Tag Archive for 'Xavier Guilbert'

The Week

The week in review.

Well, what do you know? The Dutch portrait head that surfaced at a small English auction sale in 2007 and was bought as a Rembrandt for £2 million has now been acquired by the Getty as the earliest known self-portrait by the master for an undisclosed sum. It now also carries the Ernst van de Wetering stamp of approval, which one should take seriously even if his and the Rembrandt Research Project’s track record is far from consistently convincing. (Check this video where van de Wetering talks up the picture).

I haven’t seen the picture in the flesh, but it still looks like a pastiche to me. Like somebody imitating Rembrandt, overdoing his signature paint application and stylistic flourishes — the impastoed facial modeling, the strong contrast, the patchy fill-in of the background. But I am no specialist and may of course be entirely wrong.

Links (it’s been a while!)

  • Du9′s annual Numérologie posting, analysing the French-language comics market, is back with coverage of 2012 and it’s bigger and better than ever. Xavier Guilbert has really grown with this feature and this is some of his most impressive work yet. Required reading for anybody interested in the field.
  • Music release of the week: Aesop Rock and Kimya Dawson’s second long-player — now under the name of The Uncluded — Hokey Fright, available for streaming here. I already like it better than the Hail May Mallon album, I think.
  • Ray Harryhausen RIP. Steve Bissette with a personal appreciation of the special effects master.
  • Also, in the latest installment of his always excellent column at The Comics Journal, Ryan Holmberg interviews Barath Murthy of Comix India.
  • The Week

    The week in review

    Hip hop’s making bullshit headlines again. This time over the reaction to the murder, last month, of Chicago MC Lil Jojo. After news hit that the 18-year old had been shot in a drive-by, his rival Chief Keef — with whom he had been beefing, seemingly in a grab for quick fame — went on twitter to gloat. When the shit hit the fan, Keef — perhaps advised by his record company Interscope — started claiming his twitter account had been hacked and started posting “uplifting” PC boilerplate. He also claimed not to be responsible for threats of violence against his older colleague Lupe Fiasco, who had spoken out against his behavior on the radio.

    Whether Lil Jojo’s death has anything to do with Keef or not, that’s just pathetic. Now, I know that violent rhetoric in rap has a lot to do with a violent culture, and is more a symptom than a cause — a symptom that occasionally proves to be a way out for people, and one that tells us volumes about the social breakdown of parts of American society. Attacking rap music for very real problems in society that are far bigger than hip hop is not necessarily productive, but on the other hand you sometimes miss the days when more people in the community did what Lupe, and fellow Chicago MC Rhymefest, just did and spoke out against the bullshit being perpetuated by a lot of hip hop artists, the vast majority possessed of no talent and lacking the intelligence to convert their rhetoric into hard truth. Player hating is now a bad word in hip hop, which has increasingly become a laissez-faire subculture impressed first and last by money. It used to make hip hop proud.

    If you don’t believe me, check out Keef’s biggest hit “I Don’t Like” here. It’s basically a series of inarticulate grunts over a generic beat with a sort-of effective, repetitive hook. The most interesting part is the curiously homosocial video and what it tells us about how these guys want us to see them. This cut from Lil Jojo, which was part of his PR dis campaign against Keef, is just as telling. All the same: RIP.

    Links:

  • In a week where I’ve dissed The New Yorker, I feel good being able to recommend the magazine too, this time for a lengthy article on presidential hopeful Mitt Romney.
  • Comics: Xavier Guilbert interviews Anton Kannemeyer of Bitterkomix, Ryan Holmberg on Osamu Tezuka’s debut “New Treasure Island” and its American antecedents, and — from the Hooded Utilitarian’s now-finished five-year anniversary series: Noah Berlatsky on Ai Yazawa’s Nana and Joe McCulloch on Milo Manara.
  • The Week


    The week in review

    Another great drawing by Raphael is coming up for sale. Like the Female Head, which broke all records when it sold for £29 million in 2009, it’s a so-called auxiliary cartoon for his last great, large-scale work, the Transfiguration (begun 1516, finished after the master’s death in 1520) now in the Vatican. Coming from one of the greatest private collections — accessible to the public — of drawings in the world, that of the Duke of Devonshire, it’s a well-known and justifiably famous drawing. It’s kind of sad that the Duke occasionally sells off his drawings in this way, potentially occluding great work such as this from public view.

    It shows the head of one of the apostles, and was probably used as a visual supplement to the drawn cartoon used in the studio to transfer the composition to the panel. Like the Female Head, it shows pounce marks (the little dots along the contours), which one would expect to be evidence that it was transferred off the present sheet, probably to the final panel (coal dust is pounced through little holes, transferring the composition in outline), but the marks do not seem at all to follow the contours of the drawing, which seems to me indication that an outline design was transferred onto the present sheet and then reworked into the drawing we see.

    Not having seen the drawing in the flesh, I’m far from certain about this, and I haven’t consulted the literature either, so I may just be talking nonsense here. I just find the drawing exciting, with its smoky chiaroscuro suggesting strong light falling from the right, picking out the cranial features and accentuating the melancholy aspect of the young man. Lips parsed, tussled hair, young beard, intelligent but passive.

    The drawing’s estimated price of between £10-15 million reflects the kind of drawing we’re dealing with here: a large, highly finished piece by one of the defining artists of the Western tradition — the kind of work that only comes up for sale extremely rarely, despite what the 2009 sale would seem to indicate. One question is whether it’ll reach the same, frankly unbelievable price that sheet fetched. Judging by quality I think it should: it appears to me a more finely rendered and subtly beautiful drawing than the Female Head, which is beautiful but slightly rote by Raphael’s standards. This is the same type of drawing, but shows more invention and, I think, carries a greater emotional charge.

