THE SOUTH AFRICAN
Issue : July 2009
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New Arts Axis for Johannesburg
Arts on Main will foster
experimentation and see artists
and art institutions working closely,
writes Mary Corrigall
Baring traces of its former life in the
cycle of industrial commerce its face
brick facade does little to betray its
new incarnation as a multi-use arts
hub. So it’s a surprise when one
enters the Arts on Main development
in the east of Joburg’s inner city to
find oneself in the centre of an über
trendy centre boasting a grassy
courtyard studded with lemon trees.
But it is still early days in this much
awaited centre’s existence. The
Canteen, a fashionable eatery, which
flanks one side of the courtyard, is
only one of a handful of establish-
ments that is already up-and-running.
But with a host of studios and exhibi-
tions spaces nearing completion
one is able to get glimpse into the
future of this pioneering art centre,
which will see a range of established
artists, gallerists and art institutions
Johannesburg to get Kentridge’s Fire Walker
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settled in one destination. It is a first
for Joburg. With assortment of arts
practitioners working cheek-by-jowl,
Arts On Main will more than likely
foster an intimate ambience – or at
least deepen existing associations.
For example, the Goodman Gallery’s
new project space at the centre is a
stone’s throw from the kingpin of their
stable: William Kentridge, who has
snapped up a humongous new stu-
dio. Other artists from the Goodman
stable such as Rosenclaire (Claire
Gavronsky and Rose Shakinovsky)
and Mikhael Subtotsky will also be
nearby in more modest workshops.
The centre’s edgy location seems to
have encouraged residents towards
embracing experimental art activities.
Goethe on Main, a derivative of the
Goethe Arts Institute, will be a venue
for unconventional art initiatives such
as its current exhibit, Trolleyworks, by
social art activist, Ismail Farouk. The
Goodman Gallery have envisioned
that their new space will also facilitate
alternative projects and installations
and are, therefore, hoping that this
continued on page 3
Image : joburg.org.za
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An art collector views “The Centre vs. Periphery Ultimate Cage Fight” by Avante Car Guard at the Brodie Stevenson
Gallery, Johannesburg. To see AVG Show see www.www.brodiestevenson.com
Staff writer
The city of Joburg is to get its first
Kentridge, in the shape of a monu-
mental public sculpture, entitled
The Fire Walker, the Weekender
reports. The work is a collabora-
tion with Gerhard Marx and will be
constructed of laser-cut steel plates,
standing 10 m tall. According to
an article posted by Bongani Nkosi
and Lucille Davie on Joburg.org.za,
the piece will be up by the end of
June, and will be positioned at the
continued on page 3
News: press@arttimes.co.za
Shows: show@arttimes.co.za
Artwork: art@arttimes.co.za
A Cape Town Museum of Art?
Melvyn
Minnaar
The manner in which the Natale Labia
museum was abandoned by Iziko is a
blot on its hapless history as ‘flagship’
manager of Cape Town’s cultural
institutions – with the overseeing
department of public works and the
one responsible for arts and culture
as hapless accessories to the crime.
continued on page 3
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Pieter
Wenning
Artists
supplment
inside
new outlet will become a platform for
up-and-coming artists from outside
their existing stable.
“As a leading contemporary gallery
we really wanted to establish a project
space. Our schedule at the Goodman
is so busy that we don’t have the
flexibility to work with younger artists
and give them a chance to show,”
observes Liza Esser, owner of the
Goodman Gallery franchise.
Arts on Main is the brainchild of
twenty-seven-year-old Jonathan
Liebmann, an ambitious and astute
property developer with a penchant
for the east side of Joburg’s inner
city, which has not to date been the
target of revitalisation projects. He
obviously shares an affinity with the
visual arts – no doubt fostered by
his familial connections (he is the
son of Benji Liebmann of the Nirox
Foundation) – but his plan to gentrify
this industrial part of town was also
dependent on setting up an arts
related development. He is well
aware that the gentrification cycle
of cities tends to begin with artists.
London’s Shoreditch and New York’s
Soho are cases in point.
“Artists want to be part of regenerat-
ing a city. I think they also see the
value in areas more than others.
The structure and volume of space
particular to industrial properties also
continued on page 3
South African National Gallery
 Johannesburg winter auction features
over 200 works from traditional South African artists
August 4 and 5 in Rosebank,
Johannesburg, sees the staging of
a remarkable two day auction with
its focal session being on the
Tuesday evening, featuring some
230 paintings, drawings and
sculptures, the bulk of them South
African works. Some of the art
represents pinnacles from the
lifeworks of the artists involved, and
their release onto the local market
is a significant event. Stephan Welz
& Company, in association with
Sotheby’s, is pleased to issue the
following sneak preview details of
each of the four sessions.
It all starts on Tuesday 4 August at
14h00 with a session including
books and maps, then on through
ceramics, metalware and silverware.
Of over 80 lots of books, a remark-
able collection of original manu-
scripts and first editions of the
works of Sarah Gertrude Millin will
be certain to attract bibliographic
attention, as will a number of lots
from her book collection inscribed
to her by various political and
literary luminaries. Lot 96 is of
particular cartographic and
collectable interest, being a first
issue John Speed, London 1626,
map of Africa with a frieze of cities
and peoples of the times with a
woodcut imprint on the reverse
indicating its first issue status.
It is conservatively estimated at
R16 000 - R20 000. In the ceramics
section, Lot 112 is an assembled
Belleek ‘Neptune’ green tint part tea
service from the Second Period
1891-1926, notable for the
inclusion of a much sought-after
matching 45cm tray. The set
is pre-sale estimated at R6 000 -
R8 000. The lot most likely to attract
top level bidding is Lot 122, a pair
of William Moorcroft ‘Eventide’
pattern vases at R20 000 - R25 000.
In silverware, competitive bidding is
expected generally for this popular
section, but with specific attention
likely to focus on Lot 176, a German
19th century 800 standard silver
jardinière estimated at R7 000 -
R9 000 and Lot 201, a large circular
silver bowl by Charles Boyton of
London, 1939, in martelé finish
(R3 000 - R5 000).
That evening, at 18h30, the mood
and tempo will be upbeat as South
African art comes under the
hammer in the best place for it, here
in South Africa in the sale rooms of
the country’s best-established
auctioneering company. It’s difficult
to pick stars from the stellar selec-
tion, but the cover lot would seem
to fit all criteria including appro-
priate timing. It is Lot 326, used by
the company to ‘front’ the entire
sale, a Cecil Skotnes (South African
1926-2009) work entitled ‘Three
Standing Figures’, a carved, incised
and painted wood panel 122 by
120cm and estimated at R300 000
to R500 000.
Of equal import, four works from
Jacob Hendrik Pierneef (South
African 1886-1957) are to be
offered, two of which, Lots 248 and
249, being sure to attract interest in
the upper financial bracket. Lot 248,
‘An Extensive Landscape with an
Aloe in the Foreground’ (R800 000 -
R1 200 000) and Lot 249, ‘Karoo
Landscape’ (R700 000 - R1 000 000)
provide ample proof of the
inimitable talents of this artist
across a broad executional and
stylistic base and, at the same time,
deliver investment potential and
ownership pleasure for collectors
and investors alike.
In relative terms, for the more
conservative budget compared
to the rarified atmosphere of the
foregoing, a range of paintings from
much-favoured artists has been
consigned to auction in the R50 000
to R300 000 region. As examples,
Lot 219, a Jan Ernst Abraham
Volschenk, ‘Wood-Clad Mountains,
George’, estimated at R150 000 -
R200 000 can claim considerable
appeal, as can Lot 227, a Pieter
Hugo Naudé entitled ‘River
Landscape’ (R80 000 - R120 000).
To further illustrate the breadth of
appeal, examples abound, including
Lot 242, a rare Dorothy Kay mayoral
portrait of Clifford Bell Payne,
Mayor of Walmer 1941-1947,
catalogued at R200 000 - R300 000,
Lot 381 a still life from Irmin Henkel
(R80 000 - R120 000) and Lot 435,
a Judith Mason mixed media in
relief work entitled ‘Tourist Photo’
at R50 000 - R70 000.
Carter, Mayer, Oerder, Domsaitis,
Roworth, De Jongh, Laubser, Stern,
Coetzer, Sumner, Battiss, Klar,
Boonzaier, McCaw, Villa, Ngatane,
Bhengu, Tretchikoff, Rose-Innes,
Van Heerden, Büchner, Fasciotti,
Boshoff and many more … a
veritable feast for collectors of taste
and discernment.
On Wednesday 5 August, interest
will be maintained in the 10h00
morning session by carpets & rugs,
furniture, clocks, pocket watches
and a spectacular array of
wristwatches.
The carpets on offer include Lot 451,
a four-strip North-West Persian
decorated cover, c1900, estimated at
R8 000 - R12 000. The furniture
section features Lot 500, a Victorian
rosewood secrétaire Wellington
Chest, c1855, pre-sale estimated at
R10 000 - R12 000, Lot 530, a 19th
century Italian walnut and marquetry
commode (R15 000 - R20 000) and
Lot 536, a most unusual late French
onyx, marble, gilt-metal and
champlevé column, late 19th/early
20th century, 120cm high and
estimated at R9 000 - R12 000.
Timepieces in their various forms
have emerged as stars of the
company’s broad-based auction
categories, and this sale is no
exception, with the session moving
on to longcase clocks, featuring Lot
553, an imposing 19th century
230cm oak clock pre-sale estimated
at R18 000 - R24 000. The session
then progresses to wristwatches
where no fewer than 40 examples
are to be auctioned. Featured are
Lot 608, a gentleman’s 18ct gold brooch highlighted with rose-cut
Cartier Divan automatic wristwatch diamonds on 15ct gold, silver
(R45 000 - R65 000), Lot 612, a fronted (R30 000 - R40 000). Of
gentleman’s IWC Schaffhausen Big about the same age, Lot 649 is
Ingenieur stainless steel automatic a Victorian serpent-form necklace
wristwatch (R66 000 - R68 000) and employing an enamelled and garnet
Lot 624, a quite superb and highly design, pre-sale estimated at
sought-after gentleman’s 18ct white R30 000 - R40 000. Then, from
gold Rolex Oyster Perpetual Garrard of London circa 1940,
Chronograph ‘Daytona’ wristwatch, Lot 678 (R20 000 - R30 000) is a
circa 2004 (R115 000 - R120 000). platinum brooch set with a total of
approximately 4.50cts in total.
The fourth session of this two day
auction is scheduled for 14h00 on
Wednesday 5 August and is
dedicated to one of the most
exciting jewellery sessions seen for
some time. With just under two
hundred lots of antique, period,
contemporary and modern
jewellery on offer, it’s difficult to
illustrate the breadth of appeal
which spans unset diamonds from Stephan Welz & Company, in
around one-half up to over three association with Sotheby’s, looks
carats, diamond rings galore, forward to this being a significant
brooches, pendants, bracelets, sale across a wide range of
gemstones, pearls and more. consignments. The following times
and dates apply.
The company’s departmental head,
Eva Miklas, also a director and VIEWING
auctioneer, pinpointed four lots of Friday 31 July 10h00 - 17h00
particular interest. Lot 646 is an Saturday 1 August 10h00 - 13h00
early Victorian Sunday 2 August 10h00 - 17h00
diamond cluster
brooch, circa 1840, AUCTION SESSIONS
composed of flower- Session One
heads and leaves in Tuesday 4 August 14h00
18ct gold, silver Session Two
fronted, and set with Tuesday 4 August 18h30
rose-cut and old Session Three
miner’s-cut diamonds, Wednesday 5 August 10h00
estimated at R40 000 - Session Four
R60 000. From the Wednesday 5 August 14h00
Victorian era, circa
1870, comes Lot 648, For further details please contact
a diamond and pearl Natalie Randall on 011 880 3125
South African Art Times July 2009 5
Johannesburg to get Kentridge’s Fire Walker New Arts Axis for Johannesburg
continued from page 1 continued from page 1
KUNSGALERY
southern end of Queen Elizabeth This image then ‘explodes’ into loose Dodd also draws attention to the attracts them,” asserts Liebmann.

