Art is for everyone. This is the raison d’être of a series of screenings on international art exhibition by the National Centre for Performing Arts (NCPA), Mumbai, which started in 2014.
A collaboration between the NCPA and UK-based company Seventh Art Productions (SAP), the third leg of the series starts today with a documentary Goya: Visions of Flesh and Blood , followed by Renoir: Revered and Reviled on June 21, and Painting the Modern Garden: Monet to Matisse on June 22.
Filmmaker David Bickerstaff has directed the first and last documentaries in this series, while Phil Grabsky, SAP founder, has directed the second. The documentaries are a part of SAP’s “Exhibition on Screen” series.
Deepa Gahlot, chief, Programming, Theatre and Films, NCPA says: “The NCPA is known for screening not only films, but also operas, theatre and even art exhibitions from across the world. Two years ago, we decided to screen documentaries capturing noteworthy on-going art exhibitions from different countries. This is our third year. Through these documentaries, one can view art exhibitions without having to travel to the other side of the world. The documentaries show not only the works on display at the various galleries and museums, they also show what goes on behind the scenes, like the process of curation. In doing so, the audience also gets to hear expert opinion on curating, and mounting paintings. It is a wholesome experience, which also discusses the art on display and the painters.”
Francisco Goya
The first documentary shows an exhibition of late 18th century Spanish painter Francisco Goya’s (March 30, 1746–April 16, 1828) select works at The National Gallery, London. Here are five things you need to know about the Romantic painter and printmaker:
Goya is considered to be the last of the Old Masters (a skilled painter who worked in Europe before 1800) and the first of the Modern (1860–1970) painters. Many of his early portraits depict the Spanish royal family, as he became the first court painter to the Spanish crown in 1786. Goya is also noted for his Rococo style (also called Late Baroque, an 18th century artistic movement and style) tapestry cartoons, specially designed for the royal palace.
Goya: Visions of Flesh and Blood has a special emphasis on two series by the Romantic painter, ‘The Disasters of War’ (created between 1810 and 1820) and ‘The Black Paintings’ (created between 1819 and 1823). The former is a series of 82 prints, viewed by art historians as a visual protest against The Second of May 1808 (a rebellion in Madrid), which ultimately led to the Peninsular War (1807–1814). Originally titled ‘Fatal Consequences of Spain’s Bloody War with Bonaparte, and Other Emphatic Caprices’, the series wasn’t published until 1863, 35 years after Goya’s death. The Black Paintings, a macabre set of 14 paintings reflect Goya’s fear of insanity, and his grim view of humanity. At age 72, Goya moved into a two-story house outside Madrid called Quinta del Sordo (Deaf Man’s Villa). The paintings were originally painted as murals on the villa’s walls, and later hacked off and pasted on canvas. Goya’s own battle with disease, and despair towards humanity (resulting from the aftermath of the Napoleonic wars), are thought to be the reasons behind this dark collection.
Interestingly, the first life-size nude that outraged the Western world is attributed to Goya. It was titled ‘La Maja Desnuda’, and it is speculated that the model for this was either the Duchess of Alba or Pepita Tudó (mistress of erstwhile Spanish Prime Minister Manuel de Godoy).
Between late 1792 and early 1793, an undiagnosed disease rendered Goya deaf. It was during this time that he began a series of aquatint etchings (a kind of intaglio printmaking technique, a variety of etching), which were in stark contrast to his earlier paintings of the aristocracy and religious symbols. These paintings were published I799 as the ‘Caprichos’.
Leocadia Weiss, the artist’s maid, who cared for him until his death, is thought to be the woman in one of his final portraits, 'The Milkmaid of Bordeaux’, which was created between 1825 and 1827.
Pierre-Auguste Renoir
The second film captures an exhibition of the works of French Impressionist Pierre-Auguste Renoir (February 25, 1841–December 3, 1919) at The Barnes Foundation, Philadelphia. The docu-film focuses on the artist’s “late period”, from 1890 to 1919 (the year of his death), and his influence upon the next generation of painters such as Picasso and Matisse. Here are five things you need to know about Renoir:
He is credited for a portrait of renowned German composer Richard Wagner, in 35 minutes, in 1882.
Renoir and fellow Impressionist Claude Monet shared the same colour theory: that shadows weren’t made of the colours black and brown, but rather, they were reflections of the objects surrounding them. The resultant effect — diffuse reflection — is an important element of painting.
In 1881, after studying the works of Italian Renaissance painters, Renoir temporarily broke away from the Impressionist movement and attempted to paint in a more classical style. This time is known as Renoir’s “Ingres period”.
In his final years, even acute arthritis couldn’t deter Renoir from painting. He strapped a paintbrush to his paralysed fingers so that he could continue to create art.
In 1919, Renoir visited the Louvre museum in Paris to see his paintings hanging amid other masterpieces. He passed away later that year.
Claude Monet
The final documentary’s backdrop is an exhibition of paintings depicting nature — in particular, gardens — a recurring motif in the works of prominent painters from the time of French Impressionist Claude Monet (November 14, 1840–December 5, 1926) to French Modernist Henri Matisse (December 31, 1869–November 3, 1954). The exhibition was held at The Royal Academy of Art, London. Here are five things you need to know about this exhibition:
Monet famously said, “Perhaps I owe it to flowers, that I became a painter.” This statement is emblazoned in large letters in the gallery. In 1873, Renoir depicted Monet painting his garden, on canvas. It was titled ‘Monet Painting in His Garden at Argenteuil’. This painting and Monet’s painting of his garden hang next to each other at the start of this exhibition.
Monet wasn’t the only painter to have a keen interest in gardening. Many of his contemporaries — Renoir, Pissarro, Bonnard and Cézanne — loved to paint gardens too. This exhibition argues that the emerging trend for gardening in the 19th century is reflected in avant-garde art.
Other than famous works of art, the exhibition also boasts of 19th-century seed catalogues, horticultural specimens, cucumber frames and hothouse cupolas. Visitors to the gallery can also consult the detailed letters Monet wrote to one of his (six) gardeners for tips.
Among some of the morbid portrayals of gardens at the exhibition are two paintings by Swiss-German artist Paul Klees. Deviating from the other paintings is one by Danish-French Impressionist Camille Pissarro that actually shows people getting busy with their gardening tools.
As you walk down the gallery, the theme changes to that of imaginary gardens. On display are Austrian symbolist Gustav Klimt’s chrysanthemums and petunias spiralling up in unearthly forms, and Van Gogh’s frenzied celebration of a garden at Auvers, Paris, painted right before his death.
The screenings will take place on June 20, 21 and 22, at Dance Theatre Godrej, NCPA, Nariman Point, at 6:30 p.m. Call 2282 4567 /6622 3724 for details.
The writer is an intern at The Hindu
The films not only show the works on display, they also show what goes behind the scenes
