Thursday, May 25, 2017

George Hendrik Breitner - Dutch "Impressionist"




Art historians call George Hendrik Breitner (1857-1923) one of the "Amsterdam Impressionists." However, his paintings don't align with the kind of artwork commonly associated with Impressionism. Yet, his approach to painting arguably remained more authentic and true to the basic tenets of the movement than his better-knows French compeers like Monet, Renoir, and Pissarro. 




One of Impressionism's guiding principles (inherited from the Barbizon painters of the 1830s) was the direct, unmediated depiction of contemporary life. For the pioneering Barbizon painters, that meant rejecting official Academic painting and turning to the observed rural landscape and the life of the "common" people who worked the land. 

In contrast, the French Impressionists largely focused on the urban scene, and, as did leading American Impressionists, often on the leisure activities of the middle- and upper-classes. They also strayed from realism (though they'd argue they were being faithful to how vision actually processes what the eye takes in, according to the new science of optics and color) by way of technical developments such as the translation of light into broken color (the reason for the characteristic flecks and dots of paint). 




Breitner, like others in the Dutch Hague School, seems to have digested the basic premise of painting life as at is really lived and seen but rejected the technical flash and polish of the French school as a too-sophisticated mannerism for contemporary life in all its jumbled, gritty reality. The paintings he made remain startlingly fresh and gloriously un-idealized.



According the Rijksmuseum, "Breitner was born in Rotterdam. In 1876, he enrolled at the academy in The Hague. Later, he worked at Willem Maris's studio. In this early period he was especially influenced by the painters of the Hague School. Breitner preferred working-class models: laborers, servant girls and people from lower-class neighborhoods. He saw himself as 'le peintre du peuple', the people's painter. In 1886, he moved to Amsterdam, where he recorded the life of the city in sketches, paintings and photos. Sometimes he made several pictures of the same subject, from different angles or in different weather conditions. Photos might serve as an example for a painting, as for his portraits of girls in kimonos, or as general reference material. Breitner often collaborated with Isaac Israels; both painters are referred to as Amsterdam Impressionists. Conservative critics called Breitner's style 'unfinished'."



He also took powerful photographs and worked with them for reference. The Rijksmuseum has a nice selection of his work on this page.

Monday, April 3, 2017

The Scottish Highlands Call

I’ll be leading a plein air workshop in the Scottish Highlands during the week of October 8th - October 13th, 2017. We'll be painting and staying near Inveraray Castle, which was featured in an episode of "Downton Abbey." 
As for painting locations, in addition to the castle grounds and the impressive loch, locals we’re in touch with are ready to show us the best, easy hiking trails through ancient woods, over hills dotted with ruins, opening out on amazing views.
We will take inspiration from the rolling hills, mountains, lakes, valleys, and coasts of the Scottish Highlands, which have captivated artists for hundreds of years. High Romantics who’ve preceded us, such as Wordsworth, Keats, Byron, Mendelssohn, and J.W.M. Turner, will be our spirit guides. We’ll be headquartered at and around the Duke of Argyll's castle, near the picturesque small quaint town of Inveraray, perched beside Loch Fyne, the largest loch in the country.


The final day, reserved  for exploring, painting solo, or joining the planned sketching trip to Fingal's Cave, will also include stops at Oban and Islay, about three hours to the west.

The workshop fee of $1,650 includes accommodations in a beautiful waterfront cottage, four full days of painting instruction and an optional sketching trek, and daily tea at Castle Inveraray with the Duke and Duchess of Argyll.

This workshop is filling and will fill be full soon, so if you’re interested, shoot me an email and let me know right away.


GO HERE FOR ADDITIONAL DETAILS


Fingal's Cave


Wednesday, March 15, 2017

Field Report from Smuggler's Notch Inn, Vermont

"When you climb to the top of the mountain
Look out over the town.
Think about all of the strange things
circulating 'round." - Bowie

At 4,393 feet, Mt. Mansfield is the tallest mountain in northern Vermont. I'm told that after a certain chilly point in the year, the clear days are vastly outnumbered by the cold, gusty, gray ones. There's snow all winter, of course, which is why the area (Stowe) is known primarily for skiing (Stowe's also the home of The Alchemist brewery, producing the majestic Heady Topper, one of the highest ranked beers in the world, and certainly America's most coveted brew - but that's a story for another day).

Generations of American landscapists have gathered about the base of this mountain, often en masse, since the early 20th century, major names in mid-century landscape painting like Aldro Hibbard, Chauncey Ryder, Emile Gruppe, and John Carlsen.

Aldro Hibbard in Vermont, dressed for success.
Lugging big easels and bundled in greatcoats and hunting caps, they tramped through the hills and valleys (where extended gusts of icy wind can reach 120 mph). In the evenings they huddled near the fireplace at "base camp," aka, the Smuggler's Notch Inn in Jeffersonville, VT.


Intrepid winterist Stapleton Kearns has continued the tradition. He knew many of the painters I'm talking about and works within that genre. This March, he sent out word that a group was again to convene at said tavern for a week of working outdoors. It wasn't a workshop, just a gathering of landscapists willing to set up and paint in some of the poorest conditions possible (the names of all on Stapleton Kearns's FB page). The camaraderie was great, and the landscape was spectacularly inhospitable.

Stapleton Kearns listing off the names in a toast to the Great Ones in whose snow-prints we were walking.