Bridge in the CBD. individual fragments and abstraction
as you move around it”, Marx and
Commissioning agent for public Kentridge explain.
artworks in the city, artist Marcus
Neustetter, reports that the The work is being hailed as
Johannesburg Development Agency Johannesburg’s Statue of Liberty,
has been hoping to get Kentridge to evoking the Big Apple’s monu-
produce a public sculpture for the city mental torch bearing woman. “But
for some time. Lael Bethlehem, JDA she is a very particular Statue of
chief executive was heard exclaiming Liberty – Johannesburg’s Statue of
on 702 Talk Radio “We are getting our Liberty – which carries with it, at every
very first William Kentridge!” point, either the history or the threat
of its own collapse”, the artists say.
The sculpture will resemble a woman Neustetter also noted the contradic-
carrying a burning brazier on her tory implications of the work, which,
head, but only from certain angles; while its message of survival inspires,
“If one approaches the work from the “if we carry fire on our heads, what
direction of the bridge, these loose
else can we do?” it is also disturbing;
steel fragments combine to create the
“should someone have to do this?”
cohesive image of The Fire Walker...
In her article for the weekender, Alex
JOHANS BORMAN
possibility of theft, a problem which
Consisting of five roomy industrial
has plagued various public sculptures
buildings, the centre boasts some
in the city in recent years. “We’re
formidable exhibition spaces. With
trying to make it as solid and strong
as possible, but there is the chance
its vaulted ceilings, the Seippel
Gallery’s new space (they will be FINE ART GALLERY
that parts could get stolen”, Marx con-
leaving August House) will be able
cedes, adding that concerns about
to accommodate enormous hanging
safety, and the piece being used as
CAPE TOWN
or sculptural artworks that smaller
a possible hiding place for hijackers
suburban galleries couldn’t dream of
were also taken into account in the
displaying. For Essers the generous
manufacture of the piece.
dimensions of the studios was also a
selling point.
Then again, theft of part of the
statue’s metal might only add to the “We really wanted a space that we
sense of contingency offered by could show big installations,” says
Joburg’s “exploding” and fragmented Essers.
Statue of Liberty.
The first show planned for the
Goodman Gallery will consist of a
For more information, visit www.
collection of Kentridge’s tapestries –
theweekender.co.za/article
some are as long as four metres.

