In the latest issue of the Burlington Magazine Artur Rosenauer has published a previously unseen painting of the Risen Christ as an early Titian of around 1511. The painting, measuring 144 x 116,5 cm. was in the Bülow Collection in the nineteenth century until 1929 when it went to Uruguay. It is now in a private collection in Europe. A spectacular find, especially if it is indeed by Titian. It is rare that genuine pictures by such well-described great masters, especially non-portraits, surface. Continue reading ‘Newly Arisen’
“When history looks back on this moment, will it view those who opposed intervening as champions of peace? Or, when the textbooks count the dead children, and the international norms broken with impunity, will our descendants puzzle that we took pride in retreating into passivity during this slaughter?”
The week in review
The absurd theater on whether a coalition of Western countries led by the US will intervene in the Syrian civil war or not, the contorted logic behind the whole chemical weapons rationale, and the sudden, provocative fit of Russian diplomacy have obviously dominated the week’s news. It’s been a fascinating study in the vagaries of international politics around a hot potato issue. But it’s also been depressing. There is no question that the prospect of engaging in another war, no matter how limited said intervention is claimed to be, is daunting and demanding of the utmost caution on the part of decision makers. But we’re talking a genocide here, like the one that’s been happening in Darfur or the one in Rwanda in the nineties — both of which we left to run their course. The argument for select attacks or even better, imposing a no-fly zone, in Syria seems to me a basic, human one.
I find particularly depressing the arguments that we should let the notoriously lame duck UN Security Council or US Congress decide. Or that we can solve the conflict with humanitarian aid or non-violent diplomacy alone. It’s been tried for two years now and hasn’t worked. And in the meantime a hundred thousand people have been killed and millions have had to flee their homes.
I really hope the current decision to pursue a handover by the Assad regime of all chemical weapons bears fruit, but also that it is followed up by aggressive diplomacy to resolve the situation and bring peace to the region. If necessary by the use of force. Witty as Vladimir Putin’s op-ed piece in the New York Times was, fun as it was to see him expose the hypocrisy of American foreign policy, the reality of the war in Syria is so horrible that his high ground-arguments for civilised conflict solution ring hollow if they don’t bring an end to the killings soon.
Went to Waka Flocka Flame’s concert in Copenhagen last night. Didn’t quite know what to expect, but arrived stoked to find out whether the energy he channels so freely on record translated well to the stage. Well, it did and it didn’t.
Waka Flocka’s music is simple, testosterone-charged, almost vitalistic hip hop that carries the trappings of gangsta rap, but fundamentally is about a party. It is the wrong place to look for complexity and even variety, but when he is at his best — like on his amazing album debut Flockavelli from 2010 — he marries infectious abandon and chest-thumping assertiveness, and he tends to do it over Lex Luger’s majestic, surprisingly complex orchestration.
Anyway, much of this also happens live. Turnout was low at the venue, Pumpehuset, but what a crowd — youngsters moshing bare-chested in the front rows, the rest reliably throwing their hands up at every prompt. And Waka and his DJ brought great physical energy to their performance, never letting things slip. It was a party, no doubt about it.
On the other hand, Waka didn’t really rap much at all. Most of the time he either shouted or ad-libbed his own recorded vocals, essentially acting as a hype man to his own music. It was more of a DJ’s vocal performance than that of an MC and when one is reared on hip hop being about skill in live performance, that just doesn’t cut it for a high profile rapper like Waka (the DJ didn’t do anything beyond pressing play, adding the obligatory gunclaps and ad-libbing on the his mic). From a musical point of view, it makes for a fallow listening experience.
I suspect Waka doesn’t even give it second thought, coming as he does from a tradition of Southern hip hop that doesn’t adhere to the blueprints prescribed in New York last century. Where this is perfectly acceptable as a live performance because it gets the job done — it’s a party, people have fun. This seems to be a tendency that is becoming increasingly prevalent in hip hop, and one that poses a fundamental challenge to certain core values in the culture. Now, I don’t think skills are disappearing from the music — clearly Waka has them in the studio, and channels he his persona well on stage, which is also important to the skill set of an MC — but I can’t help but feel a little sad to see such devaluation of vocal and musical artistry in a genre that has always put a high premium to them. It is a carte blanche to lazy, disposable music and, in the hands of less charismatic performers, extremely dull concerts.
The video above, from a 2012 performance in London gives a good idea of Waka Flocka’s performance style as I experienced it, although he didn’t bring a drummer to the stage last night.
The drawing reproduced above was sold last week at Sotheby’s London. It fetched £20.000 including the buyer’s premium. Which, if the old attribution to Titian were correct, would be an amazing bargain.
As I’ve mentioned before, Titian is hard to pin down as a draughtsman because there are so few surviving drawings securely attributable to him. This sheet is definitely in his manner, but doesn’t look like his work to me. The construction of the figure, while daring and impressively conceived, is too incoherent, with the dramatically foreshortened right leg fitting awkwardly on the body — especially the lower leg — and the feet being disporportionately small. Also the outline of the head is a little sloppily put down. A far cry from Titian’s bold, confident strokes.
But who is it by, then? The most obvious suggestion, and one that has been made repeatedly in the literature is Jacopo Bassano, but as is generally acknowledged, this is not really a satisfying attribution either. Again, the figure is not really of his type — it has a nimble quality too it that is at a distinct remove from his stout characters, and the bodily twist depicted here is unlike his way of posing his figures. And it is too accomplished, too expressively drawn and, again, too different in kind to be by his lesser talented sons.
I don’t have any great suggestions, but it occurred to me that the drawing might be Paduan, perhaps by Domenico Campagnola (1500-1564). A follower of Titian in his early years, he worked in Padua for most of his life and was instrumental in defining a tradition for landscape drawing derived from Titian that would reverberate for centuries. He is almost exclusively known — and very well defined — as a draughtsman in pen and ink, however, while his chalk drawings are few and far between. In this sense, there is very little to compare with, and the drawing at hand in any case seems beyond his rather pedestrian approach to the figure. But if we think about his early, extremely innovative work in printmaking in the 1510s and of the anatomically somewhat awkward, invariably contorted figures he would populate especially paintings with in the following decade, we have something that may not be totally off the mark.
A long shot, I know, but something to think about?
It’s been two weeks now since the Roskilde Festival. Two busy weeks with lots happening. It was another good year, however, not the least for hip hop, with a program focused on coastal innovation, from Kendrick Lamar to El-P and Killer Mike to Mykki Blanco and Azealia Banks. The notable misfire was Rihanna lip synching her way through a boring set Saturday night. Anyway, our coverage at Rapspot can be sampled here, and these are my contributions: Mykki Blanco, Killer Mike and El-P, Linkoban, and Kid Koala as well as my usual rap up commentary, which I’ve just uploaded. All in Danish. I’m sorry.
Thanks for a great festival, everyone – and props to the graff people who celebrated their 15th anniversary at the festival this year with another great burn on the festival walls.
See you next year?