We live in a rainbow of chaos

Mont Sainte-Victoire, 1904-1906

Last week we visited the High Museum for Cézanne and the Modern. The exhibition, loaned from the (Henry and Rose) Pearlman Collection will be featured at the High from October 25th through January 11th. The assemblage focuses on European Modern art and is the first tour of the Pearlman Collection since the 1970s.

Cézanne and the Modern
It was a delight to walk through the legacy of Cézanne, Degas, Pissarro, Van Gogh, Sisley, and Manet.

One aspect of this exhibit that I loved was that you got to see examples of work from the renowned Cézanne, Van Gogh, and Pissarro that are atypical of what they are known for. Camille Pissarro (my Dad's favorite!) had two still-lifes on display. Van Gogh had a stage coach, unsigned, at the beginning of the exhibition that was said to be inspired by boats painted by Monet. However it was the late-career watercolors by Cézanne that blew me away.

House in Provence, 1890-1894.

I was not familiar with any of his watercolors prior to this exhibit. Having worked with watercolors before, I know how temperamental they can be; how difficult it can be to draw with the paint and control the paint to communicate forms. The watercolor section of the exhibit featured mostly landscape watercolors with the exception of one still life of fruits and wine (pictured below).

That all said, there are so many things I love about these watercolors. Cézanne was able to produce paintings that were all of bright, bold, and soft. He heavily emphasized white space and made it an active part of the compositions. I think the reliance on white space was a strategic way of communicating light, a hearkening back to the the influence of Impressionism. In House in Provence (above), Cézanne used the white space to communicate the primary subjects and used the watercolors as the means of outlining those forms and making them pop.

You can also see how he layers swabs of colors to create shadows and texture; his broken brushstrokes give a breathy, atmospheric effect. Coupled with the softness of the watercolor medium, the paintings look as if you could just breathe them all in like vapor. Refreshing, indeed!

"Shadow is a colour as light is, but less brilliant; light and shadow are only the relation of two tones." - Paul Cézanne 

I ended up taking home a print of Alfred Sisley's River View, 1889. You could see where the canvas had begun to crack over the years in the same path his brushstrokes would have taken. It made his presence feel real, like you could see his process. Not only that, but I loved the thick, energetic application of paint and the thoughtful mixing of colors (and temperatures) throughout the canvas. Detail view below (right)...can you see the cracks?

This was a great exhibit. This was a perfect afternoon with my family, experiencing wonderful art. People-watching at these exhibits is always fun as well and for this one, it was a joy to see big and small, young and old, all caught up in the allure of art.

"When I judge art, I take my painting and put it next to a God made object like a tree or flower. If it clashes, it is not art." - Paul Cézanne 

Mele Kalikimaka!

Husband and I went to Kauai, Hawaii on our Honeymoon - First time either of us has been to the Hawaiian Islands. Kauai was absolutely amazing. It has a more rustic feel than I understand the other islands have, but when you see the emerald landscape, the aquamarine waters, the soaring cliffs...your world will change.

While passing through Kilauea on the way to visit the lighthouse, there was a small shopping center where we got lunch (Kilauea Bakery and Pau Hana Pizza, yummy :)). In that shopping center, I found postcards of artwork by local South Pacific artist, Troy Carney. How I wish I had gotten to see the real art!

Troy Carney - Art of the golden South Pacific

Hanalei Splendor, 11"x14", oil and 23k gold on hand cut bas-relief on wood
Photo via South Pacific Art by Troy Carney Facebook page
(c) Troy Carney

Troy Carney is a self-taught artist who originates from New Zealand but has called Kauai home for the last 24 years. He specializes in mixed media, specifically oil and watercolors, 12-24K gold leaf, and woodcut printing. His influences include his mother (a classically trained fine artist in her own right), his extensive travel through exotic Asia and the South Pacific, and the batik painting traditions of the Balinese textile industry. 

The piece above, Hanalei Splendor, captures the pier in Hanalei Bay at sunset. We watched that sunset over Bali Hai from the beach at Hanalei, so I have a real affection for this piece. The sun really does emanate incredible colors and textures from that vantage point on the island. In my mind, Carney's work here is a perfectly unique, personal, yet relatable interpretation of its beauty. I love the exquisite, unified designs he used to describe the sun's radiance, pulling in an air of tribal symbology. At least it feels that way to me!

Papaloa Jewel, 18"x24", oil, 12k,18k, and 23k gold on hand cut bas-relief on wood
Photo via South Pacific Art by Troy Carney Facebook page
(c) Troy Carney

You can definitely see the Asian art tradition in Carney's work. To me, his renderings of waves are reminiscent of Hokusai's The Great Wave off Kanagawa (1829-32), though I can only hypothesize if the Japanese painter was actually an influence. The clouds in the Papaloa Jewel above remind me of Chinese screen painting, though perhaps more stylized. The color contrast between the deep butterscotch of the gold leaf with the peacock and cerulean tones in the landscape (with occasional hints of rust or garnet) really cause his pieces to stand out. The compositions themselves are not necessarily very large, but they make a significant visual impact from the color elements alone (just wait until you study the detail in his carving).

The video below from Troy's YouTube Channel highlights the progression through his artistic process. The particular piece being created in the video is called Po'i Nã Nalu, meaning "Where the Waves Break." Notice the layered process of carving, applying gold leaf, then paint. The violent roll of the wave, shimmering in texture and luminescence, leads the viewer's eye through the expanse of the piece. Your attention sweeps in an arc across the wood with the wave, lulls through the settling, foamy surf onto the beach, then juts upward through the palm trees and mountains. From the mountains, the viewer's gaze circumambulates through the clouds in the sky until they push you back to the wave, starting your journey all over again. 

I find Carney's work so incredibly exquisite, I had to share it with you all. Hopefully we will start to see some of the pieces emerge in the continental US markets outside of California (Come to Georgia!!). I feel that his art brings Asian and South Pacific artistic traditions to us in a new way, modernizing the subject while retaining the exotic flavor and symbolic tone. Enjoy!

Also, one last thing: check out his Facebook page, which shares new artwork, news and updates, and awesome photos of the artist at work. His website has a gallery, even more news and updates, and a biography if you'd like to learn more.

Mele Kalikimaka (Merry Christmas), everyone!