A Cape Town Museum of Art?

continued from page 1

A more worrying issue, hinted to by lingers in many local art lovers’ bosom. (and old) pieces. On the other, a large ‘re-exhibiting’ older art within a contem-
some readers’ letters to the Cape Many of us only realise the treasures number of those associated with the porary framework.)
Times in recent weeks (including one in the SANG collection when they are previous paradigm were hastily shoved It seems that Iziko does not realise the
from the original Muizenberg satellite hauled out for retrospectives in other into storage. The taint of our sad past economic value of its collections: one
museum benefactor, count Labia), is museums (Judith Mason, Johann Louw) fell like a veil over many great pieces, which is majorly linked to tourism.
one about the overall management of or appear in print in a rare monographs doomed to the dark below.
Iziko: specifically in what it envisages (the upcoming Alexis Preller). It is within this context - with Iziko drift-
At the same time, a vigorous empower- ing into murkier waters (has anyone any
as its day-to-day job and its future aspi-
The old, hackneyed excuse is the one ment process of upcoming artists and hope for the new powers that inhabit
rations. The serious question is whether,
of exhibition space. In fairness, it’s a new art also stressed Iziko curators in the DAC?) - that one should polish the
for all the bureaucratic ducking-’n-
complaint that runs as a refrein through terms of funds and space. idea, no matter how far-fetched, of a
diving, Iziko has a future vision and a
art museums world wide. But, and this lively, contemporary, civically-minded
practical plan. What we see a t the SANG these Maurice van Essche, ‘The Clown’ - 1972
is the crux of the question Iziko seems and professionally-run Cape Town
days looks very much like an ad hoc
As has happened from time to time, to evade, what’s to be done at the Museum of Art.
exhibition management policy. Shows
visitors to the Iziko SA National Gallery SANG?
come and go and linger in ways that A showcase for the best of South African Masters,
had travelled from afar with the hope of There is no doubt (as we will see with
The limited space in the lovely old build- seldom seem to make any connection the football hoopla next year) that Cape as well as some leading contemporary artists.
seeing one or two of the holdings for
ing has been an issue since before the with anything outside, neither the public Town is the country’s favourite tourism
which the institution is quite well known
days of director Raymund van Niekerk, nor social conditions in the city. (Part destination. As the country’s cultural Telephone: 021 423 6075
- yes, even in foreign places and acad-
and it bamboozled Marilyn Martin’s of the problem too is clearly that of PR and creative hub, there is so much
emies. Of course, as we Capetonians
reign. (The latter, using her persuasive and media management. Capetonians happening (count the operating galler- www.johansborman.co.za
know, the SANG shows only a few
charm and cutting arguments, made sometimes simply don’t know what’s ies and art schools, gauge the Cape
works from the vast permanent col-
various efforts to find other spaces, inside those rooms.) Hit and miss, is 09 buzz ), Cape Town needs a proper,
lection in the overflowing basement.
to get other potential benefactors more like it. ‘National Gallery’ hardly Mon-Fri: 09h30 - 17h30
(In fact, we take the officials’ word that well-managed contemporary art space.
interested, to develop strategies. She seems to fit its description; it’s more like Sat: 10h00 - 13h00
those paintings and pieces are not rot- And it should be under the auspices or by appointment
constantly walked into walls.) a temporary slap-up exhibition space.
ting away, and are, in fact, still there.) of the Cape Town city council. The
When political correctness also got And still important art in the collec- latter has, unfortunately, never had any In Fin Art Building
Our disappointed visitors wrote to the
behind the steering wheel, it took a seri- tion - that people, Capetonians, as serious art/culture policy, not to mention
newspaper to say how sad it was not to Upper Buitengracht Street, Cape Town 8001
ous turn. On the one hand - and cor- well as visitors would like to admire a proper such department. It’s time it
see what they came to admire. Why are
rectly so – a major effort, over the past - remains hidden from public view. (Of Cell: 082 566 4631
these well-known works not on view? does. And we culturally minded, should
twenty years, to rectify the imbalance course, someone like curator Hayden force its hand. Now isn’t that a vibey
This, of course, is a question that of art holdings, brought in many new Proud has done exceptional work in idea? E-mail: art@johansborman.co.za

the plot thickens

new paintings by michael taylor
WAS ONCE FUNNY, Michael Taylor 2009, Gouache on board, 20cm x 20cm

