museum – Latitude Post

Inside The Croatian Museum Of Naive Art

Posted on August 24, 2017 by Nicholas Peart

This art museum was one of the highlights of my trip to Zagreb. Naive Art as an art form was very fashionable during the 1960s and 1970s. Personally I don’t like the term very much as I think it degrades art and implies that it’s not very good. Some art of that genre can be very kitsch but it can also be very brilliant, full of heart and soul. The best work of this genre is up there with many of the greatest works from the Art Brut movement where artists, with no formal art education, created work, often of a very raw nature, outside of the confines of the ‘Art World’ and other established institutions.

Self-Portrait (1975) by Ivan Generalić

Most of the work on display at this museum is by noted Croatian artists of the Hlebine School. Hebline is a small village in the north of Croatia which from the 1920s was the place where a small group of self taught peasants began to develop a new style of painting. The artist Ivan Generalić (1914-1992) was the father of this movement. When I enter the first room of the museum, his Self-Portrait (1975) painting is the first painting to catch my eye. The prominent blue background of the painting is unmissable and I am immediately reminded of the Italian Renaissance painter Giovanni Bellini’s Portrait Of Doge Leonardo Loredan.

Harvest (1938) by Mirko Virius

In the same room, there are also paintings by another artist of the first generation of Hebline school artists called Mirko Virius (1889-1943) who’s paintings are of traditional rural people. His painting Harvest (1938) reminds me of the rural paintings of everyday peasant life by the pre Impressionist French painter Jean-Francois Millet. Millet was also a huge influence on Vincent Van Gogh who at the beginning of his painting career wanted to paint rural peasant life in its purest form from the source. Many of Van Gogh’s early paintings and drawings capture this very beautifully.

The Evangelists On Calvary (1996) by Ivan Večenaj

Then there is another painting in that same called The Evangelists On Calvary (1996) by one of the second generation of Hlebine School artists called Ivan Večenaj (1920-2013). This is probably the most powerful painting in the room. The intricate mess of destruction, decay and dehumanisation makes me hark back to the most nightmarish paintings by the legendary and light-years-ahead-of-his-time Dutch colossus Hieronymus Bosch. Out of all the art works in the museum, it is those paintings by Večenaj, which resonate most deeply with me. Another painting of his entitled Gaitery Juna (1962) features a peasant lady with a deformed face. A third painting depicts Moses by the Red Sea.

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Martin Mehkek

In another room, a series of portraits by Martin Mehkek (1936-2014) stop me in my tracks. The portraits are very human and Mehkek seems to have a unique ability to empathise with his subjects and put himself in their shoes. He paints his subjects in a way which executes their emotions and traits. And many of his subjects seem to be local villagers and they appear to be painted in a way where all their quirks, bizarreness and insularity are masterfully captured.

Emerik Feješ

The paintings of Emerik Feješ (1904-1969) are of colourful, childlike, ethereal and joyful buildings in a style that is his own. Like ornate Venetian buildings turned into multi coloured, energetic Mississippi and New Orleans juke joints. Observing his paintings fill me with hope and positivity, which is very vital in a pungent age of anxiety.

Luxary Ship (1974) by Drago Jurak

The final piece of work in the museum to make an impression on me is a painting by Drago Jurak (1911-1994) called Luxary Ship (1974). It is a extraordinary painting and I immediately think of the impossibly insane Swiss artist Adolf Wölfi, a key artist from the Art Brut movement. His paintings are of an overly complex, obsessive and deranged nature. Like a shockingly talented Persian miniature painter on acid. Some artists are just happy to knock up bland landscape pastiches. Yet painters like Jurak and Wölfi are forever hellbent on rocking the boat and driving the square community mad.

By Nicholas Peart

Mona Lisa Madness At The Louvre

Posted on September 22, 2016 by Nicholas Peart

Mona Lisa frenzy at the Louvre museum, Paris

I don’t think I’ve seen anything else quite like this in any other art museum I’ve been to around the world. The Mona Lisa by Leonardo Da Vinci is arguably the most iconic work of art in the world and the most well known. Perhaps the only other work by an old master with an iconic status almost equal to (but not quite of the same magnitude of) the Mona Lisa is The Girl With The Pearl Earing by the Dutch painter Johanes Vermeer.

It is actually quite rare that a random member of the general public knows the title of a work of art by a famous artist. Everyone has heard of Picasso but how many can name the title of one of his many works? The same for Andy Warhol, the same for Jackson Pollock, Damien Hirst etc.

I am quite fascinated by the monumental popularity of the Mona Lisa. The stampede to even just catch a glimpse of this painting is akin to trying to catch a glimpse of a famous rockstar doing a signing at some small record store. As much as I wanted to get up close to see the Mona Lisa, I eventually gave up. Instead I channelled my energies into immersing myself into the nearby epic painting entitled The Cornation Of The Virgin by the Italian master Tintoretto.

But why is the Mona Lisa the most iconic painting in the world? Firstly its provonence. Since it was completed in 1519, it has been in the hands of French kings and emperors before finally settling in the Louvre. The genesis though of its current global popularity can be traced back to an 1867 essay on Leonardo by the English essayist and art critic Walter Pater where he dissected and wrote very passionately and poetically about the Mona Lisa (or La Gionconda as it was known back then). Pater’s essay is not only one of the most famous essays on any single piece of art, at the time it was seen as quite groundbreaking especially since art criticism was a fairly new concept back then. Since then the painting has been caught in the crossfire of a series of high profile events. In 1911 it was stolen from the Louvre. Picasso and his friend the French poet Guillaume Appolinaire (who once demanded that the Louvre be ‘burnt down’) were seen as two potential suspects. Eventually the thief was revealed to be a Louvre employee at the time, Vincenzo Peruggia. In 1956, part of the painting was destroyed when someone hurled acid at it. Then it was vandalised again in 1974 when a woman sprayed red paint on it. The painting is now kept behind bullet proof glass as can be seen in the photo above this post.

The painting has also been appropriated by other artists. Most famously by the father of conceptual art, Marcel Duchamp, who added a mustache to the painting in his 1919 piece ‘L.H.O.O.Q’. Later famous artists like Salvador Dali and Andy Warhol have also appropriated the painting in their work.

The truth is that the Mona Lisa has the greatest legacy out of any other single work of art ever created hence the unprecedented fascination in it. This painting would go for a whopping sum of money if it were ever released on the open market at auction in either Sotherby’s or Christies. The record paid so far for a single work of art to date is $300 million in September 2015 for the painting ‘Interchange’ by the abstract expressionist painter Willem de Kooning. I predict that if the Mona Lisa were ever auctioned (perish the thought) it would breach the billion dollar mark. It is that important and as a financial ‘security’ or ‘instrument’; tremendously desirable.

As for me, I like Da Vinci’s work but I’ve always been more interested in his mind, his ideas and ways of working than the actual finished pieces of art. His sensitivity to nature and the world as well his acute understanding of the anatomy of the human body have always impressed me.

His thinking was incredibly ahead of his time. His dreaming and vision had no boundaries. I love his sketches. Some of his skeches contain many of his inventions – one looking like a modern day helicopter. Incredible to think that these were concocted over half a millennium ago.

by Nicholas Peart

22nd September 2016