Painting nature

Almond tree in blossom:John Russell

Almond tree in blossom, 1887 – John Russell (image – http://www.fivemore.com.au/capturing-the-moment-japan-france-and-the-australian-impressionists/)

Earlier this week I spent a few days in Melbourne.   While I was there I spent some time wandering through the National Gallery of Victoria.   A painting by the Australian impressionist painter, John Russell caught my eye.  It dates from the time when Japanese art was first coming to the attention of western painters.  With it’s flat use of colour,  strong diagonals and crowded foreground Russell’s painting is reminiscent of the wood block prints of Hiroshige.   The painting has recently been restored and flat gold background glows with an inner radiance.  Unfortunately my chemical sensitivities go into overdrive in the city and I moved past the painting quickly for I could smell traces of the chemicals used to clean the work.

old flower painting

stinking of new varnishes

repels engagement

 

In another gallery I came across an exhibition of the contemporary artist, John Wolseley. (John Wolseley – Heartlands and Headwaters – NGV 2015)

Huge sheets of paper hung from the gallery walls.   On them fine traceries of animal and bird tracks, smears of dirt, charcoal rubbings of tree bark,  delicate water colour painting and scrawls of pencil combined to create immersive works that grabbed my attention.  My eyes lingered over the exquisitely detailed paintings of birds, complex bark rubbings,  fragments of maps and lines of text.  I felt far more connected to both the art and to the environment depicted than I had when I paused in front of Russell’s decorative painting.

 

Daly River Creekimage http://www.johnwolseley.net/

Speaking of his work Wolseley says :

‘My work over the last thirty years has been a search to discover how we dwell and move within landscape. I have lived and worked all over the continent from the mountains of Tasmania to the floodplains of Arnhem land.  I see myself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world – leaf, feather and beetle wing – to the abstract dimensions of the earth’s dynamic systems.  Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact I am finding ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place.

I like to think that the large works on paper on which I assemble these different drawing methods represent a kind of inventory or document about the state of the earth.  I want to reveal both the energy and beauty of it, as well as show its condition of critical even terminal change.  My interest is to paint the processes and energy field of the living systems of this land – flocks of birds, or water plants in swamps, or the movement of sand dunes or the ways in which trees regenerate after fire.  In the last few years I have been concentrating on the wetlands of Australia which are threatened by our changing climate and the clearing or ground for industrial farming.’  An Artsphere Website   © John Wolseley 2015

staining the paper

flowers, paint, dirt and snail trails

– art and nature mesh

 

Post prompt:   http://chevrefeuillescarpediem.blogspot.com.au/2015/05/carpe-diem-730-shaded-by-blossoms.html

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15 thoughts on “Painting nature

  1. Really enjoyed walking through the exhibition with you — too bad about the chemical smells though. The ending haiku is very strong.

    And thank you for including the artist links — will have to investigate now 🙂

    1. Thanks Jen. I always feel I have to include links to artists. My uni lecturer was so adamant about it I sometimes feel he’s still breathing down my neck. 🙂
      Thanks so much for your comment on the haiku – I felt I was stretching things to write haiku to the Carpe Diem prompt but the exhibition did inspire me.

  2. What a beautiful haibun, Suzanne! I too am envious but thankful you brought some of your experiences to us here. The almond tree is so magnificient in bloom and your haiku are lovely reminders of your journey at this art exhibition.

    1. Thanks so much. I’m really glad you enjoyed it. You must have wonderful galleries and cultural venues in Montreal too though.

    1. Thanks Mark. That’s exactly what did happen. The Japanese influence was strong in all the work and my mind was led to haiku

  3. I’m very envious! I’d love to see the Wolseley exhibition. His way of working has always fascinated me. The only piece of his I’ve seen in the real world is in University House where I stay sometimes in Canberra. I thought of you and your meditations on nature and your photographic relationship with it when I read about the Wolseley exhibition. He appeals to me far more than the decorative Russell too.

    1. Yes the Wolseley was great. It’s one of those shows that stays in the mind. I have seen his work in galleries before but always just a lone example. Seeing somany works together was utterly immersive and inspiring. Thanks for saying my photos have something of the same quality Meg. I can’t see it myself.
      Have you seen the Wolseley book -Lines for birds. Your photos of tree bark remind of paintings in the book.

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