    Anyway, let’s see what happens at the sale. I hope the Getty or some other wealthy public institution steps in.

    Links:

  • Salman Rushdie on the repressive culture of offense and fear. With the release of his memoirs coinciding fortuitously with the tragic international flare-up of unrest related to that idiotic video on the prophet Muhammad, Danish TV programme Deadline broadcast this interview with the author, recorded the week before. Also: read Bill Keller on Rushdie and the controversy.
  • The anniversary of hate at the Hooded Utilitarian continued this week, with some really good pieces, led by Isaac Butler’s savage critique of Alan Moore and David Lloyd’s V for Vendetta, which also sparked fascinating discussion. Craig Fischer’s piece on David Small’s Stitches was also good. Plus it was nice to see the inimitable Tom Crippen writing again.
  • Henry Sørensen interviewing Morten Søndergård on fifty years of Spider-Man. This now completed extended dialogue is a really great read, but is unfortunately only available in Danish. But do check it out if you can read the language, part one, two, three. Totally unrelated: Xavier Guilbert’s interview with Anders Nilsen is in English, and good!
  • The Week


    The week in review

    The drive for new Caravaggios continues unabated, it seems, with the hard to believe recent attribution of about a 100 drawings and ten oil paintings from the Castello Sforza in Milan that once belonged to Caravaggio’s master Simone Peterzano. They were just published on the web by Art historians Maurizio Bernardelli Curuz and Adriana Conconi Fedrigolli as having been executed by the baroque master. Needless to say, this would be sensational of true — no drawings by Caravaggio are known.

    However, Caravaggio is rivaled perhaps only by Leonardo among artists who attract frivolous claims of sensational discovery, which come at a clip of about one a year or so. This, however, is unusually aspirational. Although Caravaggio is described in the sources as an artist who didn’t draw, working exclusively “after nature,” he is likely to have drawn at least a little, but it is still hard to believe that so many of his youthful drawings should have been in the possession of his master and have been hiding in plain sight for the better part of a century.

    As Stefano Boeri from the Milan Culture Center says in this clip, the collection has been known to scholars since the collection was acquired by the municipality in 1924. Although there have been speculation about certain individual pieces, no one before has given this large a section to the master.

    I haven’t studied this collection, but merely from looking at the few drawings filmed in the clip and in the promotional video at the site launched in support of the claim, it strikes me as highly unlikely that even those are by the same hand and none of the eclectic selection shown looks remotely to be of the quality of the early paintings used for comparison.

    I suppose every proposal deserves a hearing, but this looks aspirational to say the least.

    Links!

  • Remembering KMG. Excellent short appreciation by Brandon Soderbergh of the recently deceased Above The Law MCs writing, delivery and role in the group.
  • “Le manga en France.” Xavier Guilbert delivers another of his exemplary comics market analyses. Must-read for anything with this particular interest.
  • “I Used to Love Her, But I Had to Flee Her: On Leaving New York.” A little too clever in its writing for its own good perhaps, but this essay by Cord Jefferson on living in New York is still pretty spot on about certain aspects of the experience.
  • Dream Hampton on Frank Ocean coming out. This has been linked everywhere, but on the off-chance that you haven’t seen it, it’s a good if somewhat overblown piece of writing on this potential landmark event in hip hop culture.
  • The Week

    The week in review

    Vacation and work have kept me away for a while, a will probably continue to do so for a little while yet. While in Boston, I checked back on one of the city’s premier cultural institutions.

    The new wing of the Isabella Stewart Gardner Museum in Boston is emblematic of museum branding today, all the more so because of the particular intractability of its foundational stipulations. In a cultural climate where having a great collection simply isn’t enough, institutional visibility has become closely tied to event culture. for a museum that can’t even rehang its collection, this is of course a problem, so what do you do? Raise $180 million and hire go-to starchitect Renzo Piano to facilitate all the things museums seem convinced they have to do to stay afloat these days: an new wing housing a concert hall, a gift shop, a restaurant, a children’s art room, an exhibition space for artists-in-residence, a greenery. All sustainable, geothermal and daylight-harvesting, of course.

    You do what you gotta do to survive, I suppose, but the absurdity of this trend for museums to go extra-curricular is particularly clear at the Gardner, whose intermittently great collection is forever trapped in a mediocre hang by the vanity of its founder, who insisted that everything be presented exactly as she left it at her death. This results in many important works being hung at low visibility and in often idiosyncratic and unenlightening juxtaposition, with the preciously empty frames of masterworks stolen in 1990 remaining on the walls as if to consecrate this “vision.” A new wing could have worked wonders for the presentation of the museum’s masterpieces, if only.

    Still, Boston has a new, reportedly great concert hall and I’m sure Piano’s elegant building will attract customers. It has the potential to become a strong cultural center, if it does not blow too many leaks and if the museum’s direction finds ways of breaking its somewhat stale reputation. A good thing, even if the overall tendency is troubling.

    A bunch of recent comics links:

  • The new Du9. One of the best critical sites about comics on the web, du9.org has just undergone a thorough, attractive redesign, led by editor-in-chief Xavier Guilbert’s extensive analysis of developments in the French-language comics market in the last year or so.
  • Neal Kirby on his Father Jack Kirby. Touching and informative reminiscence of growing up Kirby.
  • Shaenon Garrity on the fifty greatest pop songs about comics. Inventive, fun, insightful. And it mentions the Last Emperor’s amazing “Secret Wars.” I should add that the Philly MC does dead-ringing impressions of the rappers he casts in his epic comic book battle. Here’s hoping she will post part two soon.