Conrad Botha, Generalism in Art

Old and new art

2010-02-20T22:06:00.000-08:00

Superstroke as an Art Movement

2010-02-19T11:33:00.000-08:00

Giovanni Boldini

2010-02-16T05:13:00.000-08:00

Giovanni Boldini (1845 -1931)
Italian-French portrait painter

Born in Ferrara, Italy in 1845. Like Sargent, he had an international career, working mainly in Paris, but also in England where he was well known in London. By the turn of the century Boldini had become the most sought after portrait painter in Paris, achieving such a success that his reputation equaled that of Sargent's in London. He was renowned as a colorist and technician, and his works are considered very much Parisian.

* * *

I believe Sargent first met Boldini in the summer of 1880 (Sargent was 24 and Boldini 38). John had traveled to Venice to meet his family and there he set up a studio. He very easily could have met him in Paris prior, or at the very least Sargent might have known of him. It would be in the early 80's that Boldinipainted Sargent.

In 1885, after the Madame X scandal of the previous year, Sargent moved to London after being there a year he gave up his ParisBoulevard Berthier studio to Boldini who would become one of the best-loved portrait painter of Parisian high society. Their paths would cross quite a bit. They stayed in contact but it is not documented very well. I know for sure Boldini sketched him in 1902.

* * *

Giovanni Boldini was born in Ferrara the eighth of thirteen children. He arrived in Florence in 1862-65, where he came into contact members of the Barbizon school, the Macchiaioli (a group of artists opposed to the strict teachings of the Accademia -- pronounced "mah-key-ay-OH-li") worked to emphasize painterly immediacy and freshness -- (Other artists of that school included Silvestro Lega, Giovanni Fattori, Vito d'Ancona, and Giovanni (Nino) Costa). Principle among these early associations was Boldini's friendship with the influential thinker and art critic Diego Martelli who, himself, would helped mold and champion the ideas of French Impressionism in Italy.

From the earliest years of Boldini's career, he displayed a remarkable talent as a portrait painter, and during a trip to London in 1869 was able to obtain numerous commissions. He would carry this forward residing in London on-and-off for the next five years. Boldini also produced landscape paintings, including a series of frescoes at the Villa 'La Falconiera', near Pistoia in 1870 at the age of 28.

However gifted he might have been in these other areas, his talent and love was clearly for the art of portraiture. In 1872 he settled in Paris at the age of 30, taking a studio on the Place Pigalle. Beginning in '74 he exhibited frequently at the annual Salons (the year that Sargent arrived) and quickly rose to prominence in Parisian art circles. He enjoyed an exclusive contract with the eminent art dealer Adolphe Goupil, and for him produced small, brightly colored 18th century costume pieces such as "Young Woman Writing" that were popular with his Parisian clientele.

Boldini's public debut of '74 at the Salon de Mars with his bold, fluid style of painting soon proved immensely popular. He began to paint society portraits and quickly developed a reputation for his dazzling, elegant depictions of the fashionable women, executed with these bold, fluid brushstrokes.

Here, Boldini is depicted in a caricature by Sem dancing with the wealthy socialite Ava Astor.

Boldini
1910

He would paint portraits of other painters such as James A. McNeill Whistler, John Singer Sargent, and Paul-César Helleu along with Paul's wife. He became a close friend of Degas (Degas drew Boldini); and like Degas, he began to use pastel extensively in the 1880's. Boldini died in Paris in 1931.

Today there is a Boldini museum in his native Ferrara. Among Boldini's better known works are "A Summer Stroll", "At the Piano", "After the Orgy", "Count Robert de Montesquiou ", "The dutchess of Marlborough", "the princess von Hohenlohe" and "Spring Flowers"

(P.806, Vol3)

“Master of Swish”
Time Magazine, April 3, 1933, p. 28-29

With her tongue ever so slightly in her check, Mrs. Chester Dale, collector and authority on French painting, helped organize four months ago an exhibition of the paintings of the late Alphonse Bouguereau, barroom decorator par excellence of the Gay Nineties. For all their technical slickness, the correct perspective for looking at a Bouguereau nude was always obtained through the bottom of a 16 oz. Beer glass. Critics in the chill light of a formal art gallery were not impressed with the “Back to Bouguereau” movement. Last week with a better artist and in a better cause (a loan exhibition at the Wildenstein Galleries for New York’s Child Welfare Committee), Maud Dale revived the work of one of M. Bouguereau’s contemporaries, the late Giovanni Boldini.

Giovanni Boldini (“Zanin” to intimates) was a society portraitist as artificial as any who ever stretched a lady’s fingers to tickle her vanity. Modernists excuse Zanin Boldini for a virtue denied most Academicians, an exuberance, vivacity and frank sensuousness that won him the title of “Master of Swish,” and made his huge canvases on view last week a series of gay explosions, brilliantly painted.