27/07 - 22/08

Worldart Gallery
54 Church Street | Cape Town
021 423 3075 | www.worldart.co.za
4 South African Art Times
Taryn Cohn on Ross Douglas and
Mary Corrigall’s war of words
Taryn Cohn responds to a debate
between Douglas vs Corrigall,
published in the June edition of
the South African Art Times.
-Read it at www.arttimes.co.za
I have been following the exchanges
between critic and writer Mary
Corrigall and Jo’burg Art Fair
Director Ross Douglas with some
interest.
The debate raises some interesting
and very relevant points, and, while it
meanders dangerously close to get-
ting personal, it also misses a few.
Most obvious was the issue of
sponsorship and Corrigall’s rhetori-
cal question “ If ArtLogics model
is so sustainable why is it that their
survival depends on FNB sponsor-
ship?” To answer simply, note the
word sustainable. This is a different
concept (but often confused) with
the concept of self-sustainable. Like
every other major trade fair the event
is hosted by a sponsor.
Sponsorship is a form of market-
ing for an organization. It is not
seed funding or an investment. A
sponsor takes the decision to be
involved based on the opportunity
for brand equity that is offered by
the project. Brand equity does
not merely depend on how many
people attend the event, nor is it
measured by how many logos are
plastered around a venue. It’s about
something more subtle. It’s about
the value that comes from the right
association - communicating a mes-
sage about your brand by picking
the right platform and audience.
Surely, although art is not sport and
it offers a lifestyle and intellectual
LETTER TO THE EDITOR
association rather than sheer
numbers, it is still allowed to play by
the same rules. Therefore, as long
as there is a sponsor who values the
brand equity that the event brings,
the project is sustainable.
The Art Fair model is no different
to every major event worldwide.
Like the Confederations Cup,
these events could never support
themselves on ticket sales alone,
nor are they meant to. So while the
Confederations Cup is playing to
half empty stadiums you’d be hard
pressed to find anybody calling for
its cancellation. Why is that you won-
der? Perhaps because the sports
industry and those associated with it
understand the symbiosis of spon-
sors and sports better than we in the
art industry do.
So, onto the business of business.
According to Corrigall, “ Art fairs
are about generating sales and, as
such, most gallerists were keen to
hedge their bets by displaying a full
array of art in the hope that they
would have more of a chance of
nailing a sale. In such a context, the
aesthetic or transcendental nature
of art objects is stifled.”
An interesting point. Here we have
two conflicting agenda’s that make
up the tightrope of being an artist.
On the one hand there is a purist
view that art exists to question
society and explore the “transcen-
dental and aesthetic” from outside
the constraints faced by people who
need to provide goods or services
to make money. On the other, well I
have never met an artist who doesn’t
like to eat. Simply put, there is only
one way to make money from art;
sell it.
But really? In the year 2009 are we
really still in a space where publiciz-
ing the intention to make money off
art somehow taints its authenticity
and intrinsic value? Surely we have
seen the rise and fall of enough
communist states to be comfortable
embracing the essentially market
driven values that govern our soci-
ety? And for those who go back to
issues of funding and sponsorships
being responsible for preserving
and supporting art, it’s still some-
one’s money somewhere that pays
those bills.
Are we to believe that you can’t sell
art and be transcendental at the
same time?
It is time that as artists and arts
practitioners we aim to engage in a
more positive manner with the orga-
nizations and individuals to whom
we look to for support, be they
buyers or sponsors. Rather than look
on the issue as black and white,
we need to ensure that we build
these relationships to a point where
we can balance the needs of the
art community and its supporters
without compromising the integrity
of either. That will only happen when
they respect us enough to listen to
what we say and how we say it. But
it will never happen until we respect
them, period.
I am fast running out of space so
am left with one more point to raise.
I do support Corrigal’s observation
that the Art Fair turned to design
to fill spaces. But I do want to ask
Douglas why this is so?
July 2009
I personally know of several gal-
leries who are most definitely not
“little shops in malls peddling trite
landscape art” that don’t count who
either did not make the grade, or
who simply couldn’t afford to take
part. Apparently fair rules also do
not allow the sharing of stands that
would allow so many more members
of our art market to participate.
Surely considering smaller stands
and broadening the offer of legiti-
mate contemporary galleries and
dealers on display would increase
the range of works that reflect “the
work the country and continent is
producing”?
I would assume that a broader range
of more widely priced work from
established and emerging artists
would both invite more sales from
a wider range of clientele and be
better than design stands and object
displays that are “derived from that
fuzzy territory that delineates the
overlap between art and craft.?”
The questions to be asking is who
judges the galleries proposals to
take part and on what basis.
As free market liberal, I fully endorse
Douglas’s right to manage his entity
the way he sees fit, but in support-
ing freedom of speech and in the
interests of nurturing a robust and
critically engaged art media , I
support Corrigall’s right to ask these
questions. I also thank them both for
the debate.
Don’t miss the panel discussion on
art fairs on 30 June, that includes
Ross Douglas, Clive Kellner and Alex
Dodd. See www.arttimes.co.za for
further details.
South African Art Times July 2009
New Daily News
updates now available at
www.arttimes.co.za
Go to www.arttimes.co.za to read daily breaking news
and stories as they unfold.
Suid-Afrika verdien beter (South Africa
deserves better). De Rust, Western Cape.
Courtesy Michael Stevenson Gallery
Some of the daily stories include:
David Goldblatt wins Henri
Cartier Bresson Foundation
Award
Veteran South African photographer
David Goldblatt has won the Henri
Cartier Bresson Foundation’s grant of
R 341 400, Volksblad reports.
Development Grant
winners announced
The Arts and Culture Trust (ACT), an
independent funding organisation for
arts and culture, has announced the
2009 recipients of its development
grants.
Hanging out with Hlobo
(29 Jun 09)
“I think there is a tradition of English
language and culture being very domi-
nant in the art world, and I feel there
is a need for that to be challenged
somehow.”
Christian Nerf is Barend de Wet
(maybe, sometimes)
“Christian does whatever the f**k he
wants with my name” says Barend
de Wet. In a shock disclosure, Cape
Townian tricksters Barend de Wet and
Christian Nerf have revealed that they
have been using each other’s signa-
tures since 2003, “to an extent which
may never be known”.
A new remix for Africa?
(29 Jun 09)
Sarah-Neel Smith gives ‘Continental
Rifts: Contemporary Time-Based Works
of Africa’ the thumbs up in a review for
Frieze magazine.
Photographer Crispian Plunkett
passes awaY (26 Jun 09)
Visionary fashion photographer,
Crispian Plunkett, passed away last
week as a result of diabetes-related
complications.
Countdown to Grahamstown
(29 Jun 09)
As exhibitors head off to Grahams-
town to frantically begin installing work
for the opening day, on Thursday, the
South African Art Times picks out some
highlights.
2009 Tierney Fellowship
winners over the moon
The 2009 recipients of the $5000
Tierney Fellowship have been
selected; the South African Art Times
chatted to young Cape Townian pho-
tographer, Ariane Questiaux
about her success.
Sloon and Maggs in shady
dealings
Controversial blogger Robert Sloon
and video artist Charles Maggs pair
up for a two-man show, ‘Syndrome’,
which opens at Whatiftheworld/ gallery
in Cape Town. Sloon, (a pseudonym),
has edited the blog ArtHeat since
2006, and has long been a mysterious
figure on the Cape Town art scene.
‘Maybe art is the spinach’
Jeff Koons’ current exhibition at the
Serpentine Gallery in London looks
back at Popeye, the iconic strong
man of the last big recession, in the
hopes of learning something from his
optimism.
OBITUARY
Ricardo Rangel 1924 - 11 June 2009
