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The SubmarineVOL 8 NO 2.
____________________________________________________________________________________________________
EDITORIAL
Some time ago I mentioned to Mr Watts that
we might do an issue based on the artistic
talent we have amongst us—very quickly he
seized upon the idea and in almost no time a
list of contributors, both staff and pupils, had
been commissioned, and when the time came
there was the work, ready to go. I had
forgotten that artists are doers and makers,
who dream in their own time.
To make art is a primary impulse in
all of us. It is based on sight, one of the most
important of the five senses. C
paint and make things. In this regard Picasso
is often quoted: ‘All children are artists. The
problem is how to remain an artist once he
grows up’. He is referring to a child’s lack of
fear, lack of constraint, and even lack of
judgement in the final result—
freedom of making, the spontaneity that is
important. This vital visual creative force gets
quickly diluted in all but the most committed.
But what a tale they have to tell, those who
keep at it.
Above all, art teaches us how to look. Most of us are merely
casual lookers, a one-glance people. But an artist studies form and
line, colour and texture, volume and dimension. They express the
visual world in their own terms, and like
their own voice—or rather, vision.
looking at, though all too often, because it appears so immediately
accessible, we find ourselves being
Yes, art does repay serious looking, a careful quartering
of the piece. Only then do we come to appreciate the balance
between chance and intention, and receive the thrill of the
physical reality of the work that a
yesterday or a thousand years ago
beyond. It captures something essential beyond shape or
form or colour. If we look properly at art we can carry away
with us into the actual world a new way of looking, a new
insight.
TMcC Librarian
Top: Columban Gothic 2013, Katie
Freddie Morris (Katie
Below: American Gothic by
The Submarine.
____________________________________________________________________________________________________
Some time ago I mentioned to Mr Watts that
might do an issue based on the artistic
very quickly he
e idea and in almost no time a
list of contributors, both staff and pupils, had
been commissioned, and when the time came
there was the work, ready to go. I had
forgotten that artists are doers and makers,
imary impulse in
all of us. It is based on sight, one of the most
. Children love to
In this regard Picasso
All children are artists. The
problem is how to remain an artist once he
He is referring to a child’s lack of
, lack of constraint, and even lack of
—it is the
freedom of making, the spontaneity that is
vital visual creative force gets
quickly diluted in all but the most committed.
what a tale they have to tell, those who
Above all, art teaches us how to look. Most of us are merely
glance people. But an artist studies form and
line, colour and texture, volume and dimension. They express the
visual world in their own terms, and like all creative people, seek
vision. In turn, art deserves serious
, though all too often, because it appears so immediately
find ourselves being dismissive or judgemental.
serious looking, a careful quartering
of the piece. Only then do we come to appreciate the balance
between chance and intention, and receive the thrill of the
physical reality of the work that a human hand and eye have created, be it
nd years ago. But art also teaches us to look through, to look
beyond. It captures something essential beyond shape or
form or colour. If we look properly at art we can carry away
world a new way of looking, a new
1.
Top: Columban Gothic 2013, Katie Stewart and
Freddie Morris (Katie Stewart, Instagram).
Below: American Gothic by Grant Wood, 1930
The Submarine June 2013
____________________________________________________________________________________________________
, to look
NEW ART BOOKS
THE LIBRARY
50 Photo Icons: the story behind the
pictures by Hans-Michael Koetzle
100 Ideas that Changed Art
by Michael Bird
Abandoned Mansions of Ireland
by Tarquin Blake
Art from the First World War
Imperial War Museum
The Art of China: 3000 years of art and
literature by Jason Steuber
A Grand Design: the Art of the Victoria
and Albert Museum by Malcolm Baker
and Brenda Richardson (editors)
A Handbook of Greek Art: a su
the visual arts of Ancient Greece
by Gisela M. A. Richter
Irish Country Houses: a chronicle of
change by David Hicks
Islam: Faith, Art, Culture: Manuscripts
of the Chester Beatty Library
by Elaine Wright
Leonardo and The Last Supper
by Ross King
National Treasures of Georgia
by Ori Z. Soltes
Patrick Pye, Life and Work: a counter
cultural story by Brian McAvera
Street Fonts: graffiti alphabets from
around the world by Claudia Walde
Symbolist Art in Context by Michelle Facos
Telling Images of China: narrative and
figure paintings, 15th
to 20th
from the Shanghai Museum,
McCausland and Lizhong Ling (editors)
A Terrible Beauty: British Artists in the
First World War by Paul Gough
Treasures of the British Museum
by Marjorie Caygill,
Urban Interventions: personal projects
in public spaces by Robert Klanten and
Matthias Hubner (editors)
V&A: The Victoria and Albert Museum
by Lucy Trench
NEW ART BOOKS IN
50 Photo Icons: the story behind the
Michael Koetzle
100 Ideas that Changed Art
Abandoned Mansions of Ireland
Art from the First World War ,
The Art of China: 3000 years of art and
A Grand Design: the Art of the Victoria
by Malcolm Baker
and Brenda Richardson (editors)
A Handbook of Greek Art: a survey of
the visual arts of Ancient Greece
Irish Country Houses: a chronicle of
Islam: Faith, Art, Culture: Manuscripts
of the Chester Beatty Library
Leonardo and The Last Supper
National Treasures of Georgia
, Life and Work: a counter-
by Brian McAvera
Street Fonts: graffiti alphabets from
by Claudia Walde
China: narrative and
century,
from the Shanghai Museum, Shane
McCausland and Lizhong Ling (editors)
Artists in the
by Paul Gough
Treasures of the British Museum
Urban Interventions: personal projects
by Robert Klanten and
_____________________________________
V&A: The Victoria and Albert Museum
2.