Born in Ferrara in 1842, he grew up to be a little fellow (half an inch too short for military service), with a mincing manner and a domelike forehead. He abhorred Bohemianism, was always perfectly frank in his love of rich food, fine clothes, beautiful women. His career took him first to Florence, then London, then Paris. Ever since the Salon of 1875 his steady succession of portraits and mistresses had been gaining fame but it was not until the turn of the century that Boldini entered his Grand Period. He was preeminently the artist of the Edwardian era, of the pompadour, the champagne supper and the ribbon-trimmed chemise.

The passing of the petticoat was the passing of Boldini’s art. He lived to be 88. Too purblind to paint, he could still drink champagne and chuck pretty young models under the chin. In 1929, aged 86, he suddenly married. At his wedding breakfast he made a little speech: “It is not my fault if I am so old, it’s something which has happened to me all at once.”

Conrad Bo, Abstraction in Superstroke and Generalism

2010-01-19T00:55:00.000-08:00

Conrad Bo

2010-01-12T01:32:00.001-08:00

Bilion little rooms in background

2010-01-12T01:27:00.000-08:00

Twitpic Photo

2009-12-22T02:49:00.000-08:00

Venetian Rivals

2009-12-01T01:05:00.000-08:00

Venetian Rivals

Titian, Tintoretto, Veronese...

Recently at the Museum of Fine Arts, Boston

Currently on view at the Musée du Louvre, Paris through January 4, 2010
By Joseph Phelan

The 16th century - the Cinquecento - marks the golden age of Venetian painting. Today the canvases of Titian, Tintoretto, and Veronese may seem like the ultimate Old Master art, yet this exciting exhibit (subtitled "Rivals in Renaissance Venice") aims to show how contemporary these works once were: experimental, bold, and even shocking.

Titian (c.1488-1576) was the supreme figure in Venetian art from 1515 on. His extremely long life meant that the younger painters Tintoretto (1518-1594) and Veronese (1528-1588) overlapped creatively and professionally with him for nearly 40 years.

By significantly grouping two or three canvases, curator Frederick Ilchman has lovingly re-created, through carefully chosen juxtapositions, the heated atmosphere of artistic creation in the 16th-century republic, showing how these younger men forged their own distinct painterly styles by responding to Titian and each other, and demonstrating in the process how competition inspires the achievements of even the greatest artists.

At the start of the show we see two religious pictures, one by the young Titian and the other by his teacher Bellini. These are examples of a popular Venetian genre, known as a Sacra Conversazione, a "sacred conversation" among the Virgin, Child, and assorted saints. Bellini's panel (see Metropolitan Museum of Art collection) has a ravishingly beautiful palette, but the holy protagonists gaze left or out at us rather than at each other and seem frozen, aloof, disconnected.

Titian, by contrast, invites us into a silent narrative (see reproduction from a previous exhibition). On the right, St. Dominic and the donor seem to have just arrived, drawing the gazes of the Virgin and Child toward the fervent supplicants. We see Titian building on the broad and firm foundation of his teacher while developing a highly original way of conceiving and dramatizing his subject. We are especially taken by the handsome, idealized Saint Dominic, and the sensitive face of the donor qualifies as an early Titian portrait of distinction.

For it was in the field of portraiture that Titian marked out his claim to fame. With his magical ability to paint men and women of high rank not as they were but as they wished to be, Titian endowed his sitters with the nobility, power, and dignity that a ruler must have but that may have eluded many of them in real life. He thereby established the conventions of aristocratic and kingly portraiture.

A prime example of Titian's portraiture is the closeup of the 74-year-old Paul III (see mini-site, thumbnail 2), the last of the Renaissance popes, the reluctant reformer of the church, and the patron of Michelangelo's Last Judgment. Sitting on his throne, he seems to have just turned to look at us from atop a mountain of crushed velvet, his dark, arresting eyes full of reason and the will to power.

After confronting Titian's portrayal, one cannot conceive a more monumental, direct, or forceful image of this paragon of spiritual and worldly power. With this work, the artist won international fame the sort of which had never before been conferred on an artist. Other great portrait painters such as El Greco and Velázquez learned a great deal from him, but it is arguable if any later painter ever surpassed this portrait.

Titian's mid-career success around 1645 with the international elite opened up opportunities in Venice for younger men. First among these was Tintoretto, whose smoldering self-portrait (see mini-site, thumbnail 4) announces his arrival as an ambitious, confident risk-taker. While Titian brooded over his compositions for months and even years, Tintoretto marketed himself as a kind of anti-Titian, painting large canvases at great speed while cutting prices and even giving his work away to the various Venetian confraternities that were so much a part of the Serene Republic's social network.