Ricardo Rangel, In the embrace of the night, 1970.
Self-portrait, Ricardo Rangel
Written by: Market Photo Workshop
“I used to say to the younger
photo–graphers, photography is
one of the most beautiful profes-
sions you can have. It can take
you to places more strange and
wonderful than you have ever
imagined.”
Ricardo Rangel
Rangel was born in Lourenço
Marques (Maputo) in 1924, and
Image courtesy of Afronova Gallery www.afronova.com
5
Long awaited
Limited edition books
of
Gabriel De Jongh
finally available
started his career as a darkroom
assistant during World War II. He
worked as a photojournalist for a
number of newspapers, including
Notícias and La Tribune. In 1970
he became a founding member of
Tempo, the country’s first colour
news magazine.
Rangel covered the events that lead
up to Mozambique’s independence
from Portuguese rule in 1975, and
was appointed chief photographer
for the Notícias in 1977. He then
began training photographers for
both Agência de Informação de
Moçambique (AIM) and Notícias.
In 1981 he became director of the
weekly Domingo, and three years To order: phone
later was asked to establish the Office 011 783 5080
Centro de Formaçao Fotográfica in
Maputo, a school for photography. John Contat 083 2666 188
Often regarded as Mozambique’s or P-J 082 4506 598
greatest contemporary photo– Cost: R600-00, incl. vat & postage
grapher, Rangel will be sorely
missed. Ricardo Rangel died 11
June 2009.
Errol Boyley books
also available at R750-00
 Daniel Novela
Mother and child carrying wooden fire – commissioned by Sarah Salm NY
Exhibiting at room no. 2 Barret Art Centre
from 2 to 11 July daily from 09h00 to 17h00.
After the festival people may visit his studio
in Klerksdorp near Potchefstroom
For a preview please logo on to www.danielnovela.co.za
To book an appointment please contact the studio at 018 489 1780
or info@danielnovela.co.za
I first met a 28 year old Daniel Novela in 1992 while organizing an art exhibition on
the campus of the then Potchefstroom University. In the spirit of the policial moments
we were living in at that time, the exhibition was called “Images of Reconciliation”
and featured works by more than eighty artists from all walks of life and virtually
every colour and creed in the country.
Daniel’s works featured a style of hyper realistic renditions of figure studies
including those of San hunters amidst the setting of the veldt in which they live. It
was abundantly clear that here was an artist with great talent, who only needed to
be pointed in the right direction, and I predicted even then a bright future for this
young artist. Daniel subsequently enrolled for Fine Arts studies at the Klerksdorp
Campus of the Vaal Triangle Technikon where he eventually obtained his National
Diploma in the year 2000, receiving accolades as one of the top students. With his
wife Frangely they form a close knit family that includes two children.
Daniel has evolved a style of painting that is remarkably sophisticated; although he
maintains his ancestral roots with the land, Africa, he interprets this in a style that
is neither purely realistic nor overtly abstract. He uses his very sensitive feeling for
colour to imbue the works with a sense of time and place that is quite ephemeral.
Always in contact with the human scale, it is nature that eventually dominates his
works, and his singular use of bold brush strokes combined with an innate sense
of composition shows an artistic sensibility born of pure intuition. His paintings
become a real sensual experience in which the eyes are used to touch and relay
emotions in much the way that Kandinsky would have appreciated.
He has participated in some ten group exhibitions has at least five one-man shows
to his credit. Daniel has exhibited in America, where his works were very well
received. After his recent solo exhibition in Potchefstroom I was quoted in saying
the following: “Daniel is an incredibly talented young artist with a vision embedded
in the long tradition of Impressionism that can be said to have started with Turner.
He has a tenacity an an integrity that has led him to his exhibitions in New York,
and I predict great things to come. His works are well worthy of investment, and
his artistic style, particularly the sensitivity of his brush strokes and his feeling for
atmosphere, is commendable.”
I am very proud to be associated with Daniel’s development as a painter and as
an artist who is represenative of what I would like to describe as a new breed. For
too long we have been satisfied to applaud the works of mediocre artists in order to
promote them as part of a political agenda. It is time to undertstand that good art
or even more important, great art, can only be produced by integrity, talent and a
commitment to work hard and produce quality.
This can be said of Daniel Novela, that he is a child of Africa, rendering pictures
of Africa. But he is also an artist of the world with an understanding of the need
to produce qualitative works with an inherent artistic value that can even now be
translated into investment value. It remains exciting to keep an eye on his future
development.
John R. Boha
Associate Professor: History of Art, Univerrsity of the North West
Peter Willem Frederik Wenning
“I think that there is no higher calling in art than to be true to ourselves.” (from a letter to Pierneef)
Pieter Willem Frederik Wenning
(1873 – 1921) was born in The
Hague, Southern Holland. After his
schooling he entered the Railway
Services, and due to his linguis-
tic abilities, worked as foreign
correspondent in the Clearing
Department. This necessitated that
he travelled frequently to England
and various other European
countries, providing him with the
opportunity to visit galleries and
museums – giving him a broad and
solid grasp of European art trends.
Wenning was then posted to
Zaandam, where he became
familiar with Dutch Socialism.
The principles of the movement
Supplement to The South African Art Times
appealed to his serious, enquiring
and sensitive nature. It was also
here that Wenning’s sympathy for
the poor and working classes began
to emerge in his artworks as he
chose to represent marginalized
urban spaces. Even though he was
a white-collar worker, he supported
the strike action taken by the blue-
collar labourers in the Great Railway
Strike of 1903, resulting in him being
fired. Wenning was by now married
and this period of unemployment
was to mark the beginning of finan-
cial difficulties for Wenning and his
family. He eventually found work with
the largest publishing firm in Holland
– J.H. de Bussy. In 1905 (age 32)
Wenning was offered a transfer as
Red Hibiscus (Johannesburg Art Gallery) oil on canvas
bookkeeper to the Pretoria branch
which, having a great spirit for
adventure, he readily accepted.
Wenning was a keen amateur musi-
cian; playing the mandolin (he was
part of a mandolin / guitar orchestra
formed by the Italian Community of
Pretoria), and violin. He was deeply
interested in philosophy and the
religions of the world (reading the
Bible, Talmud and Koran) – he hated
narrow-minded bigotry and yearned
for a ‘new religion’. He joined ‘The
Theosophical Society of Pretoria’,
where he took on the responsibility
of secretary. He believed he was
a re-incarnation of a monk from
Benares, India and to this end he
became a vegetarian. Although he
did not create a ‘new’ form of art
as so many of his European art
counterparts were seeking to do –
he sought to find truth for himself.
His artistic pursuit was to express
the essence of that which he
perceived; a philosophy in keeping
with the Japanese printmaking and
calligraphy he studied. It became an
earnest desire of his to visit Japan
to study printmaking further; to this
end he set himself the task of learn-
ing to speak Japanese.
It was only at the age of 41, that
he found himself in a position to
pursue painting as a profession.
A circle of friends and patrons
contributed to a small fund, which
allowed him to start painting full-
time. This he did with passion and
fervour at the forfeit of his own
health. Wenning never lived to see
his name become established as
one of South Africa’s leading art
masters, as he and Hugo Naudé
are credited with establishing
the genre that is referred to as
‘Cape Impressionism’. He died at
the age of 48 due to fragile
health. His impassioned pursuit
to paint (mostly outdoors and
through all kinds of weather)
created a small but invaluable
legacy of landscape and still-life
masterpieces produced in the short
time-frame of ca. ten years.