Torso, Bella Purcell
IN THIS ISSUE
New Art Books in the Library……
The Chester Beatty Library
The Last Supper Saya Kazuse
The Casino at Marino Mrs Haslett
What’s Painting Me (1)………
Reading between the Lines
The Bilbao Guggenheim
Poetry Howard Lawn…………
Review Molly Dunne……………………
The Lady Lever Gallery Ms Smith
What’s Painting Me (2)……………
DONORS: As ever, the Library is very
grateful to those who donated books to us
this term: Mr Finn, Mr Brett
Sowby, Mr Swift, the Warden,
Mr Jameson.
_____________________________________
, Bella Purcell
New Art Books in the Library………..…….. 2
The Chester Beatty Library Mr Watts…...3
Kazuse..................4
Mrs Haslett…………6
What’s Painting Me (1)……………….………..7
Reading between the Lines Ms Cullen....8
The Bilbao Guggenheim Bella Purcell.…10
……………………….…11
…………………………..12
Ms Smith…....…14
ing Me (2)………………….……16
As ever, the Library is very
grateful to those who donated books to us
Mr Brett, Dr David
the Warden, Celine Klee,
THE CHESTER BEATTY LIBRARY Mr Watts recommends the ‘exotic jewel’ that is the Chester
Beatty Library—and
mentions an extra
attraction
The Chester Beatty Library is a
rare and exotic jewel nestling in
the grounds of Dublin Castle
housed in the old Clock Tower
building which is on the site of
Dubh Linn (Black Pool) which
gave its name to Dublin City.
Within these walls is one of the
most extensive and important
collections of ancient Egyptian
papyrus texts, illuminated Bibles
and Qur’ans and many European
medieval and renaissance
manuscripts, Turkish and Persian
miniature paintings, Japanese scrolls and woodblock prints, Chinese dragon robes, carved Rhinoceros
horn cups, delicately carved jade books and many other outstanding works of art and examples of
exquisite craftsmanship from all over the world.
These extraordinary world renowned collections became the property of a public charitable trust on
the death of Chester Beatty (1875 -1968) an American mining engineer who had spent most of his
professional life collecting as he worked in Africa and Europe.
We are very lucky to have this treasure trove on our
doorstep as many scholars from all over the world travel
to study some of the unique texts found here. The Clock
Tower is a relatively new centre for housing and
displaying his collections. The refurbishment of the
building and the design of the exhibition space specific to
the particular needs of these collections is also an award
winning work by an Irish team winning European
Museum of the year in 2002. It opened on 7th February
2000 celebrating the 125th anniversary of the birth of
Chester Beatty, and since then it has been one of the most
visited museums in Dublin.
While there it is also worthwhile to stop for a coffee and
some delicious baklava, if not a full meal in the excellent
Silk Road Cafe which is too conveniently placed in the
atrium, very tempting!
3.
The Arrest of Christ, Book of Kells
– sketch, Leslie von Negenborn
THE LAST SUPPERSaya Kazuse considers Leonardo’s famous work of art
onversation had long been
depict not just actions but also communication. Leonardo solved this problem in The
Last Supper by using gestures and facial expressions,
famous and important works in the history of Western art.
Leonardo decorated the walls of the monk’s refectory, but was dissatisfied with the fast
drying fresco. This prevented him using the kind of fine detail he liked so he researched for
new technical solutions and experimented with mixed media. He mixed oil with tempera
paints, like that used for panel painting, but this, combined with plaster and the damper
climatic conditions of northern Italy, spelled disaster, and in less than twenty years the great
painting began to disintegrate. Since then every generation has worked hard to
There are differing opinions among art researchers as to which episode from the Gospels is
depicted in The Last Supper. Some consider it to portray the moment at which Jesus has
announced the presence of a traitor and the apostles are all
feel that it represents the introduction of the celebration of the Eucharist by Jesus, who is
pointing to the bread and wine with his hands. And yet others feel it depicts the moment
when Judas, by reaching for the bread
of St Luke, reveals himself to be the traitor. In the end, none of the interpretations is
convincing.
