Den landede for nogle uger siden, men det gør den ikke mindre aktuel. Den Store Storm P.-bog er et overflødighedshorn af den danske humorists bedste værker — valgt på tværs af tid og genre. Den dækker hele karrieren og alt fra ungdommens grove satire og ekspressionistiske maleri over banebrydende tegneserier som De tre små mænd og Nummermanden og Den kulørte side til klassiske plakater og ‘opfindelser’ og ikke mindst, alderdommens flue-bevingede visdomskondensater. Og meget mere.
Bogen er redigeret af Steffen Rayburn-Maarup fra forlaget Aben Maler i samarbejde med Storm P.-museet og Alvilda, der som bekendt i disse år har gang i en større udgivelsesrække med Storm P. Og jeg har haft æren at skrive forordet, hvilket trak tænder ud, men endte med at være en fornøjelse. Storm P. er svær at skrive om, fordi hans geni er så svært at indkredse, og fordi han bare er sjovere en dig og mig og hvad vi kan finde på at sige om ham. Men jeg har i efterhånden en del år gerne villet prøve kræfter med opgaven og her kom den så. Jeg havde givet mig selv alt for dårlig tid til at producere det gennemarbejdede essay, jeg førhen havde forestillet mig at ville skrive, men sådan er virkeligheden jo og jeg endte med at være godt tilfreds, selvom meget (‘i en perfekt drømmeverden’, som min mand Thorhauge altid siger) kunne have været bedre.
Men hul idet, det er Storm Ps. fantastiske og usigeligt morsomme tegninger det handler om, og dem har den her bog in spades. Læs den.
PS — bogen er også planlagt til udgivelse i USA, hos kvalitetsforlaget Fantagraphics. Hvornår ved jeg ikke, men du kan læse mere om det her.
Giulio and Domenico Campagnola, Musicians in a Landscape, c. 1517, engraving, Berlin, Kupferstichkabinett
In the latest issue of Print Quarterly
(vol. XXXI, no. 4), I’ve reviewed the catalogue of the exhibition “Arcadia — Paradies auf Papier, Landschaft und Mythos in Italien”, displayed at the Kupferstichkabinett of the Staatliche Museen in Berlin earlier this year.
The exhibition was based entirely on the Kupferstichkabinett’s incredibly rich holdings and provides a stimulating overview of Arcadian imagery in Italian graphic art from c. 1440-1640.The catalogue is written by Dagmar Korbacher, Christophe Brouard and Marco Riccòmini. It contains innovative takes on especially the Venetian drawings and engravings of Giulio and Domenico Campagnola and related artists, like the above masterpiece by the two of them.
Fra Rybergs Gigant
I ugens Bog(Forum)tillæg til Information
kan man læse min anmeldelse af en håndfuld nye danske udgivelser med forbavsende mange fællestræk. Mit postulat er, at de er udtryk for en bredere tendens blandt tidens yngre tegneseriemagere, nemlig at ny, personligt vinklet tilgang til de traditionelle genrer.
De anmeldte tegneserier er Lars Kramhøft og Tom Kristensens Inficeret, Tatiana Goldbergs Anima, Glenn Augusts Lava og Rune Rybergs Gigant.
Læs anmeldelsen her. Men bemærk venligst, at overskriften og rubrikken (som det er reglen med avistekster) ikke er mine.
And they keep coming… although this is probably the last one in a while. Part of my core research as a fellow at Statens Museum for Kunst in Copenhagen centred on the early Titian portrait of an elderly man (above), which is on long loan to the gallery from Ny Carlsberg Glyptotek. That the sitter might just be his teacher, the great painter Giovanni Bellini, doesn’t make this sensitive portrait less interesting. The results of my research, and — crucially — that of restorer Troels Filtenborg, are now published (in Italian) for all to see in the storied journal Arte Veneta, published by the Fondazione Giorgio Cini in Venice.
Here’s the English abstract:
The article provides a thorough examination of the Portrait of a Man by Titian in the collection of Ny Carlsberg Glyptotek, on permanent loan to Statens Museum for Kunst, Copenhagen. Its provenance is laid out in unprecedented detail. A thorough technical examination reveals that the portrait was painted on top of another, cancelled one, showing a figure dressed in a red garment. It further reveals that the landscape view at left was added to what was originally a plain background. The painting’s attribution to Titian, which has been occasionally disputed, is considered and affirmed with reference to the technical evidence as well as comparable works in his oeuvre. This also provides a likely date of completion around 1512. Lastly, it is proposed that the first, overpainted sitter may have been the Venetian senator Andrea Loredan di Nicolò, for whom Titian worked his early years. As for the person portrayed in the finished picture, the long-standing if controversial hypothesis that he may be the painter Giovanni Bellini is discussed. While this identification impossible to affirm conclusively, the authors consider the arguments in favour sufficiently strong that it should not be dismissed.