Lane, Malay Quarter, Cape Town – oil on canvas
The Influenza Epidemic (known in other parts of the world as the Spanish flu) struck
Cape Town and its environs in 1918 going on to 1919. Despite Wenning’s fragile
constitution, he worked in the most contagious areas and never succumbed to the ill-
ness. Wenning related to his son that when he would visit his studio in Keerom Street
in the Bo-Kaap, the streets would be deserted due to the illness.
Backyard, Malta Farm (Johans Borman Gallery) – oil on canvas
Wenning responded to the Cape with its softer light and more verdant greens. The
weather, trees and buildings were more akin to his homeland, igniting recognition
within. His brushwork became more deliberate, precise and calm. Malta Farm was
one of his favourite painting sites. He returned time and again to paint and sketch it
from various angles.
Location outside Pretoria (Early period) – oil on canvas
Wenning, under the auspices of Bubberman, had studied his country’s painting
and became increasingly attracted to the naturalistic plein-airism of The Hague
School. On arriving in Pretoria, he continued to study and explore the environment
around him, struggling to capture and depict the harsh atmospheric conditions of
the Highveldt environs. The scenes he did find to inspire him were the areas where
man and nature intersected. His application of paint tended to be heavy and his
depiction of detail was laid down in overly sketchy mark making. In time, however,
the discipline of etching honed his mark making ability, while his study of Japanese
printmaking refined his ability to discard unnecessary detail.
Analysis of the artists work/ key stylistic influences
From an early age Wenning showed a passion and talent for art, with a keen eye for observa-
tion, perhaps unsurprisingly as both his father and grandfather were artists. At school, his
excellence in languages and drawing were recognized by his teacher Mr. Bubberman. He
nurtured Wennings talent, taking him on drawing excursions and visits to art galleries and
museums. We may trace Wenning’s working methodology to the mentorship of this teacher
and a high school friendship with Grada van Woude. She and Wenning would regularly go
on long walks in the country, with Grada collecting plant specimens, which he would then
illustrate in drawing and watercolour.
Wenning was a versatile artist, working in water-colour, pen and ink, pencil, pastel, etching
and oil. His subject matter included landscape – mostly semi-rural where man lived in nature,
urban environments and still-life. Although he did paint a few portrait studies, he was not at
ease representing the human form. Where figures occur in his paintings, they are represented
in a few dashes of paint as a highly simplified symbol.
Wenning would walk out into the country until a scene would “seize him with the impulse to
paint” - he later referred to this method of working as ‘Impulsionist’. He had many favourite
drawing and painting locations that he would return to time and again. He was a plein aire
artiste, which meant he painted outdoors at the scene of his subject. His paintings would be
completed in situ (on location) in one ‘sitting’. He would set out early in the morning with his
easel, leather briefcase with paint, palette and brushes, and two canvases strapped together
GALLERY
Winter Landscape c. 1920 (Rembrandt Van Rijn Collection Stellenbosch)
– oil on canvas
“everything a painter has to say
can be said on a small canvas”
Blue Vase with Sweet Peas c.1916 – oil on canvas
Wenning studied Eastern philosophies, Japanese and Chinese printmaking,
and collected and revered both Chinese and Japanese artefacts. His brushwork
imitated the calligraphic pen and ink strokes of their pictorial conventions – the
simplification of elements to the essentials, creating the poetry of haiku in an
uncrowded still-life.
Artists signature style
Wenning discarded non-essential details in his pursuit for the essence of form,
eliminating any unnecessary details. He was able, much as Cezanne was, to paint
swathes of surfaces such as vegetation, fields of grass, walls and roofs in a simpli-
fied swift laying down of paint. His work is also recognizable in his mastery of greys
and greens, his dark outlines, and the under-painting showing through the paint
to surround, define and delineate form. He represented trees either as stark black
silhouettes or in rhythmic simplified lattice-like patterns. He was inspired and influ-
enced by Japanese calligraphy and emulated this stylized, simplified and elegant art
especially when representing trees or a detail in a still-life. He did not try to emulate
time of day or deeply receding pictorial planes.
face-to-face. He would draw the scene onto the canvas in soft lead pencil or charcoal. Next
he would fill in the foreground and middle-ground with washes of dark imprimatura in earth
tones of umber and ochre. His paint was applied using the following methods; either the
brush would be heavily loaded with paint and applied in a swift assured motion, which he
rarely re-worked or overlaid, or he would drag a lightly-loaded, dry brush over the imprimatura
in a action called scumbling – leaving the darker tones of the base colour to show through
the paint. Details were captured in light, calligraphic touches. As his work matured, Wenning
no longer covered the entire canvas in thick paint, rather by letting the ground colour show
through it would create outlines to forms while simultaneously tying the whole composition
together. This would provide the bass note to the daubs of brightly-coloured accents he
would use sparingly, to create a musical harmony in his paintings. Wenning’s work matured at
a rapid rate from 1910 to 1920 as he honed his techniques. He was his own worst critic and
would destroy work that he did not feel was good enough. His friend, the caricaturist, D.C.
Boonzaaier, had to rescue many beautiful works from Wenning’s overly harsh self-critical eye.
As his body of work was produced over such a concentrated time period, we can only speak
of his early (1910 to 1916) and mature work (1916 to 1920).
Wenning used to state that he would not attend exhibitions as he did not want to see or be
influenced by other artist’s work, this seems to have been a strange affectation on his part.
We know that Wenning’s high school teacher, Mr. Bubberman, had taken him to see many
Old Oak, Vineyard Hotel, Newlands
pencil on paper with touches of watercolour heightening
“Wenning handles his colour in a manner that is totally different to any other artist
in the country and it is in this handling that his individuality proves so strong. His
pencil and wash drawings are exquisite in their simplicity, and in a few lines he is
able to convey the impression of streets, houses, people, light, shadows, and a big
distance.” (From the catalogue of the sale held at Lezard’s 21st December 1917 by
Ernest Lezard)
Still Life – oil on canvas
“For the deep-thinking artist a still-life painting was an essay in colour, form and
composition. Wenning’s achievements in this field were governed less by the
influence of Dutch precedents than by the lessons gained from Oriental art.”
(Berman, E. Art & Artists of South Africa, p. 498)
Oakfield, Newlands 1917 – oil on canvas
Although Wenning delighted in the green of the trees – a characteristic of his work
deriving from Japanese printmaking, was to choose to depict the trees in their winter
bare starkness as dark silhouettes, which formed a rhythmic lattice or fretwork across
the canvas. Wenning primed his canvas with washes of ground colour; laying a
foundation upon which to apply the lighter colour to create form. However he allowed
the base colour to show through as shadow and outline, surrounding shapes and
defining details. The dark imprimatura would serve to unify the composition into a
harmonious whole, while also highlighting the brighter colours he would use spar-
ingly, to bring a spark of life to his scenes. In effect the musician in Wenning would
allow him to orchestrate the scene – not merely replicate it - “What we see around us
is merely our theme upon which we ourselves must create the melody.”
exhibitions, galleries and museums in Holland. While working for De Bussy’s, he would have
handled books filled with representations of historical and contemporary art pieces aside from
the actual art prints they handled. We also know that Wenning was compelled by Japanese
and Chinese artworks; he spent hours pouring over the prints of Hokusai and Hiroshigo, so
that he might learn from these masters, which he applied in his use of black as outline, the
stark silhouettes of trees, simplified compositions and calligraphic mark making. He was often
accompanied on his excursions by his fellow Pretoria and then Cape Town artists, and while
we can see the influence of Wenning on the work of Nita Spilhaus, perhaps then we might
assume that she in turn would have an influence in his work. Wenning’s choice of subject
matter and colour palette also relates back to The Hague School and the works of Willem and
Jacob Maris, Anton Mauve, Josef Israels, George Breitner and Marius Bauer. His choice of
subjects and paint application references the work of Cezanne.
The predominant art trends in South Africa at this time were either highly stylized picture-
postcard scenes of gabled houses and pink-tinted soaring mountains, or more realistic works
done in the English Academic tradition. While Wenning did not create a new genre of art, he
did bring a refreshing new breath of artistic insight and inspiration, helping to create an artistic
language that more relevantly reflected the landscape of South Africa. His influence continues
through the second generation of ‘Cape Impressionists’, principally Terence Mc Caw and
Gregoire Boonzaier and on.
 The friendship
between Nita
and Pieter