C
The Last Supper – sketch, Saya Kazuse
THE LAST SUPPER considers Leonardo’s famous work of art
onversation had long been a subject of interest and debate among artists who wanted
depict not just actions but also communication. Leonardo solved this problem in The
estures and facial expressions, making the painting one of the most
famous and important works in the history of Western art.
e walls of the monk’s refectory, but was dissatisfied with the fast
drying fresco. This prevented him using the kind of fine detail he liked so he researched for
new technical solutions and experimented with mixed media. He mixed oil with tempera
ike that used for panel painting, but this, combined with plaster and the damper
climatic conditions of northern Italy, spelled disaster, and in less than twenty years the great
painting began to disintegrate. Since then every generation has worked hard to
There are differing opinions among art researchers as to which episode from the Gospels is
depicted in The Last Supper. Some consider it to portray the moment at which Jesus has
announced the presence of a traitor and the apostles are all reacting with astonishment. Others
feel that it represents the introduction of the celebration of the Eucharist by Jesus, who is
pointing to the bread and wine with his hands. And yet others feel it depicts the moment
when Judas, by reaching for the bread at the same moment as Jesus, as related in the Gospel
of St Luke, reveals himself to be the traitor. In the end, none of the interpretations is
4.
sketch, Saya Kazuse
considers Leonardo’s famous work of art
of interest and debate among artists who wanted to
depict not just actions but also communication. Leonardo solved this problem in The
making the painting one of the most
e walls of the monk’s refectory, but was dissatisfied with the fast-
drying fresco. This prevented him using the kind of fine detail he liked so he researched for
new technical solutions and experimented with mixed media. He mixed oil with tempera
ike that used for panel painting, but this, combined with plaster and the damper
climatic conditions of northern Italy, spelled disaster, and in less than twenty years the great
painting began to disintegrate. Since then every generation has worked hard to preserve it.
There are differing opinions among art researchers as to which episode from the Gospels is
depicted in The Last Supper. Some consider it to portray the moment at which Jesus has
reacting with astonishment. Others
feel that it represents the introduction of the celebration of the Eucharist by Jesus, who is
pointing to the bread and wine with his hands. And yet others feel it depicts the moment
at the same moment as Jesus, as related in the Gospel
of St Luke, reveals himself to be the traitor. In the end, none of the interpretations is
Top: Mona Lisa by Leonardo da Vinci
Main picture: Mark Crampton by Katie
da Vinci-Stewart (Instagram)
Leonardo imagined, and has succeeded in expressing, the desire that has entered the minds of
each apostle to know who is about to betray their master. In the face of each one may be seen
love, fear, indignation or grief at not being able to understand the meaning of Christ.
The subject of The Last Supper is Christ’s final meal with his apostles before Judas identifies
Christ to the authorities who arrest him. Leonardo imagined the chaos that would have
followed when Jesus announced, ‘One of you will betray me’. In a superb psychological
study of human emotion, the apostles reel in horror, each one full of self-doubt and
confusion, and reacting with denial or disbelief. To solve the problem of the long
composition, Leonardo arranged the apostles in groups drawing away from Christ or leaning
towards him. They are connected by a series of hand and facial gestures communicating their
fear, anger or even sorrow. One lifts his hands as if to say, ‘Lord, it is I’ and clasps his hands
to his breast, while Peter, with a knife clutched in his hand, leans forward to John, seated on
the right of Jesus, and whispers in his ear. This action has the effect of pushing Judas aside
and isolating him from the group. He recoils in an opposite pose from Jesus, his hand
clenched, with Peter’s knife at his back. The central figure of Jesus remains serene and
dignified, alone in the knowledge of what is about to befall him.
The painting is cleverly arranged to give the impression of the wall receding back and the
group has the appearance of sitting at the top table in the room. The painted window forms a
natural halo behind the central figure of Christ, with all the perpective line converging on his
face. This—and his blue and red garments—draw the eye immediately to him.
__________________________________________________________________________________
5.
Elephant by Leslie von Negenborn
THE CASINO AT MARINO Mrs Haslett explains the wonderful visual trickery of the Casino,
recognised as one of the finest garden temples in Europe
ne of the most intriguing and important Neoclassical buildings in the country, The
Casino at Marino on Dublin's north side enjoys a worldwide reputation. It was
created by James Caulfield, the first Earl of Charlemont together with his friend,
William Chambers, who was to become one of the leading British architects of the time, over
a period of twenty years between 1755 – 1771.
Charlemont had spent nine years on the Grand Tour of Europe and was determined to bring
back to Ireland the latest and best architectural ideas, and, in the fashion of the time, create a
small elegant garden temple to be set in open parkland—a project which was designed to
unite his love of Italy and Ireland. He had met all of the major collaborators in the project in
Rome—Joseph Wilton the sculptor, Cipriano the painter, Vierpyl the sculptor and above all
Chambers, whose design was published in 1759. In true Enlightenment style Charlemont
made the philanthropic gesture of opening up his fine park to the general populace so they
could admire his elegant and perfect temple for themselves. Enjoying wonderful views across
Dublin Bay to the Wicklow mountains it was essentially conceived as a place where he could
entertain his guests in sumptuous style. Furthermore, it was to be the focal point of his newly
created park which was developed in the style of Capability Brown. Sadly none of this park
remains.
