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Norman Lindsay, Bacchus & Ariadne; Surf's Up

Norman L & Ariadne

Titian's BACCHUS AND ARIADNE (1520-23)

Titian's BACCHUS

reproduced via; http://me /2006/10/titians_bacchus_

Titian's BACCHUS AND A

From the National Gallery paintings I have had a rela Initially I was 'given' it in r as a transcription project colour and movement wer work from the real thing w from it. It has been one o where so many things are unfolding and so much sy work. It almost always loo maybe it is the subject ma

reproduced via; http://metamedia.stanford.edu/philolog/2006/10/titians_bacchus_and_ariadne_15.html

Titian's BACCHUS AND ARIADNE (1520-23) From the National Gallery in London has been one of those paintings I have had a relationship with throughout my life. Initially I was 'given' it in reproduction form to work from as a transcription project where composition, rythmn, colour and movement were to be analysed. Then I got to work from the real thing without a project but just drawing from it. It has been one of those great images for me where so many things are happening, so many stories unfolding and so much symbolic loading evident in the work. It almost always looks strangely modern to me, maybe it is the subject matter.

Since moving to Australia I have been too self conscious regarding my own practice and history. Thinking that I had to learn the whole of Australian (colonial) art history and get a grounding in Indigenous Art before I allow myself the privilege to even try and make something. I think there is quite a history of such creatives around the world, many more than those who bluster from country to country asserting their global view upon any community they happen to have to impress or where the sincerity of appropriation is administered through invitational commissions ( and I have a headful of those as I write this). In my trawl through Australian art history it is impossible to go past Norman Lindsay without spending a suitable period of time basking in the breadth and depth of his celebratory neo-classical visions. I am not going into any detail Send feedback

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21/10/11 10:13 PM

Norman Lindsay, Bacchus & Ariadne; Surf's Up | Mindarie Pr...

http://jeremy-blank.blogspot.com/

Mindarie Project

art, practice, artists thoughts, techniques, d

OCT

14

Norman Lindsay, Bacchus & Ariadne; Surf's Up

Titian's BACCHUS AND ARIADNE (1520-23)

Watercolours from life

The cloud watercolours became an a daily obsession. But once I saw a pattern emerging within them I stopped. I did not want to repeat work, an issue

reproduced via; http://metamedia.stanford.edu/philolog/2006/10/titians_bacchus_and_ariadne_15.html

Titian's BACCHUS AND ARIADNE (1520-23) From the National Gallery in London has been one of those paintings I have had a relationship with throughout my life. Initially I was 'given' it in reproduction form to work from as a transcription project where composition, rythmn, colour and movement were to be analysed. Then I got to work from the real thing without a project but just drawing from it. It has been one of those great images for me where so many things are happening, so many stories unfolding and so much symbolic loading evident in the work. It almost always looks strangely modern to me, maybe it is the subject matter.

Since moving to Australia I have been too self conscious regarding my own practice and history. Thinking that I had to learn the whole of Australian (colonial) art history and get a grounding in Indigenous Art before I allow myself the privilege to even try and make something. I think there is quite a history of such creatives around the world, many more than those who bluster from country to country asserting their global view upon any community they happen to have to impress or where the sincerity of appropriation is administered through invitational commissions ( and I have a headful of those as I write this). In my trawl through Australian art history it is impossible to go past Norman Lindsay without spending a suitable period of time basking in the breadth and depth of his celebratory neo-classical visions. I am not going into any detail Send feedback

2 of 4

21/10/11 10:13 PM

Norman Lindsay, Bacchus & Ariadne; Surf's Up | Mindarie Pr...

http://jeremy-blank.blogspot.com/

Mindarie Project

art, practice, artists thoughts, techniques, d

As part of my MA work, I added an animated sequence of

OCT

14

Norman Lindsay,

At that time I received such criticism for including such varied imagery, related to memory and perception, that I felt perhaps I had got my own ideas wrong...... at last I have returned Bacchus & Now, Ariadne; Surf's Upto the idea and feel that it

Titian's BACCHUS AND ARIADNE (1520-23)

The third oil painting started as two previous works waited for this one

In putting this blog together it has occurred to me that I can explore and highlight some of the very mixed but singular approaches
reproduced via; http://metamedia.stanford.edu/philolog/2006/10/titians_bacchus_and_ariadne_15.html

Titian's BACCHUS AND ARIADNE (1520-23)

In this sense I can play with the components in ways I have thought

From the National Gallery in London has been one of those paintings I have had a relationship with throughout my life. Initially I was 'given' it in reproduction form to work from as a transcription project where composition, rythmn, colour and movement were to be analysed. Then I got to work from the real thing without a project but just drawing from it. It has been one of those great images for me where so many things are happening, so many stories unfolding and so much symbolic loading evident in the work. It almost always looks strangely modern to me, maybe it is the subject matter.

Since moving to Australia I have been too self conscious regarding my own practice and history. Thinking that I had to learn the whole of Australian (colonial) art history and get a grounding in Indigenous Art before I allow myself the privilege to even try and make something. I think there is quite a history of such creatives around the world, many more than those who bluster from country to country asserting their global view upon any community they happen to have to impress or where the sincerity of appropriation is administered through invitational commissions ( and I have a headful of those as I write this). In my trawl through Australian art history it is impossible to go past Norman Lindsay without spending a suitable period of time basking in the breadth and depth of his celebratory neo-classical visions. I am not going into any detail Send feedback

73.5 x 112 cm; Musees royaux des Beaux-Arts de Belgique, Brussels

3 of 4

21/10/11 10:13 PM

Norman Lindsay, Bacchus & Ariadne; Surf's Up | Mindarie Pr...

http://jeremy-blank.blogspot.com/

Mindarie Project

art, practice, artists thoughts, techniques, d

OCT

14

Norman Lindsay, Bacchus & Ariadne; Surf's Up

A series of B setting photographs taken during two days of storms

Titian's BACCHUS AND ARIADNE (1520-23)

reproduced via; http://metamedia.stanford.edu/philolog/2006/10/titians_bacchus_and_ariadne_15.html

Titian's BACCHUS AND ARIADNE (1520-23) From the National Gallery in London has been one of those paintings I have had a relationship with throughout my life. Initially I was 'given' it in reproduction form to work from as a transcription project where composition, rythmn, colour and movement were to be analysed. Then I got to work from the real thing without a project but just drawing from it. It has been one of those great images for me where so many things are happening, so many stories unfolding and so much symbolic loading evident in the work. It almost always looks strangely modern to me, maybe it is the subject matter.

Since moving to Australia I have been too self conscious regarding my own practice and history. Thinking that I had to learn the whole of Australian (colonial) art history and get a grounding in Indigenous Art before I allow myself the privilege to even try and make something. I think there is quite a history of such creatives around the world, many more than those who bluster from country to country asserting their global view upon any community they happen to have to impress or where the sincerity of appropriation is administered through invitational commissions ( and I have a headful of those as I write this). In my trawl through Australian art history it is impossible to go past Norman Lindsay without spending a suitable period of time basking in the breadth and depth of his celebratory neo-classical visions. I am not going into any detail Send feedback

4 of 4

21/10/11 10:13 PM