Influences of environmental, political & social circumstances on artistic imagery.

Tintoretto. 
Note the general feeling of disorder,sense of chaos.

Influences of environment & attitudes on artistic imagery.

The connection between artistic output, and the political, and social conditions in any particular period of time, are often overlooked by the general viewer when confronting works of art. This lack of understanding robs many of the full enjoyment of their experience. Historically, there has always been this relationship between the visual arts and meaning. Very much like a mirror held up to the world at a fixed point in time. It is the cement that gives the work its’ intellectual meaning.

This is nothing new, looking at a roomful of Roman busts one is left in no doubt about the patriarchal nature of Roman society.  The mannerist sculptures of Michelangelo and his fellow mannerist, such as Parmigianino or Tintoretto take on a new meaning when viewed from the perspective of the Counter Reformation, and the persecution of each other by Catholic and Protestant alike. The moral corruption of the papacy, the French invasions of Rome, the sack of that city in 1527 were just a few of the external forces creating a world in crises in the artists’ mind. Likewise the Rococo paintings of Watteau, an 18^th cent world of over indulgence that prepares us for the blood bath of the French Revolution. Why do people love the Impressionists so much, may I dare to suggest that most likely these paintings offer us a window onto a middle class world created by the industrial revolution, with the increased living standards of a leisured class..

 

Parmigianino,

Note the lack of security surrounding baby Jesus.

 

 

Tintoretto,

The sense that this is the end of the world, day of judgement.

 

“Serious” painting to a great extent [ excluding the decorative] has generally served this purpose, and anyone viewing the extreme volatile nature of 20^th cent visual art would not be surprised to acknowledge that the continual social and political crises of our times are suggested by the century’s visual art. In addition we have the extreme pursuit of materialism and decline in religious belief in the west at least reinforcing this century’s visual art.

The main purpose of this discourse was to encourage the viewing the work of the British painter Frances Bacon in this light. The 1940’s, 50’s and 60’s in Britain were hardly Utopian. The trauma of the 2^nd World War, rationing on into the late 60’s, followed by a watershed in moral and sexual attitude in the 60’s. Bacon  a  homosexual must have experienced hostility socially in general. There was still little tolerance in such matters then or even now, the isolation he must have felt makes its presence felt in his paintings during this period. His inner feelings of lostness, and the enclosure of the figure within a suggested room reinforces this feeling. These figures although enclosure are still accessible to society at large.

This break down in social values in general did not disappear with Bacon’s death, but is only too apparent today. However much artist attempt to hold up the mirror to reality, the general public does not wish to look, learn, and hopefully correct its’ course. The current output of conceptual work, and sense of poverty of idea does not give confidence, but I may be wrong!

Francis Bacon.

Man in an open room, his figures are isolated in an unfriendly world

 

.

 

 

Letter from Smyrna.

A few years ago while visiting Izmit [historic Smyrna, Turkey], I became for some reason overwhelmed with emotion. Whether it was because people were identifying me as Armenian is hard to say, I had always felt that I looked fairly international in appearance without any particular racial trait. Little did I imagine that one day I would visit the ancient city of Smyrna, a city filled with all sorts of horror stories from the not so distance past. Memories kept alive by its former Greek and Armenian citizens. A city that witnessed the final expulsion of its cosmopolitan population whose residency stretched back thousands of years to Ancient Greece.

During my travels I fill many sketch books with drawing rather than taking photos, and occasionally am moved to write a short poem or prose impression about a location or experience. Last week I re found the following piece in my cupboard, and on reading it again felt I would like to share it with you.


Armenian letter from Smyrna.


Like any other day,
Seconds draw into minutes,
Minutes into hours,
Mahmud's voice, clear above the minaret's cries
Across echoing stones.
"All are now welcome George".

Armenian, Greek, Turkish blood now congealed in
Creaks around harden knuckles.
My room is white.
White titled floor and walls,
Unstained by history
Still gleaming in half light.

The world turns full circle
Smyrna now filled with youthful laughter.
Girl and boy walk hand in hand
In search of happiness.
Eyes bright without distance memories
To dim their gaze.

This morning
I passed a freighter moored by the quay,
Rusty earthen tints
Blending one with each other,
Like the rich Smyrna delta,
so often soaked with blood.

The city has been rebuilt,
Still decay makes its presence felt.
Behind the old bazaar
Alleyways spread out tangled webs,
Like life, each intent on catching light,
Waiting for springs' brushful
Of white lime, to begin life anew.

Tasmanian Wine Industry.

Tasmanian Wine.

