Jenny Saville’s extremely tactile approach to painting women’s bodies, including her own, as a feminist critique of the way the female nude has been portrayed by the male art establishment has influenced my work in:
Assignment 2: The Human Condition 2: Flesh Here my focus is on the tactility of the body and ways in which different types of paper eg wrinkled blotting paper or tracing paper give different body textures. As well as meanings of different shapes.
Assignment 4: Abstract Self-Portrait (forthcoming)
Assignment 5: Memory? (forthcoming influenced by Aleppo)
“The way to change peoples’ attitudes is just to do it.”
“The struggle is part of making things work”
“Try to create a balance of being unbalanced”
References and resources
Gray, J., L. Nochlin, D. Sylvester and S. Schama (2005?). Jenny Saville. New York, Rizzoli.
Jenny Saville discussing her painting process in 2018 in relation to the All Too Human exhibition at Tate Britain. This is a detailed discussion of her working process and evolution as an artist. She is interested in:
Earlier interview with Jenny Saville, focussing particularly on her recent work with its interest in time and traces, multiple figures and memory.
in exhibition ‘All Too Human’ pieta of people carrying bodies out from war zones. she used lots of photographs of a woman in burqa and lots of bodies.
“I have been working on Pietas [depictions of the Virgin Mary holding the dead body of Christ] quite a bit, and a series of children being carried.
“Over 20 years I have collecting images of babies being carried out of bombings, war situations, in Pieta poses knowing that one day I will do a piece, so this work has been a long time in the making.
“Aleppo is the first one I have released like it.
“I have done paintings linked to war before, but not linked to a political situation – I have endless images from the internet, or from newspapers, of babies that have been killed in these bombings, and when I finished the piece, I have two children myself, how long will it be before we as humans know not to do this?
“When I was titling it, I thought I would link it – for the first time – to what is going on in Syria.
O’Donoghue was born in England but lived and worked for many years in County Kerry, Ireland. He graduated from Goldsmiths in 1982 and was Artist in Residence at the National Gallery, London from 1984-85.
His work is characterised by an engagement with the past. He uses figuration and abstraction to explore themes of human identity, memory, remembering and experience; and draws on history, mythology and personal records to create works which resonate with emotional intensity.
His printmaking includes very large carborundum plates of figures. He mixes fine grain carborundum, acrylic paste and black acrylic paint. He paints this on the plate with a thick brush, wiping off and reworking the image on the plate before it dries. This makes a complex, multi-layered texture. He often uses aluminium plates. Prints on thick Arches paper.
Hughie O’Donoghue installation at IMMA 2009
The Measure of All Things Introduction
‘Artists never completely control the meaning of their work’
The Measure of all Things Westminster Abbey 2014
The earliest print technique, woodcut first appeared in China in the ninth century. Arriving in Europe around 1400, it was originally used for stamping designs onto fabrics, textiles, or playing cards. By the 16th century it had achieved the status of an important art form in the work of Albrecht Dürer and other Northern European artists.
During the first decade of the twentieth century German Expressionists sought to recover a German tradition and to register a thread of continuity with their late Gothic and Renaissance artistic heritage – taking inspiration from late Gothic artists like Durer, Baldung, Cranach, Altdorfer and Grunewald. It was in part a reaction against Impressionism’s emphasis on atmospherics and surface appearances, and against the rigidity of academic painting, stressing instead the emotional state of the artist, subject and also viewer. In addition to the Germanic tradition they were also inspired by Van Gogh, Munch, Gauguin, Cezanne and African and Oceanic art.
The use of the term Expressionism seems to date from around 1911, although the De Brucke movement had been established in 1905 and was holding exhibitions till 1913. Another movement: der Blaue Reiter was formed in 1911 as a loose collection of artists interested in abstraction. Other groups included the Berlin and Munich Secessions, the Red Group, the November Group and the New Artist’s Association. Among the publications were Der Sturm and Die Aktion. Many of these groups and publications had socialist of communist ideals.
They adopted woodcut as a primary artistic vehicle. Their starkly simplified woodcuts capitalized on the medium’s potential for bold, flat patterns and rough hewn effects. At the same time the flexibility of woodcut as a medium encouraged individual approaches and novel techniques from the Brücke’s vigorous cutting to the Blaue Reiter’s abstracted forms. They exploited the medium’s capacity to convey and disseminate innovative ideas, depicting wide ranging themes in a diversity of formats, catering to different audiences.
A change occurred with World War I. The horror of the war and the chaotic years of the Weimar Republic (1919-33) led to introduction of a sharply satirical tone in the work of many of the artists. Many of the artists went on to join new movements like Dada and Neue Sachlichkeit and continued to work until well after World War II.
Shane Weller ‘German Expressionist Woodcuts’ Dover Publications New York, 1994
MOMA Expressionist exhibition website
See also Wikipedia article on Expressionism