Home' Scoop Homes and Art : Insite 23 Summer 2009 Contents 94 INSITE SUMMER
TELLING THE DIFFERENCE
In preparation for a visit to this intriguing exhibition at the Getty
Center in Los Angeles, you can undertake a online quiz to earn
your Master of Fine Arts in Rembrandt studies.
If you successfully discern the stylist differences between
Rembrandt Harmensz van Rijn and his students Aert de Gelder
and Gerbrand van den Eeckhout, you will be awarded a testamur
you can print out to carry with you to the gallery.
In an exhibition only an institution like the Getty could pull off,
the scholarly research undertaken over 30 years and the borrowing
power of one of the most celebrated museums in the world has
brought together carefully selected pairings of celebrated drawings
by Rembrandt and his pupils. Its educative mission is to highlight
the artistic differences and shed light on the art of drawing in
Rembrandt's circle and the vibrant creative life within his studio.
Covering a period of almost 40 years and the work of 15 of his
students the collection provides a unique opportunity to delve into
the highly specialised task of ascribing authorship to drawings often
made at the same time in the same studio.
An intriguing example is the drawing of the female nude made by
Rembrandt and de Gelder. Although both were originally thought
to be by the master, experts have now been able to distinguish his
handling of light, shadow and line and have accorded de Gelder
ownership once more of his very beautiful drawing.
December 8 --February 28, 2010
e Getty Centre, Los Angeles
LIFE LIKE ART
When Australian-born Ron Mueck exhibited his Boy in the 2001 Venice
Biennale, it was an immediate hit -- and not surprisingly. So massive
that it filled the gateway to the Corderie, his disruptive manipulation of
scale combined with his faithful reproduction of the human form down
to skin texture, hair and fingernails demanded a reorientation and
rethinking about humanity in their presence.
Whether massive in size like Boy or minute as in Two Women, his
audiences engage with his figures in a more intimate way than we
would normally expect with a sculpture.
He began working with Jim Henson, learning his craft on e
Muppets and Sesame Street, and then in special effects for films such
as the 1986 Labyrinth starring David Bowie, before moving onto model
making for advertising. What he realised was that photography
changed the viewers intimate interaction with the figures.
So, he began in the early 90s to make very realistic sculptures from
fibreglass resin. His inclusion in the famous Sensation: Works from
the Saatchi Collection exhibition in which he exhibited a terrifyingly
life-like, though greatly scaled down figure of his dead father -- called
bluntly Dead Dad -- established his reputation.
e current exhibition at the National Gallery of Victoria of 15 of
the artist's works is the largest and most comprehensive exhibition of
Mueck's work to be mounted in Australia.
January 22 - April 18, 2010
National Gallery of Victoria International, 180 St Kilda Road
WHICH IS WHICH: (right)
Aert de Gelder Seated
Female Nude, c1660, pen
and brown ink, brush and
brown wash corrected with
white gouache 29.2 x19.5cm,
Koenigs Collection, Museum
Boijmans Van Beuningen,
Left: Abraham Furnerius and Gerbrand
van den Eeckhout A House on the Bulwark
'The Rose' Amsterdam c1645-1650, pen and
brown ink, brush and brown, red and gray-
blue washes 16.5 x 23.1cm, Teylers Museum,
Ron Mueck: Two Women 2005, fibreglass resin, silicone, wool, cotton, nylon, synthetic thread, plastic,
metal 82.6 x 48.7 x 41.5cm (variable) National Gallery of Victoria, Melbourne Purchased, Victorian
Foundation for Living Australian Artists, 2007 © Ron Mueck, courtesy of Anthony d'O ay Ltd., London.
Ted Snell is Director, Cultural Precinct, University of Western Australia. He is currently art reviewer for e Australian in Western Australia and
Chair of the Visual Arts Board of the Australia Council.
Links Archive Insite 24 Autumn 2010 Navigation Previous Page Next Page