The volume can be acquired directly from The Fondazione Cini, as well as from Mondadori. Or any self-respecting art library, I should think, for those understandably reluctant to fork out the big bucks.
I denne uges bogtillæg til dagbladet Information står min anmeldelse af Rikke Villadsens udfordrende tegneserie Et knald til at læse. Check den her.
Here’s another one. In the latest issue of Zeitschrift für Kunstgeschichte (vol. 77, no. 3) I have an article on Titian’s collaboration with the printmaker Giulio Bonasone in the early 1560s. Examining their collaboration not only sheds new light on Titian’s active involvement in printmaking, but also on the chronology of his paintings for Philip II and the Spanish court during these years. And then there’s the above drawing, always placed in the Titian studio but never convincingly attributed. I think I’ve made a decent case that it’s by Bonasone (with retouching just possibly by Titian himself).
Read it at your art library! TOC here.
Har netop anmeldt sæsonens bedst modtagne, bedst sælgende og uden sammenligning mest overvurderede tegneserie, Henrik Rehrs Gavrilo Princip, for Information. Du kan læse anmeldelsen, med titlen “En dans i havregrød”, her. Billedet ovenfor er ikke gengivet i anmeldelsen, med det er det, titlen konkret henviser til.
Nikoline Werdelin for the win!
It’s been a week and half since the big show, but I still think this year’s Ping awards deserve a few words for what little international audience this site still has after months of hibernation.
The Ping awards is an annual set of awards given to comics in Denmark in the manner of the Angoulême Fauves or the American Eisners. Founded by the Danish Comics Council, the awards are a revivification of a differently conceived, hall of fame-type award of the same name which was bestowed on single creators through the early nineties, as well as of the awards programme hosted by the comics biennial Komiks.dk from 2004-2010. The Pings are named after one of the best known characters created by one of the greatest Danish cartoonists, Robert Storm Petersen, aka. Storm P. (1882-1949). Continue reading ‘Boom PING PING’
Giulio Sanuto after Titian, ‘Venus and Adonis’, 1559, engraving, 538 x 415 mm. Copenhagen, Statens Museum for Kunst.
In the latest volume of the Marburger Jahrbuch für Kunstwissenschaft
the interested reader will find my article on the permutations of Titian’s famous Venus and Adonis composition in sixteenth-century prints, and through them in painting. It turns out that careful examination of the sources and the prints yields fascinating information on how the master developed this, one of his most enduring compositions through multiple versions during the course of a long career.
Here’s the abstract:
Titian’s Venus and Adonis was one of Titian’s most successful compositions and remains among his most iconic. Around a dozen painted versions are known today, the most famous being the canvas painted for Philip II around 1552–54 (Prado). Less well-known are the seven prints made of the composition in the latter half of the sixteenth-century. This article demonstrates that at least two of these were made with Titian’s approval and that they provide valuable insight not only into his work with printmakers, but also his production of replicas, reflecting as they do intermediate stages in his development of the composition through the 1550s.
More information here.
The week in review
OK, I’ll try again. As should be evident, I’m not finding much time to blog these days, but I refuse to let go entirely, and who knows if times might not turn more propitious, Bunker-wise in the not-too-far future? Also, the National Gallery internet presence, which I’ve previously hinted at, is also still in the works. So, not much to say right now, but I have some links to share!
In-depth interview with Jean-Luc Martinez, the recently appointed director of the Louvre. Excellent, critical interview in which the director at Tribune de l’art takes his time to answer Didier Rykner’s not always easy questions. In three parts: one, two, three.
Pharoahe Monche interviewed. Another in-depth interview, this one with one of the greatest rap lyricists. Candid and insightful.
T.J. Clark on Veronese’s Allegories of Love at the National Galleries. Clark takes a close look at four wonderful pictures that just happen to be on display in one of the great exhibitions of the decade right where I work. Clark does tend to go on a little long, but it is still highly worthwhile to follow his eye.
How Not to Make a Graphic Novel. Fine piece by Sean Michael Robinson on the creative process as it pertains to long-form comics.
Raphael’s Influence on Titian 1508-1520. Kiril Penušliski examines the evidence and adds a few good observations to the evidence. Now, somebody should examine more closely Titian’s influence on Raphael…
Paolo Veronese, The Conversion of Mary Magdalene, about 1548, oil on canvas, 117.5 x 163.5 cm. London, The National Gallery.