One of the important patrons he sought out was the brilliant satirist, writer, and publicist Aretino, offering this close friend of Titian a painting for his ceiling with the self-referential Flaying of Marsyas, a learned and cheeky calling card that announced his challenge to the older master.

As a way of further differentiating himself, Tintoretto began a long study of Florentine design, going so far as to display in his studio the motto "the draftsmanship of Michelangelo, the coloring of Titian." Tintoretto's Baptism of Christ (see Prado Museum collection), with the towering, muscular bodies of Christ and the Baptist, is a brilliant example of this synthesis.

The arrival of Veronese 10 years later further turned up the thermostat of the already hothouse atmosphere of the Venice art scene. The younger man modeled himself on Titian, while the wily Titian used Veronese to undercut the hated Tintoretto. From his youth, Veronese made his name as an opulent colorist and he was to grow into the master of enormous feast scenes painted on canvas for the walls of refectories.

If visitors still need an added incentive to attend a show filled with the constant parleys of painterly rivalry, they should be more than satisfied with the mythological nudes. Venice in this period was famous for its courtesans and prostitutes who numbered in the thousands, making it the "brothel of Europe." It is no surprise that highly sophisticated depictions of female sensuality were first developed there. While it was a Florentine painter, Botticelli, who first monumentalized the Renaissance female nude in the 15th century with his Birth of Venus, it was Titian and his short-lived colleague Giorgione who reimagined her as reclining, voluptuous, and earthly.

With his Danae (see mini-site), Titian's magic ability to turn paint into living flesh is astonishing. The artist breathes new life into the ancient myth of the young princess and beloved of Zeus who is shut up in a high tower by her fearful father. We apprehend the umber, soft gold, deep red, and cream tones of painting as an invitation to sexual desire, yet still are attracted to the individuality of the woman anticipating her lover's arrival in the form of soft golden rain. Even his archrival Michelangelo had praise for this work's life-giving vitality when he saw it in Rome.

Responding to Titian, Tintoretto produced his Susannah and the Elders (see mini-site, thumbnail 2). The biblical story of the virtuous wife slandered by two prurient old men offered the artist an opportunity to create his own luminous female nude in a paradisal setting. We notice the bald heads of the men hidden away in the left hand corner only with some effort, but once we do, we appreciate the dramatic bite of this calm-before-the-storm composition even more.

The show ends with homage to the late painting styles of our trio. Titian once again sets the highest possible standard for his younger rivals. In his Tarquin and Lucretia (seemini-site), the aged master returns to his great theme of eros to show its darkest dimensions. In what is undoubtedly the most brutal rape scene in all large-scale paintings of the Renaissance, he demonstrates how this medium can rise to the heights of tragic utterance previously reserved for dramatic poetry.

Tintoretto offers an even more shocking composition (see mini-site, thumbnail 2), with the already-nude Tarquin ripping the necklace off his victim's neck. As Lucretia's pearls fall onto the floor they become a metaphor for her impending loss of virtue, just as her tears will be transmuted into jewels of honor.

Tintoretto outlasted both his rivals by a decade and has the last word in this show. His Florentine contemporary, the painter and historian Giorgio Vasari, called him the most extraordinary brain in the history of painting. His aged self-portrait (see mini-site, thumbnail 3) is an uncompromising picture of an exhausted old man whose mind continues to rage.

The rivalry of the Venetian golden age constitutes one of the richest chapters in the history of art. Together, Titian, Tintoretto, and Veronese created an unparalleled body of work, opened up new avenues of aesthetic expression, and forged a golden chain of influence that runs from El Greco, Rembrandt, and Velázquez to Willem de Kooning and Lucian Freud.

Generalism in Art

2009-11-29T23:39:00.000-08:00

Conrad Botha Generalism

Conrad Botha Generalism
Conrad Botha Generalism
Conrad Botha Generalism
Conrad Botha Generalism

These are recomendations of Falon

Shusaku Arakawa - a contemporary artist - Here’s on of his paintings, "Is As It: Blind Intentions VIII", 1982

Georges Seurat’s painting, "A Sunday on La Grande Jatte." 1884 - 1886. That’s right, he worked on this magnificant painting for two years - it’s a masterpiece by any definition!

And then there’s Picasso - how could I not covet works by Picasso? Consider this work, "Crucifixion." 1930 (I happen to really love Picasso - my avatar, as a matter of fact, is "The Rower." 1910. You can see The Rower in the Houston Museum of Fine Art).

OK, I could just go on, naming artists and pasting images all day long, but in the spirit of the question, I’m going to make a choice - if I could only have ONE piece of art, it would be. . . Well, at this exact moment it would probably be "The Kerosene Lamp." 1924, by Joan Miro - below.