Red Hibiscus (Johannesburg Art Gallery) – oil on canvas

Malay Quarter, Cape Town – oil on canvas

Nita Spilhaus. A young artist and

“The Red Hibiscus… has actually been signed twice – in the top and in the
The Dutch Tradition from the outdoors, and then paint the scene the landscape. This in turn inspired close-friend of Wenning who
lower right-hand corners. Dad told me how this had come about. When the pic-
Seventeenth Century was a celebra- later in their studio, however, it was the French schools of plein-airists accompanied him on many paint-
ture was completed and Boonzaier was inspecting it, he said to Wenning, ‘For
tion of that which the artists saw the stimulus which lead to French – the School of Fontainebleau, the ing excursion – she was strongly
goodness sake, why don’t you sign your pictures?’ – so Dad took up a brush
around them; the domestic environ- Impressionism. An interesting cycle Barbizon School, leading to the influenced by his style and choice
there and then and signed it, twice. I find it quite amusing, just something that
ment and the ordinary everyday of influence occurred starting with Parisian Impressionists. This, in turn, of subject matter. It is alluded to in
Dad would have done.” (Wenning, H. My Father, p.80). Harco Wenning confirms
occupations of people going about the Dutch Tradition, which inspired inspired The Hague School of plein- many of the texts on Wenning that
that his father often did not sign his artworks. He goes on to relate that years
their chores in the home, the towns John Constable’s choice of subject airists, who returned to the subject he became engaged to a much
later he would see paintings that he knew were his father’s that were unsigned,
and markets and out on the farms. matter, method of working and matter of the Dutch Tradition of the younger woman after the death of
and then the next time he would see them, a ‘Wenning’ signature would mira-
Th is was not plein-airist paint- depiction of atmospheric conditions 17th C, but this time capturing the his wife.
culously have materialized. Wenning has been given the unfortunate notoriety
ing as the artist would first sketch and light playing naturalistically on scene spontaneously in one sitting.
/ compliment of having been the first South African artist to have had his style Her name is never mentioned, but
forged and artworks not painted by him sold under his name. his friends new her and strongly
tried to dissuade them from the
union. If Nita was this secret
intended other, this was cut short
when in July of 1920, under the
advice of his dentist, Wenning had
all his teeth extracted, causing his
s health to go into sharp decline.
Wenning spent the last few months
of his life being cared for either in
hospital or in the homes of various
friends, eventually resulting in Harco
fetching his father and escorting
him home to Pretoria via train transit;
many friends from his artists com-
munity were there to see him off,
including Nita. The possible
romantic nature of their friendship
is hinted at, but not confirmed,
as it could have caused a scandal,
which might have destroyed her
reputation.
Having been friends with Wenning
while he was still a married man,
they had gone on many unchaper-
oned painting excursions together,
it is possible that this is what kept
Harco from confirming whether this
Riverbank, Newlands – oil on canvas was the true nature of his father’s
s
relationship with Nita or not.
The canvas is alive with the quick deep earth tones in the foreground This influence may also be traced Nita Spilhaus – Street Scene – oil on canvas However it is interesting to note that
and lively application of paint and repeated on the roof of the to his simplification of forms and he left instructions in his Will to
through which Wenning has house. Wenning stuck to a limited shapes to fit within an overall bal- Wenning returned to work in Cape Town in July of the year 1919, but his have all their correspondence
allowed the brown ground of his range of colours within a composi- anced, simplified and harmonious health was now in serious decline – he seemed to pay no attention to his (which was in Harco’s possession)
imprimatura to show through. This tion, but created a multitude of sub- composition. Wenning has created own physical reality while trying to capture the corporality of the world destroyed after his death, thereby
acts as a warm base note to the tly varied tones within each colour. a lyrical refrain in the repetition of around him. It was during this time that his friendship with Nita Spilhaus, unfortunately erasing what may
varied cool and muted greys and This work shows his use of black as the roots of the trees, repeated in seemed to become one of a more tender nature. Theirs was more than have been an interesting insight into
greens for which he has become an outline to define and delineate the branches against the light blue just a meeting of minds, but of genuine fondness, with Wenning and a secret chapter of South African
famous. Another characteristic of form reflecting his appreciation and of the sky, with light, staccato notes Spilhaus going on many painting excursions together and Wenning being Art History.
his colour palette is the use of a study of Japanese printmaking. of the leaves. instrumental in her development as an artist.