In a couple of weeks’ time, we’re opening the first major show
of the works of Venetian Renaissance artist Paolo Veronese in decades at the National Gallery. Although it falls within my area of responsibility and will therefore occupy much of my time for the next few months, it’s an exhibition I have had nothing to do with, having started at the gallery only a few months ago. But needless to say one I’m looking forward to immensely: it’s a privilege thus to be dropped into the midst of a great project on an artist of immense generosity.
It’s not just that his pictures pull out all the stops, that his art is a rarely paralleled display of elegance, magnificence, and virtuosity, it’s that there is something profoundly touching about those qualities in his work. He is one of the few artists who really understood the lessons of Raphael. His immaculate sense of composition, his grasp of form, two- as well as three-dimensional, his sensitive use of gesture, and the subtlety of his portrayal of human interaction are all elements in what seems to me a distinctly civilising art, to paraphrase Kenneth Clark’s characterisation of Raphael. Contemplating Veronese is not only a joy, it makes you feel better about life and who we are.
That’s the high register. Keep an eye on the NG website for further thoughts and more concrete analysis during the course of the exhibition. I’ll keep you posted here and on twitter.
“There Are Good Guys and Bad Guys.” Bhob Stewart’s classic essay on/obituary of Wally Wood reprinted at the Comics Journal to mark the passing of its author. RIP. Read it, it is one of the most evocative, personal texts of its kind in comics. Really brings the great, flawed cartoonist to life.
Nikoline Werdelin interviewed. Arguably the greatest living Danish cartoonist, Werdelin has rarely if ever been interviewed about her comics (she has often talked to journalists about other things — life, style, death, and everything in between), so this in-depth, work-oriented interview by Thomas Thorhauge is a major scoop. Unfortunately it is only available in Danish, as is indeed the case with most of her work. English readers can sample her in From Wonderland with Love.
Finally, this uncredited photo, from the Yarmouk refugee camp in Syria, is arresting, sobering, terrible. A reminder that something has to be done there. A no-fly zone blocking the government’s use of their air force remains a good place to start.
Illustration by Trondheim of the Angoulême mascot (designed by him) and Bill Watterson's Calvin
The Comics Journal, I’ve just posted a small article on the recent changes to the Grand Prix awarded at the Angoulême comics festival, this year to Bill Watterson. It is arguably the greatest formal honor bestowed in the comics world, and any change brings with it controversy, of course. I asked the great cartoonist, and member of the Grand Prix awarding body, Lewis Trondheim to help me out a bit. Check it out.
Once again, Paul Gravett has taken a trip around the globe for his annual survey of the best in world comics. And as usual, I’ve contributed a small list of what I consider the best/most notable Danish comics of last year. Read the full list here and here, but just in case, here’s my contribution: Continue reading ‘Danish Comics of the Year 2013′
From Jim Woodring's Fran, a comic Joe McCulloch made me appreciate more, even if the cartoonist's recent work has left me a bit cold
Once again, Ng Suat Tong has posted an overview
of some of the best comics criticism published online in the year gone by over at the Hooded Utilitarian. In previous years, he has gathered differing juries consisting of a fairly wide range of critics, but this year he has dispensed with that in favor of just selecting a bunch of pieces on his own.
And once again, I’m flattered to be included on his list, especially considering just how little I’ve written in the past year. I’ve kept wanting to, but other things just kept getting in the way, and much as I want to say things are going to be different, that probably won’t change much in the coming year. Anyway, it was nice to see my piece on Abel Lanzac (aka. Antonin Baudry) and Christophe Blain’s Quai d’Orsay and Willem’s Degeulasse, written for The Comics Journal last August, mentioned. Especially since so many really excellent pieces (as well as some fairly mediocre one, it has to be said) were included.
Suat’s taking stock, which has now been running for five years, remains a valuable service to the corner of the comics internet interested in serious writing about the art form, and I for one am grateful that he still makes the effort. Also, he continues to write outstanding comics criticism himself: from the last year, I particularly liked his critique of Michael Deforge(‘s critics), his appreciation of The Trigan Empire, his essay on Daniel Clowes’ because of Shia Laboef now rather famous “Justin M. Damiano”, his examination of Suehiro Maruo’s The Strange Tale of Panorama Island, and his head-scratching dissection of a particularly lauded xkcd story.
Now, don’t waste more time here — go check out the list.
I Informations bogtillæg fra i fredags stod min anmeldelse af Marcel Ruijters De hellige, udgivet på dansk af forlaget Forlæns, at læse. Du kan se den her.