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At ten to nine on Friday morning I dropped Cathy off at Cape Town airport (soon to be renamed Zille International I believe). It was raining and the highway into town was jammed. Nothing like sitting in traffic to heighten the sense of one’s life slipping meaninglessly away. At the Langa off ramp I turned around and headed for Stellenbosch instead.

One more quick look at those panels was what I had in mind. They’re still at the Rupert Museum. The Panels are superbly displayed, and it’s good to see them in this context. I’ve looked at these things a good deal in print and real life. I’ve made painted copies of them. But I keep noticing new things, and the obsession remains. The more you invest, the more difficult to let go. My visit had overtones of a pilgrimage: the painter kneels before the holy relic in the hope that great fortune will follow.

Henk at the Rupert

The Rupert Museum also has a standing collection of South African art. There are a lot of Irma Sterns. For reasons that aren’t quite clear to me, I’ve never really liked her paintings that much. Although lately I’m tending toward the idea that she’s actually rather good. As we all know, her work keeps fetching record prices on auction, and that tends to muddy the waters a bit. Are high prices the measure of an artist’s merit? Of course not. They just reflect a decision about which objects are safe investments. So who makes the decision? The chaps in the corporate boardrooms? The auction houses? Or that nefarious group of voices known only as the Art Police?  They patrol the fences of our little canon, deciding who gets invited to the high table of Art.

Irma Stern, Eternal Child

There are many gems in this collection, and a few duds. A lot of the work that mimics European stylistic developments just looks dated to me. Amongst all the mid-century modernism I was struck by this Nita Spilhaus landscape, fresh and unpretentious.

Nita Spilhaus, Tokai landscape

In my book,  there are two more women painters in drastic need of re-appraisal: Ruth Prowse and Dorothy Kay. I’ve never seen a bad painting by either of  them. But they stand in the giant shadow cast by Stern. Perhaps it’s time the Art Police got out their notebooks and had another look.

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no time for a dizzy spell

J H Pierneef’s Station Panels are cornerstones of South African landscape painting. They were placed in the old Johannesburg Station as adverts to travel the country.

But did these alluring places ever really exist? And how have they changed?

Taking up the invitation to travel 80 years later, Carl Becker set off to find out.

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