The design and lavish realization of The Casino have fascinated and appealed to its visitors,
and it is now recognised as one of the finest garden temples in Europe, comparable to
Gabriel’s Petit Trianon at Versailles. It was outrageously costly as no expense was spared as
continued on page 13
6.
O
WHAT’S PAINTING ME (1)
In which we ask selected critics to nominate their favourite works of art
Mr Higgins: Van Gogh – Starry Night Sky? Starry
Sky? It’s the one with the swirly stars. They’re like
galaxies.
The Submarine: Is it the astronomy appeal?
Mr H (looking it up on his laptop): He painted it long
before spiral galaxies had been discovered, yet look at
it, there they are. Plus I just like it. Yes, it’s called
Starry Night.
The Submarine: Wow.
Dearbhla Gernon: ‘Lady with
an Ermine’ by Leonardo da
Vinci – I can’t remember the
painting exactly but I do remember the glow the lady had to her pale skin, she
was painted with great use of the contrast of light and dark, causing her natural
glow to radiate from her flawless face. I thought her hand was disproportionate
to her face but it was so well painted showing her elegant positioning. I
thought the painting showed a woman in very high fashion at the time of the
Renaissance and how different our idea of beauty is today.
Mr Patterson: No, I don’t like art. Or poetry.
Friedericke Wagner: Trajan’s Column. It’s impressive how detailed the
2500 figures on the column are, and that they were able to build such a
column in ancient times. It’s pretty impressive too that it was made by many
different builders but still the whole column looks as if it was made by one
person.
Rev Crossey: An artist called
Jack Vettriano. He’s a really
popular Glasgow artist, but he’s
panned by the critics. He does glamorous people on
beaches, things like that.
The Submarine: Which one of his would you choose?
Rev Crossey: Mad Dogs. It has this Impressionist feel. It
raises questions, why are they there, who are they, what
are they doing?
The Submarine: And the light is very Impressionistic.
You can’t see their faces either. And Mad Dogs
because…?
Rev Crossey: Yes, out in the midday sun.
Julian Kruse: ‘What to think and what not to think’ – I don’t know the artist. It’s an awesome
installation of neon lights in a dark room, thought-provoking, cool, modern.
Ciaran Chisholm: ‘Drawings on a Prep Notebook’, artist unknown. Very detailed and abstract.
Interesting to look at.
7.
READING BETWEEN THE LINES Ms Cullen considers the importance of line, and discusses the
one that connects Leonardo da Vinci with Sean Scully
he ability to view and appreciate art is (for the most part) free and I enjoy the fact we can
dip in and out and view what pleases us at a particular moment in time. Regular trips to
various galleries also allow us to have new favourites which can be updated regularly.
What is it that makes us enjoy viewing a painting? Is it the subject matter? Yes,
sometimes. Is it the colours or the scale of the work? The answer is yes, sometimes, it
depends. However, the one element which appears to be a consistent point of interest and
which holds appeal for me is the simple line.
Line—so what is line? We are always on about lines. There are no fewer than 62
explanations for line in the Collins English Dictionary. Lines can be metaphorical, real or
imagined. Is a line a series of dots or is it a continuous mark starting at one point and ending
at another? Is there actually a line on the horizon? Does the suggestion of a line mean there is
a line? Look at this text; is it not just a
series of lines? Lines have the ability to take
us places, to get us from one point to another
and our lineage shows us where we have
come from. Lines of communication connect
us but some lines divide us. There are
mathematical lines, timelines, boundary
lines, lines that are crossed and lines drawn
in the sand. We read between the lines and
sometimes we walk the line.
As children we were asked to take a
line for a walk. Naive, but no more naive
than some of the first art works of which we
have evidence such as cave painting or the
Neolithic stone carvings at Newgrange.
Thinking back to those first lines made by
man on stone, or indeed the first lines
made by a young child, was it simply
just a mark that was made which
travelled from one point to another?
Or as Paul Klee said, ‘a dot that just
went for a walk’?
I remember being at University
and during a review of my work I was
asked ‘when does a line stop being a
line?’ What seemed like a silly arty
type question has actually stuck with
me. Is it when it becomes a shape or
does a shape still not get to have a
line?
The master of blurring the
lines was Leonardo da Vinci. The
technique ‘sfumato simply translates
as smoky effect or, as it is explained in the Oxford Dictionary of Art, ‘a blurring or softening
of harsh edges by subtly blurring tones and colours’. Leonardo is famous for employing this
8.
