Still Life with a Twist ~I~
In the interim, until ready to show anything newly ‘made’ I’m sharing some drawings from previous slightly more active years – yes, it’s safe to assume I’m getting nothing much other than blog-hopping and scrappy prep done so far this month.
The first two sketches were made at a local drawing class in 2013. I mentioned in a previous post how my tutor asserted my still life object choices as being ‘incongruous’. I disagreed of course. I found them interesting. (They were among the store of objects at the venue.)
Tatty presentation, I know. INTERJECTION: And my only good 7B pencil was stolen in class! Someone maybe assumed it needed replacing as it was a 1990s stub and they didn’t realise I couldn’t walk as far as an art shop while they’re so few and far. For a city with so many art galleries and two universities Nottingham is stupidly hopeless for good shopping provision, including / especially for art basics alike drawing pencils. I can’t believe the gallery weren’t even selling them while they stocked sketch books. Crazy.
The final drawing, below, isn’t exactly a still life drawing, although it has the fine art elements required of the genre if the female figure is assumed to be a piece of ‘dead meat’ in the image. It is not my composition or design but a reference copy I drew while visiting the Alfred Kubin exhibition at n0c0 (Nottm. Contemporary). It was titled ‘Swamp Plant’ and dated 1903-1904 according to the note I made on my sketch of it.
I was intrigued by the original of this drawing shown in the gallery. That was attributed to Alfred Kubin even though the graphite of the pencil appeared far too current and nothing alike other original drawings exhibited. There were quite a few pieces that were obviously not originating from the artist Alfred Kubin but were likely made by local contemporaries (and peers).
Some of the INKs of the ‘Kubin’ pen drawings were obviously not plausible to have been made more than a century before the exhibition and were entirely modern. Some of the drawings were with technical draughtsman’s pencil not artist’s pencil and appeared to have been most likely made by Alfred Kubin’s father who had been a geographical surveyor. Of course I’m not an expert, only a visiting member of the public – and documentation might (or must) exist that might prove me to appear INCORRECT.
INCIDENTALLY. It was difficult not to feel cheated as a visitor to that exhibition. Alfred Kubin is INTRIGUING as an artist. The exhibition didn’t quite match with researching the official Kubin Museum and reading German language texts on his lifetime and works. It’s a shame that what may be one or more of Gabrielle Munter’s drawing(s) are muddled in with his while she took another student’s place at Munich art school, possibly Kubin’s, before women were allowed to enter as students.
It’s an even greater shame that Alfred Kubin was so dreadfully derogatorised and undermined in the promotional texts written by the curatorial team. Incongruity? Aye!