I went out solo the three days I stayed, because early on I found a spot that felt right and decided I'd have a better shot getting to what I wanted to say about it by painting it multiple times. I learned later it was one of the classic views that several of the old-guard guys painted from pretty much the same spot. Here are two of them, the first by Gruppe, the second by Hibbard.

Mt. Mansfield, Aldro Hibbard

Mt. Mansfield, Emil Gruppe

I may have been further up the rutted mountain road than those guys. At any rate, it was all raging winter and cloud cover on the hilltop. It felt like floating around in a cold, primal soup.

 Mt. Mansfield from my chosen spot.
Every now and then a blizzard-like gust of wind would come roaring by and last for several minutes, during which time I'd "shelter in place" in my faithful Eurovan.



 The way I've been working with the landscape lately, I'll go for a sort of campaign in one spot, returning to the same location to paint it several times. You could call these studies, but while I'm doing them, I think of them as complete paintings. Each one embodies its own ethos, its own set of parameters and aspirations. The process helps me work toward a more complete articulation of what I'm feeling or think I'm trying to say. It's like each new painting shines a light into another corner of the cave.

My set up for the first painting.

All this, though, is preparation for a much larger painting (or if I'm lucky, a series) that I'll undertake in the studio from memory and imagination, without looking at the smaller "studies" made on site.

This 16"x12" is as far as I got on that first one. I'll try finishing this one in the studio.
The plein air paintings are usually 12x16 inches or 14x11 or so. I'll work up in scale in the studio, starting in the 20-30-inch range and go larger if it turns out there's enough coming through to justify working it out further at scale.

This 14"x11" is the next one from the same spot the next day. It's even further from what I wanted to say, but at least it's done ;-)
This time though, the larger studio painting still didn't get all the way to what I thought needed to be said.


This 24"x24" is what I did in the studio from memory, without looking at the plein air studies.

In desperation, I tried it again at a smaller scale in charcoal. Finally, the charcoal piece came closest of all to where I wanted to go. It captures that sensation of "primal soup" I had when I was out there, coupled with a sense of foreboding, I guess, that's part of my personal baggage. I'm not sure I can translate it into a large studio painting, but I'll have to try.

This 8"x8" charcoal interests me the most of all of them so far, but I have doubts about translating it into a large-scale oil. 
While I found myself doing the patchwork-like strokes in the charcoal drawing, I realized I was recalling Cezanne's paintings of Mont St. Victoire. 

Cezanne, Mont Sant Victoire
Now that's a great "mountain painting" - primarily because it's NOT "a painting of a mountain" so much as a testament to what in his Cezanne's time was a wholly new order of beauty. For me, just knowing that's possible makes painting worth doing.

Tuesday, January 3, 2017

A Birthday Present (A Painting for Sylvia Plath)

Christopher Volpe, A Birthday Present (Plath), oil

A Birthday Present

by Sylvia Plath

What is this, behind this veil, is it ugly, is it beautiful? It is shimmering, has it breasts, has it edges? I am sure it is unique, I am sure it is what I want. When I am quiet at my cooking I feel it looking, I feel it thinking 'Is this the one I am too appear for, Is this the elect one, the one with black eye-pits and a scar? Measuring the flour, cutting off the surplus, Adhering to rules, to rules, to rules. Is this the one for the annunciation? My god, what a laugh!' But it shimmers, it does not stop, and I think it wants me. I would not mind if it were bones, or a pearl button. I do not want much of a present, anyway, this year. After all I am alive only by accident. I would have killed myself gladly that time any possible way. Now there are these veils, shimmering like curtains, The diaphanous satins of a January window White as babies' bedding and glittering with dead breath. O ivory! It must be a tusk there, a ghost column. Can you not see I do not mind what it is. Can you not give it to me? Do not be ashamed--I do not mind if it is small. Do not be mean, I am ready for enormity. Let us sit down to it, one on either side, admiring the gleam, The glaze, the mirrory variety of it. Let us eat our last supper at it, like a hospital plate. I know why you will not give it to me, You are terrified The world will go up in a shriek, and your head with it, Bossed, brazen, an antique shield, A marvel to your great-grandchildren. Do not be afraid, it is not so. I will only take it and go aside quietly. You will not even hear me opening it, no paper crackle, No falling ribbons, no scream at the end. I do not think you credit me with this discretion. If you only knew how the veils were killing my days. To you they are only transparencies, clear air. But my god, the clouds are like cotton. Armies of them. They are carbon monoxide. Sweetly, sweetly I breathe in, Filling my veins with invisibles, with the million Probable motes that tick the years off my life. You are silver-suited for the occasion. O adding machine----- Is it impossible for you to let something go and have it go whole? Must you stamp each piece purple, Must you kill what you can? There is one thing I want today, and only you can give it to me. It stands at my window, big as the sky. It breathes from my sheets, the cold dead center Where split lives congeal and stiffen to history. Let it not come by the mail, finger by finger. Let it not come by word of mouth, I should be sixty By the time the whole of it was delivered, and too numb to use it. Only let down the veil, the veil, the veil. If it were death I would admire the deep gravity of it, its timeless eyes. I would know you were serious. There would be a nobility then, there would be a birthday. And the knife not carve, but enter Pure and clean as the cry of a baby, And the universe slide from my side.

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