T
technique in his work, most notably in the painting of the Mona Lisa. Where some artists
seek to define the line da Vinci tried to blur it. It is undoubtedly a difficult technique to
master but one of my favourite of his works is ironically the unfinished ‘Adoration of the
Magi’. Before the edges could be blurred da Vinci had to draw the lines and in this work we
get to view numerous characteristics of exemplary draughtsmanship. Not only do the lines in
this work explain the narrative of The Adoration, they create a sense of passion and energy
which might otherwise have been flattened by paint and ‘sfumato. Lines appear from the
shadows of the steps in the background of the under painting. The lines which depict the
horses rearing up embody movement and weight .The figures in the foreground are composed
of light delicate lines and the architectural lines are faultless. Another superb reference for da
Vinci’s line drawing is his numerous notebooks where he logged all of his ideas and designs
from natural science to engineering.
Figurative drawing and painting continue to be a strong point of interest for me but
rather than dwell on easily recognisable lines, by contrast, lets briefly look at the abstract
paintings of Sean Scully which are housed in the Hugh Lane Gallery in Dublin. What are
these paintings? Are they lines or stripes and if they are stripes what is the difference? Maybe
they are planes. Perhaps they are shapes and the lines that appear between them were a happy
accident. The lines between these shapes differ depending on the colours layered beneath and
the force at which the paint was applied. Up close the lines are not as straight as they might
appear, suggesting raw human energy. I love the arrangement of the lines yet I also enjoy
that there is no real order and when they end you are left wondering where they might
reappear. He speaks of his own work as being ‘endlessly linear’. But what does that conjure
up in one’s mind? Is it a straight line going nowhere or is it infinite? Does it twist and curl?
And where will that line take him in his quest for artistic expression? In any case it allows us,
the viewers, to take it to a place of our own.
Every artist and art movement is concerned with line. Whether they resist it like Yves
Klein or embrace it like the German Expressionists it is a constant cause for comment and
critique. After only scratching the surface of the complexities of line or indeed the lack of it, I
find myself more confused than ever! And whilst I acknowledge that my quest for the perfect
line will be a long and tortuous journey, this quote by Henri Matisse best describes how I
currently find the line in my own painting pursuits. ‘I don’t paint things. I only paint the
difference between things’. And it is here I will finish, now that I have come to the end of the
line (literally)!
9. Portrait of Oisin Large 2013
(pixlr)
Portrait of Tami Adeola 2013
(Vintage Camera)
Portrait of a Man
by Jan van Eyck,
1443
THE BILBAO
GUGGENHEIM Bella Purcell shares her
favourite gallery
Of all the galleries that I have visited, I
would have to say that the Bilbao
Guggenheim in Spain stands out in my
mind. It is a museum of modern and
contemporary art. Not only does it contain some
brilliant examples of modern art, it houses them in such an
amazing building, designed by American architect Frank Gehry. The entire
gallery, including much of the interior, is made from titanium, creating an incredible effect
as the sunlight is reflected from the various curved parts. I really liked this because it gave
me a sense of the artistic function that it was serving even before I got inside the building.
There is so much to see in the Guggenheim, from arresting LED instillations to several
Rothko paintings. The instillation that I love the most is Richard Serraʼs piece ʻThe MaAer of
Timeʼ. It is found in the largest room which is 30 meters wide and 130 meters long. It
consists of large pieces of bent steel pieces. It is said to perhaps be the largest installation
ever to be housed in a gallery and it was designed specially to be a permanent exhibition at
the Bilbao Guggenheim. What is special about these pieces is that you are invited to be a
participant in the art piece; you can walk in and out of the various spirals and zigzags
created by the immense pieces of metal. It is almost mazelike. Another aspect to the
Guggenheim Museum that I like is the outdoor art. There are two large sculptures outside
that are among my favourite pieces from the museum. The first is a terrifying sculpture of a
giant spider by Louise Bourgeois entitled ʻMamanʼ. Itʼs colossal size means that you can walk
around between its legs and look up at the spider as it towers over you. The exaggerated
length of the legs and rough feel to the piece make it very compelling to look at. The other
major outdoor sculpture is Jeff Koonʼs ʻPuppyʼ. It is a 13 meter high topiary of a Terrier
puppy decorated with flowers. Of course, this huge dog is quite an attraction for tourists,
and for good reason. I love the quirky feel that its presence give to the surroundings.
Generally, I feel that the Bilbao Guggenheim museum is a
great art gallery because it allows so
much interaction with the art that is
placed all around. It creates a brilliant
environment for viewing and
connecting with all of the weird and
wonderful pieces that it contains.
10.
Mantak Suen, Portrait
(Ms Cullen, Sketch Me)
Translation of ‘Рано утром…’
Howard Lawn
Early morning on a Monday,
Walked the laziest of men,
A bearded youth yet rather handsome,
With a sketchpad and a pen.
All our street was in a hurry,
Off to do their daily chore,
Auntie Pat was doing knitting,
Sitting at her open door.
He it was who looked up smilin’
‘What a profile!’ laughed the lad,
‘Stay as you are!’ And with his pen,
He drew her portrait on his pad.
Let a century go by now,
And another after that,
Knitting—Auntie Pat’s still sitting,
As a portrait in our flat.