Recently the Tasmanian Premier announced in the Mercury [6^th March} under the heading “ Grape Expectations” that some $1.2 million was to be made available for further expansion of our viticulture industry. Given that a film of a similar name is currently being shown in local Hobart cinemas, I thought there must be a misprint. It seems extraordinary that so little research has been done to find out what is required to make our Tasmanian’s wine industry hum. This Government effectively stopped many small grape growers from marketing their product direct to the public with the introduction of new licence fees, even though they already held a perpetual licence or so they thought.

The Government needs to take a close look at how the French Government restructured the Beaujolais wine production area in the Southern Rhone villages. Like Tasmania, every farmer made their own wine with uneven results. The Government required all the villages to pool their crop into a semi-Co-op cave [winery] under their control to lift and maintain wine quality. The Beaujolais wines have never looked back.

What does this have to do with Tasmania’s wine industry? Currently we have some 120 odd growers, plus how many hobbyists’ vineyards, and over 170 different labels with a very wide range in terms of quality. Only recently a local grower sold his Riesling grapes to an interstate winemaker, he was shocked to find his fruit had been turned into a sweet wine which was fair enough, but the finished product was marketed as Tasmanian wine, hardly a good advertisement for our wine industry.

 

What does this have to do with Tasmania’s wine industry? Currently we have some 120 odd growers, plus how many hobbyists’ vineyards, and over 170 different labels with a very wide range in terms of quality. Only recently a local grower sold his Riesling grapes to an interstate winemaker, he was shocked to find his fruit had been turned into a sweet wine which was fair enough, but the finished product was marketed as Tasmanian wine, hardly a good advertisement for our wine industry

If Tasmania is serious about lifting our impact on a world market with this $1.2 million grant more research needs to be done on the best way to market and produce a quality product. Like the Beaujolais districts of France, Tasmanian needs an appellation system, were our vine growing regions are classified by soil types, yield, climate [early or late] with a controlled winery for each area. The current larger producers will throw collective arms into the air, but they are not supportive of small growers and charge two to three times to press small amounts of grapes. There are small vineyards in the Southern Rhone region of France that are only two or three acres, but produce fine wine. We need a change of attitude, large is not necessarily better. I see no reason why Government can’t play a decisive role in the establishment of regional wineries with quality control. Over the years various Ministers have told me this is not the Governments’ roll, private enterprise needs to solve their own problems. However, if we look at our Tasmanian Apple Industry when a not dissimilar system existed with every grower marketing their product under their own name. Only when Tasmanian Apples were marketed as Tasmanian product did the industry boom. If small villages in France can do it why can’t Tasmania.

Eat Drink & be Merry. Life according to Epicurus

Eat, Drink and be Merry, the life of an Epicurean.

 

The vast number of food and cooking programmes currently being aired on Australian TV suggests a huge surge in Epicurean belief. How the Ancient Greek philosopher became a symbol for over indulgence is difficult to say, certainly the philosophy of Epicurus has little in bearing on modern day interpretation.

 

Historically our present situation offers parallels to the last days of the Roman Republic after years of civil war, a desertion of religious belief and general lax moral behaviour. The Roman poet Lucretius popularised Epicurean views on how to live a pleasurable life. Lucretius, however was driven to suicide at 39, after being driven mad by an excess of a love philtre. It would appear that he did not take kindly to Epicurus advice of abstention from sex.

 

The strange thing about modern day Epicureans and their fondness for gastronomy and fine wine is how far removed they are from Epicurus' Philosophy. How a simple philosophy may be bent and resharpen to meet new masters desires. His true philosophy revolved around the idea of the human purpose in life was to maximize pleasure. Not in the sense of living from moment to moment, but to live a life of full contentment without any nasty after effects. We all have desires of one sort or another, but we must keep them simple in order to lead a fully happy life. It is our desire for excessive pleasure that results in our down fall and discontent.

 

Epicurus divided our desires into three compartments. Those considered natural and necessary for life [food and sleep], things we are unable to do without. Others he considered natural but not necessary [sex, raising or having children], and finally those we should avoid at all cost. It is not continuous drinking and revelling, nor satisfaction of lust, nor the enjoyment of luxuries that produce a pleasurable life. Rather sober reasoning, searching out the true motives for all our choices and actions and avoidance and banishment of mere opinion to which are due the greatest disturbance of the spirit. Epicurus  was perfectly happy living on bread and water with the odd enjoyment of some fine cheese. Excess in all things he felt produced after effects that did not lead to pleasure. One final point about desire and religion, most religious teaching tell their follows to look forward to the next life for some reward. This is the major problem, whether there is a next world or not, such teaching introduces a pleasure outside our life span. Epicurus did not believe this to be possible as it was beyond life, no doubt this is why he fell into disfavour after the Christianizing of the western world, nor would the Islamic scholars be pleased. After all  they where the ones to hand down Classic philosophy to the western world in the 15th cent.

