comic art

there's actually more where these came from.
i decided to post only these to. artists, painters aren't serious pondering people.
most of them find pleasure in theyre occupation.
and sometimes this pleasure get's mixed with humour.

i know the comic angle of the devil-painting might actually be an unintended pun.
i'm not really sure, but devils haven't always been these red horned fiery creatures. some descriptions are very strange. just like this face-for-an-ass devil

devil painted by michael pacher
head sculpted by messer schmidt

exhibition

zeker komen!

richard gerstl

pieter pietersz

ilja repin

not to be admired for his 'perfection of illusion',
although is is quite impressive
but admire the character of this gaze
i admit it's strong and full of pathos.
sometimes that's a bad quality, overexerting emotions.
but it seems to work in this work
'ivan the terrible' by ilja repin

about the 'installation-generation'

this might be a rant.
i'm not sure.
first of all, i'm a fan of installation art.
the right artist can create these beautifull complex series ,walking past, by or in them is an experience on it's own.

here is this installationgeneration. young artist who probably share this experience as they walk in the same musea as i do. we might even share the respect for the art.
but it seems we have different standards.
alot of contemporary art is flat, ugly, uncomplex, simple, imitated.
this generation doesn't appear to see this, and they, being the fourth or fifth generation of artists since the invention of installation, imitate the imitators.

it seems these imitators of imitators misinterpret the phrase 'less is more'
it seems they mis-interpret the intention of art alltogether.
maybe they have become such a small sub-social group of artist, only talking to each other, they forgot theyre a part of the artworld.

art is supposed to be complex ,
an artist is someone who controls this complexity.
mastering every aspect of theyre medium, to tell his or her beautifull complex story.
something as beautifull as walking down a street is art on its own.
the installationgeneration would probably just point a camera on this walking person
an artist recreates this street, aware of what he or she is showing his audience.

this generation of imitating imitators
copy's of copy's
the bad print of a printed poster
the camphone bootleg of your favorite film
is found everywhere throughout the internet
i rant,
because I occasionally stumble upon theyre sites,
theyre blogs.
i guess i need to ventilate

the other stroke of karoly ferenczy

karoly ferenczy

lovis corinth

those portraits of him and his model/wife,
just amazing
notice the way he textures skin, without ever abandoning paint.
some painters get caught up in the perfection of the authentic illusion, they forget theyre obsession for paint.

somewhere in 1912

two men painted these
the only thing binding these paintings is the year theyre painted in
but what more reason do i need,
besides admiration
to put them online?






paul hoeniger, spittelmarkt, 1912
paul emile chabas, september morn 1912

gabriel cornlius ritter von max

imagine 1870
the impressionist are starting this big turning point in arthistory
'impression soleil levant' has not been painted yet.
alot of artists are struggeling with artcritics, theyre biggest frustration isn't their talent, but the fact they have to prove it to artcritics.

enter garbriel cornelius ritter von max. a czech artist working in munich.
he got frustrated. his pallet is dark, his stroke near perfect. the most important quality in art, the truthfullness of the illusion is impressive. but it cost him alot to get past these critics.
he started reacting against it. at the one part, he made work he thought would get past these staring eyes of men in important suits, mostly religous themed work. the other part he made 'tableaux' depicting these men as monkeys.
he had to process what happened to him. this is the form of his frustration.
first one is called 'der atelierbesuch'
second 'monkeys as judges of art'






these last works are the ones that interest me, the first works are just a bit too 'empowered.' they aren't very subtle in any way.

sam dillemans

sam dillemans,
his obsession surpasses mine,
i think my obsession. right now i only paint in my head, while i walk, while i look around. my wrist does not follow my thoughts just yet. his wrist maniacly tries to follow his obsession. it's like the roadrunner cartoons. and the wolf is getting real close to the bird.
my wolf is right now pondering about the right course of action, i guess.
forgive me, i need to continue in dutch.
words are hard, i might find it easier to keep talking without the extra effort of typing english.

het is vreemd, ik herken het allemaal. de obsessie, het verlangen, de honger naar verf, de ambitie om te kunnen wat zij, de meesters, konden. hij wil zich bewijzen tegenover de geschiedenis. hij wil een deel van die geschiedenis worden .
ik herken alles
maar ik hou er niet van, niet echt

het is een beetje zoals lucian freud, al eerder vermeldt. Geniale schilder, maar zijn werk begon langzaamaan weg te drijven van die sublieme schoonheid die de oude meesters groot maakten, en het werd een verhaal dat enkel over verf ging.
de obsessie wordt een trauma, eens dat gebeurt, ben je alleen nog maar getraumatiseerd.

sam dillemans wankelt op de rand van datzelfde trauma.
hij studeert en staart hard naar zijn onderwerpen; naar de geschiedenis. Wat hij ook schildert, het glijdt allemaal uiteen in kleine vlokjes verf. het vergt een enorme inspanning van zowel sam als van de kijker om die schilderijen vol te houden.
sam probeert desperaat zijn onderwerp samen te houden, hij probeert die onderwerpen niet uit het oog te verliezen. de boksers, de zelfportretten.
je zou denken , waarom zou een schilder, zo geobsedeerd met verf, zich niet gewoon tot abstractie wenden? enkel en alleen verf vertellen?

het oog is net zo belangrijk als de pols, de obsessie met verf draait ook om de intensiteit van weergeven. er zit een enorme voldoening in 'raak' zijn met verf.
verf heeft een bijzondere zuiverheid. in de relatie tussen toets, kleur en de beweging die je maakt als schilder terwijl je verf aanbrengt, roep je beelden op. het klinkt enorm omslachtig, en dat is het ook, maar zo werkt het.
sam is die zuiverheid ergens uit het oog verloren. zijn verf is smerig, alsof je naar een klomp modder staart. hij is het kleur vergeten, zijn schilderwerk draait enkel en alleen nog om toets en beweging. het fenomeen ontstaat dat je genialiteit ziet schemeren, maar nooit helemaal naar boven ziet drijven.
in zijn schilderkunst raakt hij tot grote hoogtes, in zijn trauma maakt hij het bijna weer kapot.

hij schildert eigenlijk obsessief met het afval van de grote schilders. alsof hij zich schuilhoudt onder hun palleten, en met de verf die zij in de grond laten vallen,maakt hij schilderijen. met dat afval probeert hij groot te worden.

en ik begrijp hem wel.

sam dillemans. je kan hem niet negeren, vrees ik

third and fourth film

oh, and i'm pretty sure what my third and fourth film will be about.
third would be about a nude model, a very short low budget thing, i could almost make it as a hobby.
fourth will be the called 'the biography of automatov petrov'

my ambition

i'll just tell everyone my ambition.
i've learned how to paint. and i think i've got the right idea.
i'm not the best yet. i'm not sure if i ever will be. but having the right idea and
fullfilling that idea in images is more important then being the best.

what i'm missing right now is the right incentive for viewers.
i need a decent 'story' for every single work i make.
being obsessed with paint is a part of this story, already,
'horror and beauty' is another part of it.

the third part is the most difficult one.
i'm trying to paint 'intimate'
in a way that everything you see, has a very close appeal to it.
even a pair of shoes could become something you would want to caress.

i have had my visual obsession with object for a long time. it seems almost
ridiculous i haven't tried to translate this yet. butt believe it, i have never been
selfsecure enought to try. i'm finally there, at long last.

the new film will be exaclty about that experience.
my paintings will be about intimacy, i will find a way to tell this 3fold story
in every frame i paint