Why? In a lot of ways, Miro is one of the most important artists of his day, and he has had a profound influence on art and artists in the 20th century. He touches the child in all of us with images, and at the same time, the same images speak to larger truths and issues. He’s not particularly political, but his works capture some of the angst of the politics of his time, and ours. And I can spend hours lost in his work!

Manifesto for Generalism

2009-11-23T15:05:00.000-08:00

Manifesto for Generalism

1. Generalism, is art, for the sake of art.

2. All art is Generalism, unless it is narrower defined in another art movement.

3. Whenever art cannot be explained, or defined by the artist or by somebody else, it will be regarded as Generalism.

4. Therefore Generalism unites all art.

5. The onus, therefore rest on the creator, or observer, to explain, or to prove that a particular piece of art should not be regarded as Generalism.

6. Generalism comes down to the fact, that even if an artist has nothing to say, he/she must say it in order to prevent their work to be classified as Generalism.

Jackson Pollocks influence on Generalism

2009-11-23T15:02:00.001-08:00

Timeline: Abstract Expressionism

On the floor I am more at ease, I feel nearer, more a part of the painting, since this way I can walk around in it, work from the four sides and be literally `in' the painting.
-- Jackson Pollock, 1947.

Pollock, Jackson (1912-56). American painter, the commanding figure of the Abstract Expressionist movement.

He began to study painting in 1929 at the Art Students' League, New York, under the Regionalist painter Thomas Hart Benton. During the 1930s he worked in the manner of the Regionalists, being influenced also by the Mexican muralist painters (Orozco, Rivera, Siqueiros) and by certain aspects ofSurrealism. From 1938 to 1942 he worked for the Federal Art Project. By the mid 1940s he was painting in a completely abstract manner, and the `drip and splash' style for which he is best known emerged with some abruptness in 1947. Instead of using the traditional easel he affixed his canvas to the floor or the wall and poured and dripped his paint from a can; instead of using brushes he manipulated it with `sticks, trowels or knives' (to use his own words), sometimes obtaining a heavy impasto by an admixture of `sand, broken glass or other foreign matter'. This manner of Action painting had in common with Surrealist theories of automatism that it was supposed by artists and critics alike to result in a direct expression or revelation of the unconscious moods of the artist.

Pollock's name is also associated with the introduction of the All-over style of painting which avoids any points of emphasis or identifiable parts within the whole canvas and therefore abandons the traditional idea of composition in terms of relations among parts. The design of his painting had no relation to the shape or size of the canvas -- indeed in the finished work the canvas was sometimes docked or trimmed to suit the image. All these characteristics were important for the new American painting which matured in the late 1940s and early 1950s.

Male and Female
1942 (240 Kb); Oil on canvas, 73 1/4 x 49 in; Philadelphia Museum of Art

The Moon-Woman
1942 (170 Kb); Oil on canvas, 69 x 43 in; Peggy Guggenheim Collection, Venice

Stenographic Figure
1942 (180 Kb); Oil on canvas, 40 x 56 in; The Museum of Modern Art, New York

Blue (Moby Dick)
c. 1943 (150 Kb); Gouache and ink on composition board, 18 3/4 x 23 7/8 in; Ohara Museum of Art, Kurashiki

The She-Wolf
1943 (230 Kb); Oil, gouache, and plaster on canvas, 41 7/8 x 67 in; The Museum of Modern Art, New York

Eyes in the Heat
1946 (320 Kb); Oil on canvas, 54 x 43 in; Peggy Guggenheim Collection, Venice

The Key
1946 (270 Kb); Oil on canvas, 59 x 84 in; The Art Institute of Chicago

The Tea Cup
1946 (230 Kb); Oil on canvas, 40 x 28 in; Collection Frieder Burda, Baden-Baden

Shimmering Substance
1946 (280 Kb); Oil on canvas, 30 1/8 x 24 1/4 in; The Museum of Modern Art, New York

Full Fathom Five

Number 8, 1949 (detail)
1949 (280 Kb); Oil, enamel, and aluminum paint on canvas; Neuberger Museum, State University of New York

Lavender Mist: Number 1, 1950

Easter and the Totem
1953 (150 Kb); Oil on canvas, 84 1/4 x 58 in; The Museum of Modern Art, New York

During the 1950s Pollock continued to produce figurative or quasi-figurative black and white works and delicately modulated paintings in rich impasto as well as the paintings in the new all-over style. He was strongly supported by advanced critics, but was also subject to much abuse and sarcasm as the leader of a still little comprehended style; in 1956 Time magazine called him `Jack the Dripper'.

