What do wine and paintings have in common? It’s very
difficult to write about each! They impact on our senses (palate and nose; eye
and brain respectively). Hardly surprising therefore that writing about art and
wine produces a lot of nonsense – with adjective heaped upon hyperbolic
adjective in an effort to justify the writer’s arbitrary opinions. Books about
these subjects, of course, are often very beautiful – but the text rarely keeps
pace.
Since I began my serious collecting of Bulgarian realist
painters, I’ve bought a fair number of books about art generally and about
specific artists (even about collectors and dealers) but have to confess that I
have learned very little. The three books on realist painting, for example, taught me only one thing – that the term is a slippery one!
My recent posts on Romanian realist painters of the early
part of the 20th century were inspired by 7-8 little second-hand
books from the 1970s and 1980s about individual artists which I picked up in Bucharest recently. Charming
books – thick paper, great fonts and mounted reproductions (modelled, it seems to me, on the great little Skira books of the 1950s and 1960s) – much easier to read
than the 900 pages of Paul Johnson’s Art; a new history which I did however thoroughly enjoy.
Simon Schama’s "The Power of Art" may also be a bit unwieldy in its 450 page
coffee-table style but does adopt the same useful focus on individual painters
rather than style or eras – Caravaggio, Bellini, Rembrandt, David, Turner, Van Gough and Picasso. And there is a nice blog which gives good detail on the background to individual paintings - eg some of Van Gogh's
For me, however, the most insightful stuff on painting
remains the small book written in the 1970s by John Berger – Ways of Seeing.
The link gives the full text. Although I did come across in a Sofia friend's flat a beautiful book about painting in 1920s Bulgaria which struck me as a great way to approach painting - capturing in one country how various painters relate to one another and the changing trends.
My viewings in the last few years of Bulgarian and Romanian
art have led me wonder about the extent to which is it possible to generalise
about a nation’s painting style. My little booklet on Bulgarian Realists ("Getting to know the Bulgarians through their paintings") gives brief notes about 140 Bulgarian painters – most of whom were born in the last decade the 19th century and before the First World War; I have not been able to find
anything striking in Romania from the same period. The 10 great Romanian
artists I mentioned in the last two posts were born some 30 years earlier (between
the 1860s and 1880s) but seem to have been the last of their line. When
Bulgarian landscapes and colours were blooming in their art, their Romanian
colleagues were producing (for me) dark and insipid stuff.
If I am right, what is the reason? Romania was, of course, the
larger country with a significant bourgeois class and attachments to French
culture – Bulgaria more rural with freedom from heavy Ottoman rule going back
less than two generations (the Romanian liberation was less significant for them because
of the considerable autonomy they had won within the Ottoman Empire). The Bulgarian
celebration (in their art of the early 20th century) of their land
and peoples perhaps reflected a pride and spirit absent in the more cynical and
worldly Romanian bourgeois?
And the paintings in the Bulgarian Orthodox Churches are so much more colourful (indeed sensuous) than in the dull and serious Romanians.
The first painting of Rila Monastery is by Mario Zhekov - the second (in my collection) by an unknown
And the paintings in the Bulgarian Orthodox Churches are so much more colourful (indeed sensuous) than in the dull and serious Romanians.
The first painting of Rila Monastery is by Mario Zhekov - the second (in my collection) by an unknown