RODIN EXHIBITION
The Rupert Museum is exhibiting 27 bronze sculptures
by legendary French sculptor Auguste Rodin. Included
in the exhibition, which will be up until early 2010,
are prominent works such as The Thinker, The Kiss and
The Cathedral. Rodin, at the pinnacle of his career by the
end of the 19th century, was deemed the greatest sculptor
since Michelangelo.

Maandag tot Vrydag / Monday to Friday : 09:30 - 13:00 14:00 - 16:00

Saterdag / Saturday : 10:00 - 13:00
Gesluit op openbare vakansiedae / Closed on public holidays

Terence McCaw (1913-1978) 1961 - The White Gregoire Boonzaier (1909-2005) 1963 – Mount Ararat
Cottage (Lot No. 309 Stephan Welz in Association with (Lot No. 284 Stephan Welz in Association with Sotheby’s
Sotheby’s 4th of August sale R20 000 to R30 000) 4th of August sale R150 000 to R200 000)
Important artists dates
1873: Born 9th of September 1873 in The Hague - Holland.
1890: Finished High School - 18 years old
1891: Joined the Railway Company of Holland and took up a position as a
clerk in Amsterdam.
1898: 3rd of September, at the age of 26, he married Johanna Hillegonda
(a widow with a daughter and son).
1903: The Great Railway Strike broke out across Europe. Wenning
supported the strike action and as a result lost his position with
the railways.
1905: Wenning, then 32 years of age, was employed by the book sellers
and publishers De Bussy, he was then transferred to the Pretoria
branch in South Africa.
1906: Wenning bought his first piece of land on the outskirts of Pretoria.
1909: While living at Rietfontein Wenning began to broaden his artistic
exploration, expanding from the mediums of water-colour, pen and
ink, to oils.
1910: Moved to a home in Rissik Street in Pretoria
1910: The Society of Artists was formed in Pretoria – they called them-
selves ‘The Individualists’, Wenning joined the group, which included
a young J.H. Pierneef.
1910: He sent a selection of his oil paintings to the Brussels Exposition for
which he received a commendation.
1911: Bought a home in President Street (Sunnyside Pretoria) for 800
pounds – an indication that his fortunes were doing much better.
1912: A second-hand etching press arrived on order from Holland –
Wenning set up a studio on their enclosed back verandah at
President Street.
1913: General strike of mine workers in South Africa, Martial Law remained
in effect until 24th of March 1914. During this time riots would fre-
quently break out in the streets of Johannesburg and Pretoria
1913: De Bussy’s opened a branch in Johannesburg – they appointed
Wenning manager of the art department.
1913: Johanna’s health ‘declined’ and she returned to Holland with the two
boys to receive treatment and to recuperate; she was hospitalized in
December.
1914: Wenning met D.C. Boonzaaier
1914: 3rd of August 1914 – World War I was declared and Johanna and
the boys were stranded in Holland.
1915: April the 3rd, Johanna and the boys returned to South Africa
1915: De Bussy distributed the first volume of a collection of etchings by
Wenning, titled “Johannesburg Impressions”.
1915: Resigned from De Bussy’s due to managerial differences, this alter-
cation was to further impact on his health.
1915: Bought his own business “The University Fine Art Gallery” from
Denis Lefebvre, which proved to be a financial disaster.
1915: Began working in September at Van Schaik’s in Pretoria – like De
Bussy they were publishers and book sellers.
1915: December – brought out a series of Christmas card etchings, which
were sold through Van Schaik’s
1916: First artistic sabbatical working for 3 months as a full-time artist
through funding organized by D.C. Boonzaaier
1916: Second trip to Cape Town, sponsored by Johannesburg patrons
organized by art auctioneer Ernest Lezard.
1916: Elected to the South African Society for Artists (SASA) and exhibited
on their group exhibition at the Cape Town City Hall.
1917: Included in Roworth’s essay on “Landscape Art in S.A.”
1917: January – Wenning and Johanna temporarily resided in Camp Street,
Gardens (Cape Town)
1917: Only public commission – to paint the Vrouemonument in
Bloemfontein
1917: July – went to Lourenço Marques, he returned halfway through
November with a large selection of artworks in all his different
mediums
1917: Sale of 53 works by the auctioneer Ernest Lezard, was held without
reserve and, although all the works sold, they sold for abysmally low
figures making no profit for Wenning who still had to cover the bill for
framing.
1918 & 1919: The Influenza Epidemic (known in other parts of the world as
the Spanish flu) struck Cape Town and its environs.
1918: An exhibition was set for 10th of October, but was delayed until the
12th of November. There is little doubt that this sale constituted
some of the best work Wenning had ever produced, but once again
the sale total amounted to a paltry sum of money.
1919: February 16th – Johanna fell ill and died on the 23rd.
1919: July – Wenning returned to work in Cape Town, but his health was
now in serious decline. He worked feverishly through all weather
conditions, ignoring his health, in his drive to pursue his passion for
painting.
1920: 18th July – Under the advice (detrimental as it would turn out) of
his dentist, Wenning had all his teeth extracted. The shock was too
much for his system and this marked the turning point from which he
would not recover.
1921: January 3rd Harco Wenning fetched his father and escorted him
home to Pretoria via train transit.
1921: 24th January Pieter Wenning died.
Artists that influenced Pieter Wenning
Heerco Wenning, father of the artist, was an
artist who made his living as an art teacher;
he also specialized in illustrated cartography
and Heraldry.
Charicature of Wenning by D.C. Boonzaier.
D.C. and Wenning became good friends
but D.C. could be a bit of an overbearing
man at times, trying to tell Wenning what or
how to paint. They corresponded regularly
when Wenning was not in Cape Town. When
there, he was a regular visitor to their home,
he was friendly with all the members of the
household including the young Gregoire.
D,C. had many of Wenning’s work on his
walls, leading to his work having a tremen-
dous influence over Gregoire’s artworks.
“The Individualists” – The Art Society founded in Pretoria 1910. This photo-
graph was taken at the first exhibition held at the own hall. From left to right:
Dr Grünberger, Nina Murray (seated), Marcelle Piltán, Jacob Hendrik (Henk)
Pierneef, Miss Harding, Pieter Wenning and Mrs Sent.
Terence McCaw (1913-1978) – Genadendal
(Stephan Welz in Association with Sotheby’s
October sale)
Pieter Wenning, photo taken on his wedding
day to Johanna on the 3rd of September 1898.
Unfortunately there are no available photos of
Johanna.
Wenning painting near Tokai Forest, Cape Peninsula.
Here we may see Wenning in his trademark long
overcoat and hat. Wenning would have walked a
long distance to reach Tokai from Newlands. It was
not uncommon for him to return only after dark hav-
ing painted all day that he might finish the painting.
If it was raining, he would either read or paint still-
lives indoors, but many times he would be caught
in the rain and arrive at the Boonzaier family home
drenched right through.
Still Life with Bottle, Vase and Blooms - oil on canvas
Exhibitions:
1911: First group exhibition with The Individualists in Pretoria City Hall
1916: First one-man exhibition – Johannesburg
1917 – 20: Group and one-man exhibitions in Johannesburg and Cape
Town
After his death there were numerous exhibitions both group and solo of
his work within South Africa, in England and then Rhodesia, his paintings
have also been exhibited in Boston and Chicago.
1910 in Africa
Boutros Ghali – the Prime Minister of Egypt is assassinated
Haley’s Comet fills the sky
April the 27th Louis Botha and James Hertzog found the South Africa
Party
May 31st the Union of South Africa is created
1910 Internationally
The Boy Scout’s were founded
The Monarchy of Portugal is overthrown and a new era of governance
begins – they take a severe anti-clergy / Catholic stance to separate
state and religion.
King George V begins his 25 year reign as monarch of England
Albanians rise up against the Ottoman rule of their country
An International Convention of Socialist Organizations met in
Copenhagen, Denmark and proposed to launch an International
Woman’s Day for the right to vote – this day is still acknowledged and
celebrated throughout the world and continues to be relevant as there
are still countries that continue to deny women the right to vote.
Demonstrations against public executions turn into a riot in France.
African American boxer Jack Johnson defeats a white American boxer
James Jeffries, sparking race riots across America.
The Japan-Korean Annexation treaty is signed which is then followed by
the abdication of Emperor Sunjong of the Korean Empire resulting in the
abolishment of monarchy.
The Vatican introduces a compulsory oath against Modernism for all
priests upon ordination.
Mexican Revolution of 1910 when the election results are declared null
and void.
Other Important dates during his life-time
Haley’s Comet – 1910
1911 – The Manchu Dynasty is overthrown in China and a new Republic
was proclaimed in October
The sinking of the Titanic – 14th May 1912
1913 – General Strike of Mine workers in South Africa, Martial Law
remained in effect until 24th of March 1914. During this time riots
would frequently break out in the streets of Johannesburg and
Pretoria
1914 – 3rd of August 1914 – World War I
A year in the life – 1910
Wenning had contracted malaria as a child in Fresia but was re-
infected living in Pretoria, which was then still a Malaria area – he
became so ill that in 1910 he had to be hospitalized. This seems to
have been a turning point in his life; the nature of illness and having
to spend so much time in bed recovering generally calls one to
rethink how one’s life is being led. It was not just his health, but his
finances were also severely strained as the company did not pay
him sick-leave. But then a new and exciting development occurred;
De Bussy’s decided to expand their business and aside from
selling books and art pr ints they decided to stock art materials to
the growing art community of Pretoria – much to Wenning’s delight
they put him in charge of this new department. He began to come
into regular contact with the artist’s active in Pretoria at that time,
which included Oerder and Pierneef. Together with these artists and
various other practicing amateurs, they formed an art society named
“The Individualists”, with Wenning as secretary for the society. They
held group exhibitions in the Pretoria town hall, providing a platform
and support for Wenning to be recognized as the artist that he was.
On Sundays, public holidays and Wednesday afternoons, Wenning
would set out on long walking excursions to find material suitable to
inspire him to paint. He would often be accompanied by other artists
and a mutual exchange of ideas would take place. These excur-
sions, and the art books and prints he was able to study through the
auspices of the bookstore, placed him a unique position of making
an informed approach to what he wanted to out of his artwork.
Towards the end of that year he sent a selection of his oil paintings
to the Brussels Exposition for which he received a commendation.
Bibliography
Berman, E. (1975) The Story of South African Painting, Cape Town: A.A. Balkema.
Berman, E. (1983) Art & Artists of South Africa - An illustrated biographical dic-
tionary and historical survey of painters, sculptors & graphic artists since 1875,
Cape Town: A.A. Balkema.
Boonzaier, G. (no date) Pieter Wenning - Our Art, Pretoria: Lantern Journal in
collaboration with the S.A. Broadcasting Corporation.
Boonzaier, G. & Lipschitz, I. (1949) Wenning, Cape Town: Unie-Volkspers Bpk.
Wenning, H. (1976) My Father, Cape Town: Howard Timmins.
Written and researched by Cate Wood Hunter
HANNES MEIRING
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South African Art Times
SA Art Times Contemporary Artist Profile
2008 Start Nivea Winning Artwork
Staff writer
With no formal art training,
Khambule’s progression has
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has been dedicated to art since the
age of eight. After meeting fellow
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moved to Durban where he snagged
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Design because of his painting
talents. He was also introduced by
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exhibition, as well as Kizo art gal-
lery’s 2008 ‘Love Art’ exhibition. It
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July 2009
BHEKI KHAMBULE
Thug
Acrylic on canvas 150cm X 100cm
(Durban-based painter, Themba
Shibase was Khambule’s mentor),
and crucially, culminates in a three-
week exhibition in a professional
gallery.
A year on from winning the prize,
in June, Khambule’s debut solo
show of paintings appeared at the
KZNSA in Durban. The exhibition
entitled ‘It’s a Mask’, a selection
of acrylics on canvas, used the
START Award winners 2008 are Mizuikyisa Ndlela , Bheki Khambule, Natalie Fossey
Geoffrey Armstrong (1945-) Landscape ,
acrylic on canvas, Sanlam Art Collection.
13
traditional genre of portraiture to
examine identity formation, appear-
ances and prejudices based on
appearances. Speaking about the
work, ‘Thug’, what appears to be
a portrait of a hip-gangster youth,
Khambule reveals the work is in fact Friday Night
a self-portrait. “When you look from Acrylic on canvas 150cm X 100cm
far, you might think I’m a thug, but if
you come closer, you will see I am While most of Khambule’s works
not a thug.” do include naturalistic figures, there
is are signs of an exploration of
Elsewhere, the notion of a mask abstraction. ‘Free Fall’, for instance,
takes on a protective meaning. shows a figure who is all but a ghost
In ‘This is it Kid’, a portrait of emerging from a wash of falling, red
Khambule’s last born son, a pattern streaks.
of umbrella’s adorn the background.
Khambule is currently working full
Umbrellas, Khambule explains,
protect one from the rain. “I’m trying time with business partner Welcome Finalist’s Exhibition
to evoke the identity of children; they Danca at Vulindlela craft and
need to be protected”. design; an interior design company 12 July – 08 August 2009
who produce unique designs
Khambule also understands por-
traiture to include the spaces which
influenced by contemporary African KZNSA Gallery, Durban
culture. Khambule is very interested
we inhabit. ‘Friday Night’, a painting in promoting young, upcoming
of a pair of shoes hovering in front artists, and hopes to one day
of a city skyline, is one such work.
“Sometimes I take a photo of where
open his own gallery and school View the competition artworks
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I stay and use that as a portrait”, of 23 of KZN’s hottest upcoming artists.
Khambule says, the shoes were To read more see www.nsagallery.
photographed in his bedroom. co.za or www.arttimes.co.za Share in the excitement as they
compete for R35 000 in prize money
and a solo show at KZNSA Gallery.
For further details:
Nivea.art.award@Beiersdorf.com
Glamour Girl
Acrylic on canvas 150cm X 100cm
Sanlam Art Gallery
2 Strand Road, Bellville
The Sanlam Art Gallery located in the Sanlam Head Office in Bellville is the
premier exhibition venue for the Sanlam Art Collection.
Presently on show is a selection of still life and landscape paintings and
sculpture covering almost a centruy of South Arican art history.
Visiting Times: Monday – Friday 09:00 – 16:30
For more information contact the curator: Stefan Hundt
Tel: 021 947 3359 / 083 457 2699
Guided tours of the collection can be arranged by appointment with the curator
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