By the 1960s, however, he was generally recognized as the most important figure in the most important movement of this century in American painting, but a movement from which artists were already in reaction (Post-Painterly Abstraction). His unhappy personal life (he was an alcoholic) and his premature death in a car crash contributed to his legendary status. In 1944 Pollock married Lee Krasner (1911-84), who was an Abstract Expressionist painter of some distinction, although it was only after her husband's death that she received serious critical recognition.

Breaking the ice

It was Jackson Pollock who blazed an astonishing trail for other Abstract Expressionist painters to follow. De Kooning said, ``He broke the ice'', an enigmatic phrase suggesting that Pollock showed what art could become with his 1947 drip paintings.

It has been suggested that Pollock was influenced by Native American sand paintings, made by trickling thin lines of colored sand onto a horizontal surface. It was not until 1947 that Pollock began his ``action'' paintings, influenced by Surrealist ideas of ``psychic automatism'' (direct expression of the unconscious). Pollock would fix his canvas to the floor and drip paint from a can using a variety of objects to manipulate the paint.

The Moon-Woman Cuts the Circle (1943; 109.5 x 104 cm (43 x 41 in)) is an early Pollock, but it shows the passionate intensity with which he pursued his personal vision. This painting is based on a North American Indian myth. It connects the moon with the feminine and shows the creative, slashing power of the female psyche. It is not easy to say what we are actually looking at: a face rises before us, vibrant with power, though perhaps the image does not benefit from labored explanations. If we can respond to this art at a fairly primitive level, then we can also respond to a great abstract work such as Lavender Mist. If we cannot, at least we can appreciate the fusion of colors and the Expressionist feeling of urgency that is communicated. Moon-Woman may be a feathered harridan or a great abstract pattern; the point is that it works on both levels.

Conrad Botha, Bits and Pieces

2009-11-23T14:56:00.000-08:00

Paul Klee

2009-11-23T14:54:00.000-08:00

Paul Klee - "Photograph" (?) -
- Image Copyright © (cf.www.dhm.de/lemo/)

Paul Klee - "1914" - (1914)
- Image Copyright ©
(cf. SHB ArtWeb Gallery)

Paul Klee - "On a Motif from Hamamet" - (1914)
Tempera on board - Kunstmuseum Basel, Basel,
Switzerland - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Hermitage" - (1918) - Watercolor on
chalk ground - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Once Emerged from the Gray- of Night" -
(1918) - Watercolor on paper mounted on
cardboard - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. cgfa.sunsite.dk/klee/p-klee6.htm)

Paul Klee - "Station L 112" - (1918)
Watercolor on paper mounted on
cardboard - Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. cgfa.sunsite.dk/klee/p-klee6.htm)

Paul Klee - "Cosmic composition" - (1919)
- Image Copyright ©
(cf. www.arts-studio.com)

Paul Klee - "Nocturnal Festivity" - (1921)
Oil on board - The Solomon R. Guggebheim
Museum, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "A Young Lady's Adventure" - (1921)
Watercolor - Tate Gallery, London, UK
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Crystal Gradation" - (1921)
Watercolor - Kunstmuseum Basel, Basel, Switzerland
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Revolving House" - (1921)
Oil on cotton cloth - Thyssen-Bornemisza
Collection, Madrid, Spain
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Red Ballon" - (1922)
Oil on muslin primed with chalk -
The Solomon R. Guggebheim
Museum, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Senecio" - (1922) - Oil on gauze
- Kunstmuseum Basel, Basel, Switzerland
Image Copyright © (cf. SHB ArtWeb Gallery:
www.sackville.ednet.ns.ca/art/)

Paul Klee - "Tale à la Hoffmann" - (1921)
Watercolor on paper mounted on cardboard
Metropolotan Museum of Art, New York, USA
Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Mural from the Temple of Longing" -
(1922) - Watercolor, printer's ink and
plastered canvas mounted on cardboard
Metropolotan Museum of Art, New York, USA
Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Puppet Theater" - (1923)
Watercolor on chalk ground
Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright © (cf. Olga's Gallery: www.abcgallery.com/K/klee/)

Paul Klee - "Chinese Porcelain" - (1923)
Watercolor on plaster slab
Collection Mr. and Mrs. Werner Moser,
Zürich, Switzerland - Image Copyright © (cf. SHS ArtWeb Gallery - Exhibit Abstraction)

Paul Klee - "17 Astray" - (1923)
Watercolor and India Ink on paper
mounted on cardboard - Kunstmuseum
öffentliche Kunstsammlung, Basel,
Switzerland - Image Copyright © (cf. cgfa.sunsite.dk/klee/)

Paul Klee - "Carnival in the Mountains" - (1924)
Watercolor on paper on board
Paul Klee Foundation, Kunstmuseum,
Bern, Switzerland - Image Copyright ©
(cf. Olga's Gallery: www.abcgallery.com/K/klee/)