11.
11.
Talented People Howard Lawn, 1964
Where have you been!
Haven’t you seen?
All of the talented
People I mean…
Wherever you go,
Well, What-de-yeh know,
Toddlers, teenagers,
Stealing the show…
I saw a display
Of young artists today,
Whose figures of clay
Just blew me away…
Then that kid in the street,
Who had two magic feet,
And the girl in the mews
On her own…singing blues…
I find it impossible—that’s why I stare,
At all of those talented people out there.
No matter whatever may come thru’ life’s door,
The boat will not stop though you fall at the oar,
The battles won’t cease when you die in the war,
No matter what happens—
There’ll always be more…plenty more.
So never despair, if your best will not do,
Step aside,
Let those talented people through!
Andy Warhol, Self portrait
Ife head: Bronze head of an Oni, one of the rulers of Ife in Nigeria, one of
medieval Africa’s most powerful and wealthy kingdoms, c. AD 1100-1500
– courtesy British Museum.
REVIEW Molly Dunne reviews
100 Ideas That Changed Art by Michael Bird
100 Ideas That Changed Art by Michael
Bird doesn’t focus on any one aspect of art
but gives you a brief introduction to one
hundred different topics. I think the reason
I like the book so much is that it is really
accessible; you can open it on any page
and begin to read. It describes ideas from
as early as cave paintings through to the
internet and street art all the way to
ephemerality, which is art that doesn’t last.
It examines traditional ideas such as
portraiture and oil painting but also
highlights more obscure aspects of art such
as hallucinogens and conceptual art. Each
entry explores when an idea first evolved,
and how it resurfaces in the work of
different artists up to the present day, and it
is very well illustrated with examples of
works in the same genre, yet which are
always very different in appearance. It is a
great source of inspiration as it enables you to flick through various aspects of art and draw ideas from
more than one source easily and accessibly. My particular favourite is idea number13, “Lost Wax
Casting”. Originally it was used to make tools by casting molten bronze in simple sand or clay
moulds. This method was refined and now enables bronze smiths to cast large objects such as statues
with great detail and in extremely lifelike poses.
__________________________________________________________________________________
12.
Above: Portrait of Konstantin
Seemann 2013 (Ms Cullen, pixlr)
Left: Portrait of Edward Millet by
Vincent van Gogh, 1888
Chai-Ro page, Book of Kells
—sketch Leslie von Negenborn
from page 6 Charlemont spent at least £30,000 in its construction
built of the finest Portland stone which was chosen in part to facilitate the delicate carving
which characterises the exterior of the building. No expense was spared in terms of the
materials which were used, both inside and out and Charlemont often found himself
overstretched financially as his extravagant and idealistic vision unfolded.
Essentially the entire build
the appearance of being a square building whereas in fact it is a Greek cross. In spite of the
overriding impression of symmetry each of its four facades is different and distinct and the
decorative carving is richly intricate and symbolic. The external appearance is that of a single
storey building whereas there are three storeys containing some 20 rooms. The podium
contains 8 servants’ rooms and the attic storey contains a further suite of rooms
windows are concealed behind the balustrades. The vases on the parapet are in fact chimneys.
The four couchant lions on each corner of the building were to contain fountains. Of all the
windows all but two contain dummy elements to preserve the perf
exterior. The corner columns are hollow serving as downpipes for rainwater and are said to
emit a ‘singing noise’ during heavy showers. External tunnels connected the Casino to
Marino House lest the presence of servants disturb the s
The subtle proportions tend to make the Casino appear much smaller than it is
cube of 48’ to the walls and it is a revelation to enter the building and discover a range of
rooms all with perfectly harmonious proportions with differing ceiling hei
many stratagems to enhance their proportions and confound the visitor. The change of scale
between the exterior and interior is remarkable and dramatic.
Inside the Casino are wonderful plaster ceilings and all designed to increase the s
of space and there are marvellous parquet floors using many different exotic woods which are
used to form geometric and possibly symbolic patterns. Wonderful curved mahogany doors
(both real and fake) abound but sadly the original furniture and firepl
However, it is the genius of the design that impresses above all and the complex interaction
between the various interior spaces is fascinating. Surprises abound as what appear to be
large doors are in fact small, doors are not alwa
windows! Another surprise is
enjoys natural light, including the staircase. One of the most unexpected surprises is to be
found on the top storey in the Stat
The Casino fell into disuse and disrepair but was
was framed to allow the Casino to be taken into state care
since 1984 and is well worth a vi
the final surprise is that William Chambers never visited Ireland or saw the finished
expression of his design.
_______________________________________________________________
Charlemont spent at least £30,000 in its construction – a fortune in today’s money! It was
built of the finest Portland stone which was chosen in part to facilitate the delicate carving
the exterior of the building. No expense was spared in terms of the
materials which were used, both inside and out and Charlemont often found himself
overstretched financially as his extravagant and idealistic vision unfolded.