 

His views on life were to simply maximize pleasure, without the assertion of extreme discomfort was best. Only desires that are obtainable lead to full happiness. Unfulfilled dreams lead to discontent. Religion also was to be avoided as it taught people to dream of a world beyond the present, a world that did not exist in terms of now. Resulting in the creation of false hopes, hopes that are impossible. Insatiability is a disease. It would be fruitful for all of us to reevaluate our desires in our present materialistic world, were real happiness is rarely realised due to unfilled desires. Epicurus’ philosophy still has much to teach us today. It retains a freshness even after 2300 years. The fundamental condition for happiness is simple sustenance and friendship. One final point about desire in terms of religion. If one looks forwaed to pleasures in the next life, this suggest there is such a place. Epicurus did not beliece this, he felt the only pleasure was in this life, after death there may be another world, but it had no bearing on how you lived your life. The Greek gods were fairly indifferent to human behavour.

HOBART WOODEN BOAT SHOW

Kingbilly Pine yacht.


Over the last ten years the Hobart Wooden Boat show has grown and grown.
The recent show attracted some 650 wood boats from all over the world and
attracted over a quarter of a million visitors. Anyone interested in boats, particularly
wooden ones this display is not to be missed.


 

Cluster of wooden yachts.

The display has grown in size year after year to now be the largest exhibition of wooden vessels
in the Southern Hemisphere. To wonder around the Hobart docks on a fine January day is a
delight. Then there is the added bonus to be able to  talk and discuss the methods of construction of these
wonderful vessels with the people who actually built them. Their love and enthusiasm for their
task is there for all to behold.
Hobart has had a long history of boat building which in a sort of way justifies the British settlement of this
part of the world. The British Admiralty became quite excited about the Norfolk pine trees on Norfolk Island
and could see how they maybe able to supply the navy with masts and spares. This of course didn't happen, but what did take place the discovery of Huon Pine, a timber that was nearly rot proof, oily and ideal for boat building. This was the start of Tasmania's love affair with wooden boats, a affair that has lasted to this day. The state has establish a wooden boat school at Franklin were an enthusiast may learn how to do it from experienced shipwrights.

 

James Craig' steel hulled ship along side the dock.

James Craig.

 

 

The James Craig was a steel wreck tied up to the Hobart shoreline when I first came to live here in 1975. How it had survived over the years is any one guess. However a far sighted individual from Sydney purchased the vessel. towed it back home to Sydney Harbour and set about the restoration of this fine example of 19th cent shipbuilding. The result does great credit to the  craftsmen involved as any viewer would testify. She had sailed down to show the flag. During the year the James Craig sails around the Australian coast, and I believe any keen sailor has the opportunity to learn the ropes.

 

 

A beautiful boat . 

This a beautiful example of the shipwrights craft.

Tasmania is well blessed with many fine timbers suitable for boat building, Huon pine,

Kingbilly pine and many others. 

 

                                                                    Eye of the Wind.


One of several sailing vessels who made the trip down to Hobart. There was a grand sail past at the end of the long weekend down the Derwent River. Some of my readers may not realise that the Derwent in a very deep waterway, and the harbour is one of the largest in Australia though now not greatly used thanks to the container age.

                                                                  Hobart steam ferry.


Years ago Hobart had a flourishing ferry service, sadly now not as greatly used as it could be.
However the city still has a number of the old steam ferries operating as tourist vessels.They add a sense of great charm and colour to the dock area and are very popular with visitors. It is possible to catch a ferry up the river to a new Hobart attraction MONA Museum of Old and New art.. The Hobart docks are more or less in the middle of town giving the city a maritime feel.

Looking across the docks at a few of the boats.

 

 

 

Russian visitor. This vessel sailed half way around the world to get here!

 

 

 

Sullivan's Dock with a few of the visitors.

 

 

 

Poop section of the "Notorious"

A replica of the Portuguese 15th cent caravel..

 

This vessel has been hand built along the traditional construction lines and was open to visitors.

It was built from reclaimed timber by a dedicated couple in Victoria.

 

 

Hand built canvas boat with its builder.

 

Who is only too willing to instruct you in how to build your own..

Note the novel oar shape. This boat has been built along the lines of an Irish corache.

Note the rib construction made of small sapling timber and how the stringers have been tied

to them. As the vessel is covered in canvas and then sealed with bitchmen paint you need to

be careful where you place your feet.

