Wednesday, September 21, 2011

Bunny Art


Australian painter Rupert Charles Wulsten Bunny (1864-1947) was stuck with a last name that I consider unfortunate, though I don't know his take on the matter. To me, "Bunny" is unserious. On the other hand, it's distinctive, so might have been an marketing asset.

Setting this aside, he seems to have been a skilled painter who produced some interesting works. I can't recall seeing any of his paintings either in the USA or Europe. Many are in Australia, which I've never visited. Therefore accept what I just said as a provisional take.

There is a Wikipedia entry on Bunny here, but it's quite brief. A more comprehensive biographical not is here and a short one here.

Below are examples of his work.


Gallery

A Summer Morning - 1897
Dolce farniente (Sweet Idleness) - c.1897
These are two earlier works.

Nellie Melba - 1901-02
CF Keary
Two portraits, the upper one of the famous Australian opera singer.

Return from the Garden - c.1906
Nocturne - c.1908
A Summer Morning - c.1908
Three paintings from the same period.

The Sun Bath - 1913
This was painted on his return to Paris from a visit to Australia. Note the more impressionistic style.

Muses Plucking the Wings of Sirens - c. 1922
An even later work. Bunny seems to have believed that he wasn't Modernist so, like so many other artists of his time, made an effort. If he tried this because his earlier style wasn't selling, I can sympathize even though the result isn't as impressive as his earlier works.

Monday, September 19, 2011

Dictators, Portrayed


If you're a dictator, l'état c'est moi is the real deal. So if the nation requires glorification, you must humbly submit to at least a small dose of same.

In the age of photography, portrait painting seems to have taken a back seat to the lens and darkroom where dictators are concerned. Nevertheless, paintings were produced for many of the leading dictators of the era 1920-50.

My guess is that the Soviet Union's Stalin was depicted in paint the most. These paintings weren't not necessarily portraits; a good many showed him with workers, children, et cetera gathered around him or in other genre settings.

Stalin and China's Mao Tse-Tung had their faces on huge banners, but that's something different from a formal portrait; our Mao example is in fact a poster. Adolf Hitler, despite of or perhaps because of his background as a painter (of architecture, mostly) tended to favor photographers.

Below are examples of dictator portraits.

Gallery

Joseph Stalin by Victor Oreshnikov - 1948

Adolf Hitler by Jacobs

Francisco Franco

Mao Tse-Tung poster

Jozef Pilsudski by Wojciech Kossak - 1928

Benito Mussolini by Gerardo Dottori - 1933

Friday, September 16, 2011

Gary Larson: Best Single-Panel Cartoonist?



What's considered funny varies from person to person. I find Gary Larson's "The Far Side" cartoons such as those above hysterical: my wife doesn't get them. Nevertheless, she's happy to say "Hi" to Gary and his wife if we cross their path while taking an evening stroll. (The Larsons live in a nicer neighborhood than ours, but only three blocks away from us.)

A lengthy Wikipedia entry on Larson is here.

I'd better qualify this post's headline. By one-panel cartoons, I'm restricting the meaning to syndicated newspaper cartoons, but needed to keep the headline short so didn't elaborate. Single-panel magazine cartoons such as in the New Yorker are another matter, and my top names there would include Charles Addams and Peter Arno.

I enjoyed The Far Side because of the quirky humor, the unexpected situations and his cast of occasionally-reappearing characters and stereotypes. Added to this was his drawing style -- clear and not cluttered layouts coupled with amusingly designed, often dumpy humans, not to mention animals and other creatures with personality. Text and illustration often provided the viewer with several things to chuckle over and not just a punchline.

Consider Gary Larson a cartoonist totally in synch with the times in which he was active.

Wednesday, September 14, 2011

Koloman Moser Did It All


Koloman Moser (1868-1918) was one of the leading lights of the Vienna Secession and probably the most versatile of the lot. He designed furniture, posters, stained glass windows and household objects besides doing a little painting. Moreover, the work he did was generally of very high quality (with an exception noted below).

Biographical information on Moser can be found here and here. There are books about him as well; check Amazon or another web site for details.

Here are a few examples of his work:

Gallery

Poster design (not used) for first Secession exhibit - 1898

Poster design - "Read!"

Frommes calendar - 1899

Secession Exhibition poster - 1902

Window, Steinhof chapel - 1905

Cruet stand - 1904-05

100 Crown banknote, Austria-Hungary Bank - 1910

The Three Graces
For some reason Moser was not adept at painting, or so I think. This one is better than most, but still rather messy compared to the clean, well-designed posters, bookmarks and other graphic work he produced.

Monday, September 12, 2011

Lawren Harris: Strong Canadian


Lawren Harris (1885-1970) came from a rich family. That's helpful if you want to make painting your career. And was Canadian. For some reason that's not so helpful if you want to become a world-renowned painter.

At least Harris had the advantage of being a member of Canada's most celebrated artistic ensemble, the Group of Seven, a collection of painters he subtly helped financially during their early, struggling years.

Since I started blogging six years ago at 2Blowhards I've been forced by the requirement to come up with new posts to broaden my art history horizons beyond the Received Modernist Narrative that I experienced in college. What I discovered were a good many very good painters who had the art-historical misfortune to ply their trade outside of Paris for much of their careers.

So it is with Harris. I have trouble distinguishing "good" and "great" in everything from spaghetti sauce to portraiture -- at a certain point the evaluation becomes more subjective than ever. Let me just say that I think Harris was very good. And versatile, too. See below.