Essentially the entire building is a series of tricks and its plan was ingenious. It has
the appearance of being a square building whereas in fact it is a Greek cross. In spite of the
overriding impression of symmetry each of its four facades is different and distinct and the
ive carving is richly intricate and symbolic. The external appearance is that of a single
storey building whereas there are three storeys containing some 20 rooms. The podium
contains 8 servants’ rooms and the attic storey contains a further suite of rooms
windows are concealed behind the balustrades. The vases on the parapet are in fact chimneys.
The four couchant lions on each corner of the building were to contain fountains. Of all the
windows all but two contain dummy elements to preserve the perfect proportions of the
exterior. The corner columns are hollow serving as downpipes for rainwater and are said to
emit a ‘singing noise’ during heavy showers. External tunnels connected the Casino to
Marino House lest the presence of servants disturb the scene.
The subtle proportions tend to make the Casino appear much smaller than it is
cube of 48’ to the walls and it is a revelation to enter the building and discover a range of
rooms all with perfectly harmonious proportions with differing ceiling heights and the use of
many stratagems to enhance their proportions and confound the visitor. The change of scale
between the exterior and interior is remarkable and dramatic.
Inside the Casino are wonderful plaster ceilings and all designed to increase the s
of space and there are marvellous parquet floors using many different exotic woods which are
used to form geometric and possibly symbolic patterns. Wonderful curved mahogany doors
(both real and fake) abound but sadly the original furniture and fireplaces have not survived.
However, it is the genius of the design that impresses above all and the complex interaction
between the various interior spaces is fascinating. Surprises abound as what appear to be
large doors are in fact small, doors are not always doors and some doors can become
that because of the ingenuity of the design each interior space
enjoys natural light, including the staircase. One of the most unexpected surprises is to be
found on the top storey in the State Room—but you can discover that for yourself.
The Casino fell into disuse and disrepair but was rescued in 1930 when a special A
was framed to allow the Casino to be taken into state care. It has been open to the public
since 1984 and is well worth a visit as excellent guided tours are offered to visitors.
that William Chambers never visited Ireland or saw the finished
_______________________________________________________________
Sketch,
a fortune in today’s money! It was
built of the finest Portland stone which was chosen in part to facilitate the delicate carving
the exterior of the building. No expense was spared in terms of the
materials which were used, both inside and out and Charlemont often found himself
ing is a series of tricks and its plan was ingenious. It has
the appearance of being a square building whereas in fact it is a Greek cross. In spite of the
overriding impression of symmetry each of its four facades is different and distinct and the
ive carving is richly intricate and symbolic. The external appearance is that of a single
storey building whereas there are three storeys containing some 20 rooms. The podium
contains 8 servants’ rooms and the attic storey contains a further suite of rooms whose
windows are concealed behind the balustrades. The vases on the parapet are in fact chimneys.
The four couchant lions on each corner of the building were to contain fountains. Of all the
ect proportions of the
exterior. The corner columns are hollow serving as downpipes for rainwater and are said to
emit a ‘singing noise’ during heavy showers. External tunnels connected the Casino to
The subtle proportions tend to make the Casino appear much smaller than it is – a
cube of 48’ to the walls and it is a revelation to enter the building and discover a range of
ghts and the use of
many stratagems to enhance their proportions and confound the visitor. The change of scale
Inside the Casino are wonderful plaster ceilings and all designed to increase the sense
of space and there are marvellous parquet floors using many different exotic woods which are
used to form geometric and possibly symbolic patterns. Wonderful curved mahogany doors
aces have not survived.
However, it is the genius of the design that impresses above all and the complex interaction
between the various interior spaces is fascinating. Surprises abound as what appear to be
some doors can become
that because of the ingenuity of the design each interior space
enjoys natural light, including the staircase. One of the most unexpected surprises is to be
but you can discover that for yourself.
rescued in 1930 when a special Act
t has been open to the public
sit as excellent guided tours are offered to visitors. Perhaps
that William Chambers never visited Ireland or saw the finished
_______________________________________________________________
Sketch, Saya Kazuse
The Lady Lever Gallery, Port Sunlight
Ms Smith suggests a visit to a fascinating gallery in The Wirral,
outside Liverpool
Above: a finished work from The Briar Rose series of paintings by Edward Burne-Jones, and (next
page), preparatory sketches. The Briar Rose is another name for the well-known Brothers Grimm
fairy tale, Sleeping Beauty.
've stumbled upon a number of small and fascinating galleries in various parts of the world
but there is one in particular I've returned to a few times now - The Lady Lever Gallery in
Liverpool. To be honest, its art collection is only one of the reasons it's worth a visit. The
gallery is in the garden village of Port Sunlight which was built by a multi-millionaire soap
magnate called William Hasketh Lever for his workers and their families. He named the
village Port Sunlight after his business's best-selling soap, 'Sunlight Soap'.
