vrijdag, september 28, 2012

Joan Miró


Joan Miró in zijn atelier. Still uit de film van Martin Hampton voor Tate Modern.

"The film explores Joan Miró's life and working practice, beginning at his first studio at his family's farm in Montroig. Guided by Miró's grandson and the curators from Tate Modern, the film visits his complex of studios and workshops near Palma, Mallorca, where he moved after the Second World War and then worked prolifically until his death at the age of 93. It includes rare material from films by Pere Portabella and Català Roca of Miró at work, and testimonials from friends who remember him as a remarkably generous and humble man.
The film was made to accompany the exhibition 'Joan Miró, The Ladder of Escape' at Tate Modern. 14 April - 11 September. Directed, filmed and edited by MPH." (still : Martin Hampton, bron: On Memory and Oblivion)

> Miro in Tate Modern

donderdag, september 27, 2012

Jan Hendrik Weissenbruch #2

Jan Hendrik Weissenbruch in zijn atelier voor Storm op de kust van Zeeland, 1900. (bron: Gallery Dorant)

Jan Hendrik Weissenbruch

J H Weissenbruch: Zelfportret in het atelier

woensdag, september 26, 2012

maandag, september 24, 2012

Lucian Freud

Lucian Freud Working At Night, 2005.

Falling over Lucian Freud.

David Hockney in Lucian Freud's studio.

Lucian Freud’s Studio.

Lucian Freud and Sally Clark, 2008.
(foto's: David Dawson)

"David Dawson spent 20 years as one of Freud's most consistent models, and features in his final (unfinished) portrait, sitting alongside his whippet in one of 100 paintings spanning 70 years.
"I was so excited," says Dawson, recalling his first meeting with Freud, in the artist's Holland park studio in 1989.
He'd been working for Freud’s dealer, James Kirkman, after graduating from the Painting school of the Royal College of Arts in 1989, and describes Freud as "quite small, slim, very light and quick on his feet with fantastically bright eyes".
His studio, he says, was "the most remarkable room I had ever stepped into", but Freud's "good manners and quick wit" dissolved any sense of intimidation."
(bron: Culture24)

> "Inside Lucian Freud's studio", een interview met David Dawson

Adriaen Van Ostade


Adriaen Jansz Van Ostade: The painter in his studio, 1663

zondag, september 23, 2012

Balthus #2




Atelier van Balthus in de jaren '30: Cour de Rohan 9, Paris.

Balthus


Amer Kobaslija: Not Everything Perishes, 2010
Uit de tentoonstelling: "Road to Rossinière: Paintings of Balthus' Studio"
(bron: The George Adams Gallery)

Amer Kobaslija


Amer Kobaslija zittend voor "Sputnik Sweetheart of New Orleans and the End of the World"

Artists Statement: STUDIO PAINTINGS
"It could be said that a studio is painter’s shrine, a place where one goes on a daily basis in order to practice their religion or their arts. There is a certain routine to this process: one goes in and performs the ritual, which consists of the act of painting as well as the thought process that goes with it, the meditative aspect of the work. The studio as a subject matter gives the painter a myriad of possibilities of how to approach it, how to perceive and deal with it. When painted, everything that is a part of the particular studio’s iconography - painter’s tools, finished works and the ones in progress, paint marks, memorabilia, books, cell phone and all the other equally (in) significant bits and pieces of information being visually described - all operate as windows, mental links into times and spaces that are of relevance to the artist, revealing themselves to the viewer’s eye, all at once. The application of the multilinear perspective empowers the viewer to perceive the scene almost in its entirety, from several angles at once. Apprehending the ceiling while, at the same time, gazing towards the floor creates a sensation of visual vortex. The viewer cannot resolutely place him or herself in a particular angle from where the room is observed; instead, it feels as if being at more than one location simultaneously. This compositional approach helps create a broader but also a more immediate experience of the subject. Here, time is compressed, and space, to paraphrase Bachelard, ‘becomes a container of countless memories.’ And although everything in these studios seems to be happening concurrently (all in sharp focus), one can open only one of these windows at a time - an analogy to the workings of mind. Perceived as such, the studio becomes a metaphorical reflection of the inner world of a painter, a visual diary, a chronicle of state of mind..."
(bron: Bowdoin College)

vrijdag, september 21, 2012

William Merritt Chase


Atelier van William Merritt Chase, 10th Street, New York City, ca 1900. (foto: William Merritt Chase, bron: Smithsonian Institute)


William Merritt Chase: A Corner of My Studio, 1895


Atelier van William Merritt Chase, 10th Street, New York City, ca 1900. (foto: William Merritt Chase, bron: Smithsonian Institute)


William Merritt Chase: Interior of the Artist's Studio (aka The Tenth Street Studio), 1880.

> Smithsonian
> Smithsonian Institution's photostream

donderdag, september 20, 2012

Constantin Brancusi


Constantin Brancusi: View of the Artist's Studio, 1918


Brancusi in zijn atelier, 11 Impasse Ronsin, (15e arrondissement, Parijs), 1923

woensdag, september 19, 2012

De mythe van het atelier in de hedendaagse kunst

"„Art is what an artist does, just sitting around in his studio‟ zei Bruce Nauman in de jaren zestig over zijn atelier. 1 Hij bevestigde dit door video-opnames te maken in zijn atelier waarin hij minutenlang een bal liet stuiteren of één noot op een viool speelde. Met deze videowerken bevroeg hij de betekenis van het atelier. Wordt alles dat in een atelier plaatsvindt dan gelijk een kunstwerk? Ik denk het niet. Maar dat het atelier een bijzondere en intrigerende ruimte is, dat is zeker."

Aldus Charlotte Hemmink in haar scriptie voor de Master Moderne en Hedendaagse Kunst bij de Universiteit Utrecht.

Voor wie geïnteresseerd is in de theorie achter de plaatjes staat de hele scriptie online.

> De mythe van het atelier in de hedendaagse kunst
Een onderzoek naar de betekenissen van het atelier in de hedendaagse kunst

dinsdag, september 18, 2012

Terry Winters









"This art studio for both drawing and painting, in addition to providing for the amenities of storage, cooking, cleaning, and reading, posed the problem of how to achieve extreme horizontal openness in order to move freely within the studio. It is based upon an expanded NYC loft typology that has been displaced to the countryside. The design focuses on constructing a hollowed out bubble uninterrupted by structure. This dictated the design of the structural system and enabled a column free interior with moment frames on each end that would serve as external porches and viewing spaces between nature and the built environment."

Het contrast tussen dit nieuwe atelier van Terry Winters (door MOS-office) en het atelier van Francis Bacon (zie hieronder) kan bijna niet groter. In dit atelier kun je wel "storage, cooking, cleaning and reading" voorstellen, maar nauwelijks "painting". Toch een goede schilder. (foto's: MOS)

> MOS

Francis Bacon #2

Afgelopen zomer was ik in Dublin in The Hugh Lane Gallery om met eigen ogen het atelier van Francis Bacon te bewonderen. Inderdaad een chaos en een wonder dat hij daar zoveel prachtig werk heeft kunnen maken.













> Dublin City Gallery The Hugh Lane