be seen as the original template for modern design and has a relationship to the every day life of us all.

Duchamp. V Banksy.

In 1919, Marcel Duchamp, one the the greatest artists of modern times, produced a piece of work titled L.H.O.O.Q. He combined the idea of a "ready made" (take a mass produced image or object and display it as a work of art)with the idea of transformation (take a ready made image or object make changes to it, thus transforming it into a work of art). These ideas are more complex than the basic description given here and have had a major influence on 20th century art, Picasso's goat, Licthenstien's comics, Warhol's soup cans and Tracey's bed, to name a few.
L.H.O.O.Q is a postcard from the Louvre, it shows the Mona Lisa by Leonardo daVinci, the most famous work of art in the world. The title should be sounded out in French, Elle a chaud au cul, when translated it becomes, She's got a hot arse,(Dada word play) this can imply that Mona is in a state of sexual excitement and availability. By drawing on a moustache and beard Duchamp becomes an iconoclast by vandalising a great work of art, he also jokingly questions daVinci's alleged homosexuality and references his own habit of cross dressing. Duchamp had a female alter ego,Rrose Salavy (more word play)
For Mooner Lisa, Banksy chooses the same subject, the iconic Mona Lisa. The reuse of an image is something we see repeated through out the history of visual language. This time we see Mona from behind giving us the obvious pun from the title (yet more word play) A woman showing her backside can have a double meaning, sexual awareness and possible flirtatious sexuality but also doing a mooner is generally regarded as an insult and a rejection, perhaps Banksy is showing us her "enigmatic smile".
Like all of his work the immediate impact is one of humour, but there maybe more to it. Does Banksy show an awareness of Duchamp's picture, she knows she has a hot arse and wants us to see it!
We could describe Banksy as an iconoclast, a merry prankster who's work is filled with provocation and social comment, a description that fits neatly if applied to Duchamp.

Still Life on a Pedestal Table, Pablo Picasso, 1931, Oil on Canvas, Musse Picasso, Paris

Picasso's images of the women in his life can be seen as a diary, where he recorded the highs and lows of his romantic encounters. At the time this picture was produced (1931) his relationship with Olga Koklova, a Russian ballerina to whom he had been married to since 1918, was coming to an end. Picasso had met and deeply fallen in love with Marie-Therese Walter, he tried to keep their relationship a secret from his wife. This picture is a consequence of that situation.

Picasso wanted to paint portraits of Marie-Therese, to be able to express his passions and to portray the beauty and sexuality he saw in his new muse. Because their relationship was a clandestine affair, Picasso set about producing a picture that is on the surface a still life, the idea is enhanced by the title. The viewer can see the arrangement of objects on the table, the stripped table cloth, yellow jug and white fruit bowl containing purple plums, the tripod legs of the table sit on the squared patterned rug,the whole composition is in a corner of a room.

But if we look beyond the surface we can reveal a second, completely different picture, the painter expresses his feelings of beauty, passion and sexual desire, the elements of the still life take on a new meaning. The jug becomes the female form, it's curves evoke the shapely form of the female figure, the three purple plums represent the breasts and buttocks. The two green apples on the centre of the table become the piercing eyes of his lover as well as being representative of female breasts. A more Freudian aspect can be seen in the way his sexual desires are represented, the white table leg becomes a phallus symbol (complete with testicles) which is placed between the two legs that straddle the bottom of the picture. Picasso also uses colour to symbolise his emotions, the use of red evokes the dangerous passions of this affair the yellow of the jug and the shadow on the wall relate to the long blonde hair of Marie-Therese.

Once this secondary picture starts to reveal its self we see that Picasso fills the whole composition with symbolic images that express his feelings of passion, beauty and sexual desire