Paul Klee - "Botanical Theater" - (1924-34)
Oil and watercolor on board
Private collection - Image Copyright ©
(cf. Olga's Gallery)

Paul Klee - "Fish Magic" - (1925)
Oil and watercolor varnished
The Philadelphia Museum of Art,
Philadelphia, PA, USA
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "The Golden Fish" - (1925)
Oil and watercolor on paper, mounted on
cardboard - Kunsthalle, Hamburg, Germany
Image Copyright © (cf. SHS ArtWeb Gallery
Abstraction and Formalism: Paul Klee)

Paul Klee - "The Mask with the Little Flag" - (1925)
Watercolor on paper mounted on
cardboard - Staatsgalerie, Munich, Germany
Image Copyright © (cf. CGFA: cgfa.sunsite.dk/klee/)

Paul Klee - "Gate in the Garden" - (1926)
Oil on panel - Huggler Foundation
Kunstmuseum, Bern, Switzerland - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Reconstruction" - (1926)
Oil on muslin - Kunstsammlung
Nordrhein-Westfalen, Düsseldorf, Germany
Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Around the Fish" - (1926)
Tempera and oil - The Museum of Modern
Arts, New York, NY, USA - Image
Copyright © (cf. Olga's Gallery)

Paul Klee - "Attrapen (Omega 5)" - (1927)
Oil and watercolor on cardboard -
Thyssen-Bornemisza Collection, Madrid,
Spain - Image Copyright © (cf. Olga's Gallery)

Paul Klee - "Flora on Sand" - (1927)
Watercolor on paper - Collection Felix Klee, Bern,
Switzerland - Image Copyright © (cf. SHS ArtWeb Gallery)

Paul Klee - "Little Jester in a Trance" - (1929)
Oil and watercolor on hessian - Museum Ludwig,
Cologne, Germany - Image Copyright © (cf. Olga's Gallery)

Conrad Botha: The influence of Picasso and Superflat

2009-11-23T06:55:00.000-08:00

2009-11-23T06:52:00.000-08:00

Conrad Botha: Since

2009-11-23T06:47:00.000-08:00

Conrad Botha

Although he has been painting all his life, Conrad Botha started his career as a professional artist in 2002. After a long and successful career in the corporate environment where he worked for some of the biggest broker firms in the world, he returned to his first love, art.

From the very beginning Conrad Botha always was innovative, but his breakthrough only came after his works and ideas was published in Culture magazine. This was the first time the general public was introduced to his art and the art movements that he started namely Generalism, Architecturism, and Television Impressionism.

He has been waiting for an hour and still no sign of her

Minutes before the chase

The chase part 1

The chase part 2

His most recent works consists mainly out of landscapes. These landscapes represent what he calls “Analytical Generalism.” He refuses to classify these painting as anything but Generalism. These paintings originated from a vast amount of sketches and photographs he made, while on road trips especially Gauteng and Mpumalanga.

One of the things that distinguishes his art, from that of anyone else’s is his believe that the unique name given to a painting is just as important as any brush stroke. Unlike artists like Mark Rothko which stated that silence is so accurate, Conrad Botha believes that although he does not disagree with Rothko, the impact of a the right name for a painting has a severe and powerful effect on the viewer.

Who is she?

I think she only likes me for my money

I have to go, something just came up.

At first glance of his landscapes one is struck by the extreme use of color and light, yet this does not diminish the feel of both realism and surrealism radiated from the paintings. This is most probably due to the fact that he uses almost the full value hue, of any color, he uses on his color plane. Another observation one could make is his inclusion of man-made objects such as motor vehicles. Conrad Botha is one of the view artists in the world that can do this without diminishing the elegance of a landscape painting.

Cars and a bus in New York

I wonder what he really wants?

Disco ball: Tonight we are

going to party like

it is 1999 (Television Impressionism)

In a question what his art means his reply was as follows and I quote: “An artist is shaped by the environment, and sometimes the artist have an impact in shaping the environment. But the main focus for me is still to make a painting that must have an impact on the viewer both on visually and emotionally. Visually, I try to make an impact by my use of color, brush stroke and the composition. Emotionally, the name I give to the painting is as important as any brush stroke I make, to give the person an idea what I was thinking when I looked at the painting. But I also have an ulterior motive and that is to promote the idea of Generalism as a widely recognized art movement. Hopefully within a few years the word Generalism will be used as a term when people talk about art.”

Fig 2: Initial stages for “Make a wish and it will come

true” (Television Impressionism)

As anyone can see this picture was painted directly

from a paused video signal. Although the final result

can be compared to that of an abstract painting, the

painting was done in an impressionistic style.