 

 

 

Sail past up the Derwent River on the last day of the show.

Francis Bacon.



"Studies for a human body" Section.
Francis Bacon

Many curators and critics consider Francis Bacon among
the most important artists of the 20th cent. An artist whose
main focus was on the act of painting, the manner of the brushwork, and the physical presence of the paint being the all important quality of his work. Bacon's painting are framed under glass, so when a viewer looks closely at work in the current exhibition at The Art Gallery of New South Wales, they become aware of the need to move around from one foot to another. This need for physical engagement is the only way to really see what is going on, the need to move the reflections on the glass in order to fully view the work. This is a deliberate device to force to enter into and connect with the painting. In other words the viewers subjectivity must over ride other conscious interpretation of the image.

Bacon once pointed out in an interview that "in the end painting is a result of the interaction of those accidents
[chance in the process of applying paint] and the will of
the artist or, if you prefer, the interaction of the uncontentious and the conscious".

Bacon stands alone in 20th cent. art, as realist who is not a realist.He was not an expressionist and rejected strongly any suggestions he was. Nor was he an abstract artist, rather he was a realist who was not interested in literal or illustrative interpretation of the world. He loved the element of chance inherent in his paint application. At times he Incorporated sand, sweeping from the floor in his work. Bacon applied paint not only with a brush and palette knife, but made use of rags, and foreign materials to produce the effects desired. He was always looking for the unexpected result.

Bacon was a realist painter in a very loose way, but had the ability for a viewer to recognise the image.He shun ed any idea of story telling and rarely included more than one figure in a painting. These figures were in turn often enclosed in suggestive boxes or rooms that contained them but not completely. He did not what the viewer to be tempted to relate one figure to another. The figures as you can see are in varying degrees distorted, but still recognisable. One is tempted to view his work as violent, but the scenes are not violent so as to force the viewer to experience a raw aspect of reality. To unlock their conscious attempt to interpret the image in some conventional way.

Bacon wanted to counter any tendency to define meaning in his paintings. His aim was to create a new aesthetic through the physical presence of paint. Abstraction for him was a dead end. His art was an attempt to create a
                                                                      new way to lock reality into something arbitrary.

Ethnicity and Cultural Heritage.

WHAT IS MEANT BY ETHNICITY?

When you ask most people what they are, they generally reply that they are generically what the country of their birth happens to be. Given this type of answer, I have often wondered in this multi-cultural world what exactly such a response means. How do we define who we are? To what degree does an individual’s  cultural, religious and ethnic backgrounds play in defining who they are. This may seem to be a rather academic question, but with the  greatest historic migration of people all over the world taking place the question needs to be asked.

Australia has developed a fairly successful multi-cultural society over the last fifty years. There have been hiccups, but by most standards we have developed for the most part a tolerant society. Anyone living in the country for the required number of years is entitled to apply for citizenship. You may think this is normal, but there are European counties were new comers who have lived for several generations are denied such a privilege, the Turkish population in Germany comes to mind.

In this country there are people from every corner of the world who have lived in Australia for one to two hundred years, many decedents of Chinese miners from the 19^th cent .are still referred to as Chinese by some Australians. Afghan camel drivers from the last century are another case in point, but are these people still Chinese or Afghans, I think not, they would describe themselves as Australians.

What we need to look at is not physical appearances, or religion or what  other gauge we like to use, but rather how they see themselves as a part of this country. There is no doubt that various nationalities look back to their cultural roots and background to define who they are. This presupposes that people don’t evolve into something else when resettling into a new environment. Is a Malay Indian, Indian or Malay? At what point does a person stop belonging to one ethnic group and takes on the ethnicity of another. In reality every national group is a mixture of different cultures created over thousands of years.

In the end it is cultural practice that determines one’s ethnicity, how you see yourself. The original indigenous inhabitants of Australia are a good example, the vast majority are of mixed blood, some no more than one quarter indigenous, yet many disregard such genic material. This would suggest that majority genic background as far as they are concerned does not play a defining role. Religion can likewise be dismisses as most religions are all embracing no matter what your origins. Countries that like to see themselves  “racially pure” are no more than the result of migrations over the millennium. People who still like to think in such fixed terms need to take a cold shower. We should all be alarmed at the rise of groups who for whatever reason view multi-culturalism as something to be abandoned and distained. All societies are multi-cultural whether we like it or not. The formation in Australia of a political party recently advocating assimilation and the abandonment of the multi-cultural nature of the country need a serious rethink. Everyone has the right to see themselves in their own terms, and providing they live by the countries laws no harm is done. Eventually all will all become one.