If you can’t do, critique!

Everyone is an artist in some way or another, wouldn’t you agree? Whether it’s with words on a page, musical stylings, in the kitchen, or paint/pencil/chalk on a board/canvas – everyone has their own unique way of expressing themselves. Many of us do it in the privacy of our own homes, never daring to show it to anyone for fear of rejection, being misunderstood, or simply not caring that the rest of the world learn to value our talent. “My momma thinks I’m special and that’s enough for me.”


Ernst Ludwig Kirchner, Top of the Mountain, 1918.
Oil on canvas, 79.5 x 90 cm.
Private collection.

If you were, however, to venture out of your comfort zone and introduce your talent to the world, wouldn’t it be nice to already have a critic in your corner? That’s exactly how it went down for Altenbourg, Bacon, Braque, Kandinsky, Kirchner, and Klee. These men, members of Die Brücke through Art Informel (a branch of Bauhaus) and everything in between, were tirelessly supported by the one and only Will Grohmann – a German art critic and enthusiast – for over fifty years. That’s a long time to say nice things about a person, friend or not.


Paul Klee, Engulfed Landscape, 1918.
Watercolour, gouache and ink on paper on cardboard, top and bottom borders in satiny paper, 17.6 x 16.3 cm.
Museum Folkwang, Essen.

And while I do find Grohmann rather biased in his shameless support of his mates, I greatly admire his collection of correspondence. Having over 2500 pen-pals, I imagine Grohmann was quite busy writing letters, post cards, and, of course, his artistic criticisms. It’s really a pity that our own generation has found it nearly impossible to hold on to the beauty of the hand-written letter.

Feel free to sit down and write me a hand-written letter anytime, and I promise to respond in the same form. However, in the meantime, head over to the Staatliche Kunstsammlungen Dresden, now through 6 January 2013, to see In the Network of Modernism and admire the same works that captivated one of the most influential art critics of the 20^th century. When that’s not enough, order these colourfully illustrated ebooks: Kirchner by Klaus Carl, Klee by Donald Wigal, and Kandinsky by Victoria Charles.

-Le Lorrain Andrews

Vom Meisterwerk auf die Geschenkbox

Wer kennt sie nicht, die zwei kleinen, rundlichen Engel, die Geschenkboxen, Bettwäsche, Glückwunschkarten, Briefmarken und jeden, eigentlich überflüssigen Kitsch- und Dekoartikel zieren? Und wer von den Konsumenten dieser Artikel weiß wirklich, aus welchem großartigen Kunstwerk diese beiden Putten separiert wurden, um ihr Dasein heute in unseren Wohnzimmern zusammenhangslos und für ein „Oh wie niedlich“ zu fristen?


Raphael, Sixtinische Madonna, 1512-1513.
Öl auf Leinwand, 269,5 cm × 201 cm.
Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden.

In Raffaels Sixtinischer Madonna sind sie entscheidender Bestandteil der Bildkomposition. Sie halten den Blick des Betrachters im Bild, der über Papst Sixtus zur Madonna mit dem Jesuskind und zur heiligen Barbara führt, die wiederum zu den Putten schaut. Die beiden erwiedern ihren Blick und nehmen den Betrachter in diesem erhabenen Renaissancegemälde gefangen. Die Bildgeometrie und Blickführung bedürfen dieser beiden Engel, um zu funktionieren.

Dennoch sind sie Nebendarsteller in dieser Szenerie, in der Papst Sixtus und die heilige Barbara die Madonna mit dem Kind flankieren. Ursprünglich war das Gemälde an der Rückseite des Hochaltars der Klosterkirche San Sisto in Piacenza gegenüber einem Kruzifix angebracht. Erklärt sich damit der (heute ebenfalls aus dem Zusammenhang gerissene) Blick Marias und der Fingerzeig Sixtus‘ als Vorausdeutung auf die Leiden Christi? Und welche Bedeutung kommt den einem Wolkenschleier gleichenden Himmelsscharen im Hintergrund zu?

Entdecken Sie dieses großartige Meisterwerk der Kunstgeschichte noch bis zum 26. August in der Gemäldegalerie Alte Meister in Dresden in der Ausstellung Die Sixtinische Madonna – Raffaels Kultbild wird 500, oder verpacken Sie doch einfach mal unser Raffael im handlichen Print-Format oder als E-Book in einer kleinen Geschenkbox, die zwei Engel zieren, und geben Sie ihnen so ihren Zusammenhang zurück.

Sistine Madonna, one of the oldest, but still among the most beautiful, women in the world

Raphael, everybody’s favourite Teenage Mutant Ninja Turtle.* His namesake, Italian Renaissance painter, Raphael is also a favourite of his period; he continues to be admired and sought after the world over.

Among his (the painter, of course) most famous works, The Parnassus (1511) and The Miraculous Draught of Fishes (1515), is the Sistine Madonna (below). This work, both simple and beautiful, still raises a lot of questions. Why is Mary’s face already one of concern, much like her general disposition when standing next to Christ on the Crucifix? What’s the deal with the ghostly images in the background – are they souls or cherubs? To whom is Saint Sixtus referring with his pointed finger? Is it the same person by whom Baby Jesus and Mary are entranced? And, most importantly, is Rafael turning over in his Pantheon grave at the idea of the two wistful cherubs, probably the least considered at the time of painting, becoming such a stylised and kitsch image of the 19^th century and thereafter?


Raphael, Sistine Madonna, 1512–1513.
Oil on canvas, 269.5 x 201 cm.
Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen, Dresden.

I certainly cannot answer any of these questions. However, I can imagine the splendour and awe that come with standing before Mary’s everlasting beauty and eternal posse. Who will meet me in Dresden?

See the Sistine Madonna and her iconic cherubs for yourself at the Gemäldegalerie Alte Meister exhibition of The Sistine Madonna: Raphael’s iconic painting turns 500, on until 26 August 2012. Also, cherish these images in print or on your e-reader with this Raphael ebook.

*Based on a poll of five people.