Fig 3: Make a wish and it will come true (Television Impressionism)

“This is the result of the experiment, and consists

basically out of slabs of different colors similar to that

on the television screen. The name was given only

after I completed the painting, as it represented

something reminiscent to a rainbow, and as a child

I always made a wish when I saw a rainbow.”

Here is an excerpt from notes Conrad Botha made regarding Genralism:

Introduction to Generalism

I founded Generalism as an art movement, mainly because there are too many paintings in existence that cannot be defined.

Generalism includes all art ever created, in the past and in the future. Therefore, all art that cannot be; or has not been yet defined as art, within an art movement, can be regarded as Generalism.

However when it is possible to narrower define a painting, like for instance an Impressionist painting by Cézanne, this art movement classification supersedes Generalism, and the painting will be known as an Impressionist painting.

Looking at the definition of the word, general (relating to or covering all instances: not limiting in meaning: not specific) there are many examples of artist all over the world that create art just for the sake of art without any specific movement or statement in mind. These are classic examples of Generalism.

Regarding my own art, I am first and foremost a Generalist. In the spirit of Generalism I paint what I see, what I know, what I don't see and also what I do not know. As the founder of Generalism I declare that there are no rules in Generalism, any means necessary to apply paint to a surface in a sensible way can be and shall be used. The only rule to Generalism is that there are no rules. Generalism includes all art, and are not just limited to paintings.

Manifesto for Generalism

1. Generalism, is art, for the sake of art.

2. All art is Generalism, unless it is narrower defined in another art movement.

3. Whenever art cannot be explained, or defined by the artist or by somebody else, it will be regarded as Generalism.

4. Therefore Generalism unites all art.

5. The onus, therefore rest on the creator, or observer, to explain, or to prove that a particular piece of art should not be regarded as Generalism.

6. Generalism comes down to the fact, that even if an artist has nothing to say, he/she must say it in order to prevent their work to be classified as Generalism.

Big business as usual in Yellow (Architecturism)

Sunrise in the city of gold (Architecturism)

Die trein na Matjiesfontein (Generalism)

Conrad Botha is one of a few artists taking art forward. His innovations in art, both the theoretical and visual aspects of it, are very highly regarded.

The 4 Elements of Superstroke

2009-11-21T12:09:00.000-08:00

The 4 Elements of Superstroke

As most people who has been following the Superstroke Art Movement knows is that the manifesto written for Superstroke is as follows:

1. Paintings should be executed using expressive even violent brushstrokes on at least some part of the picture.

2. Should a photograph be used for a figurative painting, the objection should not be Photorealism, but Expressionism.

3. If mediums such as pen, pencil, etc are used, the pen and pencil strokes must at least be overly expressive for it to be considered a Superstroke picture.

4. Paintings can be executed in both the abstract and figurative.

5. Subject matters such as Africa, light, dark, life and death are encouraged.

6. Collage, Stencil and Calligraphy may be used for impact.

7. The concept, Art for the sake of art, does not apply in Superstroke. In Superstroke it is art for the sake of Superstroke, as the artist must always strive for paintings rich in texture, or excessive brush or pencil strokes.

Superstroke consists out of 4 elements, namely The Stylized Image, Non Representative Abstraction, Realism and Combination. All of these elements are of equal importance, and make out the total collection of images in Superstroke. There has been a notion Superstroke should consolidate and focus on only one of the four elements, instead embracing all of them. Several discussions later and it was decided although it means more work, The Superstroke Movement will still embrace all four of these elements. Superstroke is extremely complex, and it seems that it will become even more so as time goes on.

In order to achieve the goals of Superstroke, namely to produce paintings to take art forward, it is important for the Superstroke Art Movement to incorporate all the elements of modern art.
Superflat started what will be a key point in a lot of Art Movements going forward, and that is to incorporate texture as a key element of the movement.

In Superstoke texture or the illusion of texture is always very important, but when you work with pencil for instance it is difficult to add texture in comparison with what you can do in oil or acrylic paint. Then it is important to go for the expressive line. You have to use incoherent type of lines to stay within the spirit of Superstroke as described in the Manifesto.

Photography in Generalism

2009-09-19T23:14:00.001-07:00

Photography in Generalism

2009-09-19T23:11:00.001-07:00

Photography in Generalism

2009-09-19T22:56:00.001-07:00

Photography in Generalism

2009-09-19T22:53:00.000-07:00

Conrad Bo. Random paintings experiments and drawings.

2009-09-15T13:50:00.001-07:00

Random paintings experiments and drawings.

An example of a Takashi Murakami painting (Superflat) in Superstroke

In art does the following: Primary, Secondary, Tertiary, Quaternary, Quinary, Senary, Septenary, Octonary, Nonary, Denary, mean anything to you?