The gallery was built in 1922 and dedicated to Lever's wife, Elizabeth. Lever believed
that art should be accessible to the public and his gallery has been serving the people of
Liverpool and Merseyside since it opened ninety-one years ago. The Gallery's opening came
just a few years after the village had suffered the loss of many of its young men in World
War I. A stirring memorial of their lives stands on the walkway from the cottages to the
gallery.
In the 1880s Lever began searching for art to use in advertisements for his soap (a
relatively new idea at the time) and he quickly became an enthusiastic, respected collector.
There are now 20,000 pieces in the collection, including paintings, tapestries, china,
embroideries and drawings. Many of the paintings are famous, large-scale pre-Raphaelite
works illustrating intricate stories and poems.
In my opinion the most interesting pieces are the drawings - simple pencil sketches
show raw talent, and looking closely at the fine lines of the collection's numerous paper
works is one of the highlights of a visit here. In fact, this summer there is to be an exhibition
of the drawings of a well known Victorian artist, Edward Burne-Jones. Works too delicate for
long-term display will be brought out of storage, many of which are preparatory drawings for
large-scale works also in the collection. Seeing the steps the artist takes provides a great
opportunity to understand their methods and can enrich the experience of viewing the
finished article.
If you do find yourself in Liverpool, I urge you to pay Port Sunlight and its gallery a visit!
14.
I
___________________________________________________________________________
WHAT’S PAINTING ME (2) continued
Arthur Sohler: The exhibition of the cities Pompeii and
Herculaneum – volcanic eruption. It was nice to see the
simulation of the eruption, and how it happened. There
were also many, many remains in the museum.
Eliza Willisch: Elephant by Leslie Negenborn. I was
really impressed by this picture! The elephant in the
middle looked so real even with blue ears. How she is
able to draw such paintings impressed me. She is really
talented. (See page 5)
Paula Mora Real: Metropolis Building, Madrid. It is one of my
favourite buildings in my city. It is an old building, but it looks
like new, it’s very original—the bottom part is grey with some
windows—it’s semi-circular, the top part is black and there are
some golden details. The black roof has flowers…. Up the
building there is a black angel (it is a statue) and down the angel
is written ‘Metropolis’.
Tami Adeola: Mona Lisa by Leonardo da Vinci. This painting
had perspective in it with a natural background. The
painter used a lot of sfumato making her look a lot more realistic.
Oil paint was used instead of the regular egg-white paint. This
was not a religious painting just a painting of a pregnant
merchant’s wife. We know this because her hands are swollen.
15.
WHAT’S PAINTING ME (2)
Mr Finn: Art? Recently? Mainly primitive phallic symbols drawn
on copies, desks, walls, and prep notebooks…no shame left, they
used to whoops, cover it up, but not any more. Oh, you mean like in
a gallery? I haven’t been near a gallery in a while…I’ve a friend
who’s an artist, Gonzaga past pupil so he’s best quality. Cian
McLoughlin. He paints professionally, really good self-portraits. He
did a lot of stuff for the Beckett centenary, portraits of Michael
Gambon, John Hurt, Barry McGovern, Brian O’Driscoll. He used to
live in London, and did a lot of the old Irish over there.
Ms Robinson: I don’t do paintings—when was I in a gallery last?
Emmm…emmm. Emmmmmmmm.
The Submarine: Does Alex paint yet? Ms R: No, he’s only three,
he just eats everything. He’s a real sportsman.
Tara McCormick: The Girl with the Pearl Earring by Vermeer – At
first when I saw it I was bored. When I looked at it for a bit longer all I
could stare at were her eyes. They didn’t show much expression but there
was definitely a story behind them. She looked distant and sad...troubled.
Her pearl earring almost jumped out of the picture at me, some say it was
a mistake, a blob of paint gone wrong. I don’t think this is true, it’s too
perfect. Maybe it was one of her prize possessions, one of her treasures.
Maybe someone gave it to her, who? I wanted to know what her story
was, who she was and where she came from, why was she painted? I
think there is a lot more to this painting than meets the eye.
Alex Owens: Water Lilies by Monet.
I just like the simplicity of it more
than anything, also the colours in it.
It’s an appealing painting to any girl
I think, with its shades of blue, pink and white.
Mr McAlinden: Yes, I was in the National Gallery last weekend.
I always go and see The Liffey Swim.
The Submarine: Jack B. Yeats, excellent.
Mr McAlinden: I look at the faces in the crowd, a different face
each time. Sad, I know.
The Submarine: No, they’re fantastic, real
Dublin faces.
Nicola Dalrymple: I’m not sure of the artist or
the title. It was a painting of a young Romanian
girl who was making clothes or something. For
her rag doll which was on her lap. It really told a
story I thought and it was beautifully painted.
Ferdinand Jenckel:
Miniatur Wunderland –
Train Museum,
Hamburg – It is a nice
museum, the whole of Hamburg is shown in miniature. You can see all the
airports and other things. And also other countries are shown in detail, it is
really interesting, you have to go there if you are in Hamburg.
16.
Recommended