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Posts Tagged ‘watercolors’

Etel Adnan’s Leporellos

April 14, 2015 | by

Etel Adnan, Inkpots, 2015, ink and watercolor on paper, 78 3/4". Click to enlarge.

We’ve featured Etel Adnan, who turned ninety this year, on the Daily before. A Lebanese American poet and artist, Adnan was born in Beirut; she lived in California for some fifty years before moving to Paris. She excels in many media—paintings, tapestries, novels, poems—but the most unique, I think, are her leporellos: accordion-folded booklets of the sort once sold in Victorian England as souvenirs, folding out to reveal panoramic illustrations. Adnan uses them to a variety of ends, often using them as vehicles for unpublished poems and fragments. Some of them are more than six and a half feet long when fully extended; on one of them, she wrote a series of poems in Arabic, a language in which she seldom composes.

These four will be on display at Galerie Lelong, along with some of her paintings and a tapestry, through May 8.

In 2012, she told Nana Asfour,

My writing and my paintings do not have a direct connection in my mind. But I am sure they influence each other in the measure that everything we do is linked to whatever we are, which includes whatever we have done or are doing. But in general, my writing is involved with history as it is made (but not only) and my painting is very much a reflection of my immense love for the world, the happiness to just be, for nature, and the forces that shape a landscape.

GL 9935 - Inkpots with Signs

Inkpots with Signs, 2015, ink and watercolor on paper, 7" x 4 3/4" x 3/4". Click to enlarge

GL 9860 - Pirkle Jones world, outside

Pirkle Jones world, outside, 2001, ink on book, 7" x 5". Click to enlarge

Point Reyes n°2 California, 1989, india ink on book pages, 6 3/8" x 3 3/4". Click to enlarge

Dan Piepenbring is the web editor of The Paris Review.

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Night Time

April 2, 2015 | by

Night Time  (still)_02

Hans Op de Beeck, still from Night Time, 2014. Courtesy of the artist and Marianne Boesky Gallery, NY. © Hans Op de Beeck

The Belgian artist Hans Op de Beeck’s new show, The Drawing Room, opens tonight at Marianne Boesky Gallery. Among its sculptures and watercolors—painted after nightfall, when “all of the machines in his studio were switched off, the phones stopped ringing, and his staff had left”—is a fifteen-minute animated film, Night Time, produced from some six years of paintings. These three stills give a sense of its perturbing, placid, faintly vatic style: they read as a series of nocturnal establishing shots, each a study in tranquil desolation. They put me in mind of Daniel Lopatin’s synthesizer composition “Zones Without People.” “I just like the spectator to be on his or her own,” the artist told Elephant Magazine in 2011. “Having a fictional or fantasy character sitting there would be like an interruption.”

The Drawing Room shows through May 2. Read More »

Its Light Was Prodigious

August 18, 2014 | by

Paul_Sandby_-_The_Meteor_of_August_18,_1783,_as_seen_from_the_East_Angle_of_the_North_Terrace,_Windsor_Castle_-_Google_Art_Project

Paul Sandby, The 1783 Great Meteor, as seen from the East Angle of the North Terrace, Windsor Castle

As evidenced by its name, the 1783 Great Meteor was, yes, great and meteoric. At the time, not much else could be said about it with certainty—indeed, when it graced the skies of the British Isles 231 years ago today, it prompted a scientific (or pseudoscientific) crisis. Experts rushed to answer that burning—pun intended—question: What the hell was that?

On the night in question, Paul Sandby, a landscape painter, happened to be with Tiberius Cavallo, an Italian philosopher, hanging out on the terrace of Windsor Castle, enjoying the summer night, taking in the solemn spectacle of the sky, when, as Cavallo later wrote,

some flashes of lambent light, much like the aurora borealis, were first observed on the northern part of the heavens, which were soon perceived to proceed from a roundish luminous body, whose apparent diameter equaled half that of the moon, and almost stationary in the same point of the heavens … This ball at first appeared of a faint bluish light, perhaps from appearing just kindled, or from its appearing through the haziness; but it gradually increased its light, and soon began to move, at first ascending above the horizon in an oblique direction towards the east. Its course in this direction was very short, perhaps of five or six degrees; after which it directed its course towards the east … Its light was prodigious. Every object appeared very distinct; the whole face of the country, in that beautiful prospect before the terrace, being instantly illuminated.

I like the blend of specificity and awe here: Cavallo takes pains to describe the event as accurately as he can, but his account is suffused with the kind of wonder that only comes from confusion. How exciting it must’ve been, not knowing what was happening, not having the rote assurance of a scientific explanation. This was a time, after all, when one could still refer to the skies as “the heavens” without the slightest trace of irony.

In what amounts to an early example of crowdsourcing, artists and scientists came together to corroborate and dispute various accounts of the meteor. Sandby turned in an excellent watercolor of the phenomenon, and a schoolmaster named Henry Robinson made the engraving below. The meteor became the subject of wide speculation in the Philosophical Transactions of the Royal Society; London Magazine ran an absurd account from a British lieutenant who claimed to have seen the meteor reverse its course, “moving back again, the contrary way to which it came.”

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