2009-09-14T22:53:00.000-07:00

The following words:Primary, Secondary, Tertiary, Quaternary, Quinary, Senary, Septenary, Octonary, Nonary, Denary influences are relevant in Generalism. I would be lying if I say that I actually studied and contemplated in detail how the aforementioned has an impact on Generalism, but it is an interesting concept to explore. Especially in art.

As I mentioned on previous occasions, the primary influence on my art is Picasso and Giacometti. I consider all other artists as Secondary, Tertiary, Quaternary, Quinary, Senary, Septenary, Octonary, Nonary, Denary influences.

To be more precise, Secondary influences will be a few famous Figurative Monochrome artists, like Celmins, Richter, Boldini, Pei Ming, Papetti etc., and also artists focused on the stylized figure like Basquiat, Miro, Du Buffet, Bacon etc.
Because I have used "A History of Modern Art" as my main reference throughout my career I must have Tertiary, Quaternary, Quinary, Senary, Septenary, Octonary, Nonary, Denary influences, as I believe that every photograph or painting I have seen must have influenced me in some way.
With this article I do not pretend that I am extremely intelligent, and have complete mastery of the English language (If you ask me to repeat all the words I have used in this article I probably will be unable to do it) but the concept of an artist being influenced by every picture he has ever seen (to me at least) is an interesting one.
Conrad Bo

conradbo.yolasite.com

Painting Starry Night in Generalism, Conrad Bo

2009-09-06T12:04:00.000-07:00

I have included some photographs, on some of the methods I used to create a new type of abstraction.

Conrad Botha

Introduction to Generalism

2009-09-06T11:53:00.000-07:00

Introduction to Generalism

I founded Generalism as an art movement, mainly because there are too many paintings in existence that cannot be defined.

Generalism includes all art ever created, in the past and in the future. Therefore, all art that cannot be; or has not been yet defined as art, within an art movement, can be regarded as Generalism.

Manifesto for Generalism

1. Generalism, is art, for the sake of art.

2. All art is Generalism, unless it is narrower defined in another art movement.

3. Whenever art cannot be explained, or defined by the artist or by somebody else, it will be regarded as Generalism.

4. Therefore Generalism unites all art.

5. The onus, therefore rest on the creator, or observer, to explain, or to prove that a particular piece of art should not be regarded as Generalism.

6. Generalism comes down to the fact, that even if an artist has nothing to say, he/she must say it in order to prevent their work to be classified as Generalism.

Generalism, Architecturism, Television Impressionism

2009-09-05T15:59:00.001-07:00

Because of the unstructured way I was painting before Superstroke, almost each and every painting I produced looked like it was painted by a different artist.

Conrad Bo

Conrad Botha Generalism paintings

2009-09-05T15:53:00.000-07:00

Here are some examples of paintings I did before I shortened my Surname, and I was still using the terms, Generalism, Architecturism and Television Impressionism.

Conrad Bo

Generalism in Art

2009-09-05T15:32:00.000-07:00

Conrad Botha

Introduction

to

Generalism

I founded Generalism as an art movement, mainly because there are too many paintings in existence that cannot be defined.

Generalism includes all art ever created, in the past and in the future. Therefore, all art that cannot be; or has not been yet defined as art, within an art movement, can be regarded as Generalism.

Looking at the definition of the word, general (relating to or covering all instances: not limiting in meaning: not specific) there are many examples of artist all over the world that create art just for the sake of art without any specific movement or statement in mind. These are classic examples of Generalism

Manifesto for

Generalism

1. Generalism is art, for the sake of art.

2. All art is Generalism, unless it is narrower defined in another art movement.

3. Whenever art cannot be explained, or defined by the artist or by somebody else, it will be regarded as Generalism.

4. Therefore Generalism unites all art.

5. The onus, therefore rest on the creator, or observer, to explain, or to prove that a particular piece of art should not be regarded as Generalism.

6. Generalism comes down to the fact, that even if an artist has nothing to say, he/she must say it in order to prevent their work to be classified as Generalism.

Conclusion

The above, are intended to spark debate, and do not have, to be regarded as the absolute truth.

The manifesto for Generalism, are just the starting point, it will continue to be adjusted, and debated.

Notes

I have included some photographs my Generalism paintings.

These paintings have one thing in common, and that is, (unless otherwise stated) that it could not be described or defined, into any other art movement, other than the Generalism movement.

Some of these paintings were part of my solo exhibition “Generalism, Architecturism and Television Impressionism”, which were held on 28 February 2004 in Johannesburg South Africa.

If you have any comments or would like more information please e-mail me at Conrad_botha@hotmail.com.