Gallery

Mt. Lefroy - 1930
Harris painted many landscapes in this vein -- in the same spirit as his near-contemporary Rockwell Kent.

The Corner Store - 1912
An early painting. He also did a number of townscapes.

Pine Tree and Red House - 1924
Later on he came up with this blend of townscape and snowy/icy scene. Hard to avoid for a Canadian painter unless you're based in Victoria.

Mrs. Oscar Taylor - 1920
Harris could paint portraits too. This one has a whiff of modernist simplifying, but not enough to overwhelm the subject (as so often happened with other artists of the time).

Dr. Salem Bland - 1924
Another solid portrait.

Friday, September 9, 2011

Paul Allen Collects Flying Objects


Let's say you were co-founder of a tiny start-up company selling a version of the computer language Basic that would run on grossly underpowered small computers with hardly any data storage capacity. And after 20 years that puny company would grow to dominate a new, huge industry by virtue of its operating systems and office productivity software. Which made you filthy rich.

What, then, do you do with your money?

You could have a huge yacht built for yourself. You could buy some professional sports teams -- a basketball team in Portland, Oregon and in Seattle a soccer team and a football team. You could invest in stuff. But aside from that yacht, what about spending on fun things? How about a museum near the foot of Seattle's Space Needle devoted to rock music and science fiction? Done; what else? How about buying a selection a World War 2 vintage aircraft, meticulously restoring them to flying condition and creating a museum for them?

So that's what Paul Allen of Microsoft fame did. His aircraft museum is in a converted hangar at the south end of Paine Field in Everett, Washington. (The north end of the airport hosts Boeing's huge factory that builds 747, 777 and 787 airlines, many of the latter currently parked engineless near Allen's museum.)

It's called the Flying Heritage Museum and here is a page from its web site with a short explanation of how it came to be.

The planes actually do fly on occasion. Not long ago I saw its P-51 Mustang and Supermarine Spitfire cavorting over Lake Washington before the start of unlimited class hydroplane races. A few planes, while flyable, are never flown. That's because they are the only ones of their kind known to exist.

The museum web site has plenty of fine pictures of the collection, but below are some photos I snapped in an attempt to provide a tourist's view. It was a rare sunny Seattle day, so light pouring through the windows made it almost impossible to get top-quality exposures.

Gallery

P-47, Fw-190 and B-25
Here is a general view of part of the museum.

B-25 bombardier compartment
A head-on view of the B-25 Mitchell at the right of the first photo. Note how complete the restoration is: bombsight, machine gun ammunition belts and so forth. Something I had never been aware of is the windshield wiper on the bombardier's optically flat center windshield, this for improved perfomance of the bombsight.

Messerschmitt Bf 109 E-3
E-series 109s came on line in time for the Battle of France in 1940 and fought in the Battle of Britain.

Hawker Hurricane Mk XII A
Although more Hurricanes flew in the Battle of Britain than Spitfires, there are fewer survivors. This was probably because the Spitfire was more glamorous and saw first-line service throughout the war, whereas Hurricane production ceased in 1944.

P-40C Tomahawk
Most P-40s I've seen are later versions which are longer, have different cockpit glazing and sometimes Merlin engines rather than their initial Allisons. The similar-looking B and C series and derivatives were in combat in 1941-42 with the British in North Africa, the AVG "Flying Tigers" in China and the U.S. Army Air Forces at Pearl Harbor and elsewhere in the Pacific. Combat capability aside, I always thought that early P-40s such as this one were the best-looking of the lot.

Polikarpov I-16 Type 24 Rata
Allen's Rata was the first I've ever seen. I was surprised any remained, though it seems that more than half a dozen actually still exist. They were used by Republican forces in the Spanish Civil War, Chinese fighting the Japanese invasion and by the Soviet air force in the weeks following Hitler's 1941 invasion.

Wednesday, September 7, 2011

Adaptive Artists: Dean Cornwell


With this post I started an occasional series dealing with illustrators who preserved their careers by adjusting their style to suit changing illustration style fashions.

Now I consider Dean Cornwell (1892-1960), who is usually ranked among the top illustrators of the first half of the 20th century.

Cornwell reached prominence around 1920 and was hugely successful working in oil using a "painterly" style where brushstrokes are strong and visible. This style gradually fell out of favor during the 1930s when flashy watercolor work became the rage. In turn, this fashion was replaced in the wartime 1940s by sober oil paintings that had a more "finished" appearance where painterly qualities were subordinated.

It was in the 30s that Cornwell decided it was time to "play Shakespeare" (my term for wanting to become accepted as a legit fine artist) and began painting murals -- a quest that didn't net him much or any profit. He continued illustration to make ends meet, so adapted to the non-painterly approach of the 40s. As far as I know, he didn't buy into the 1950s "big head"/gouache style.

I'll be writing more about Cornwell later. If you want considerably more information right away, I suggest you get a copy of Illustration Magazine's issue number 23 that features Cornwell.

Here is an example of his work from the 20s and one from the 40s.

From 1921.

From "The Robe" - 1947.

I fully understand that you gotta do what you gotta do, and there was no way Cornwell could have survived had he continued the style of the top picture. That said, I really like his 1920s work and find later illustrations such as the lower picture undistinguished, generic work almost any competent illustrator of the time might have produced.