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FEBRUARY 2023

WELCOME TO THE EAST  FINCHLEY OPEN  ARTISTS FEBRUARY NEWSLETTER

This Month - EFOA AGM -  Art you can walk on - Was Van Gogh Murdered? -  Household Surrealism - Members News - and more

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The East Finchley Open Artists 2023 Annual General Meeting was held on 14 January at the United Reform Church in Muswell Hill
Pat Hewett-Marvell and Jo Pethybridge were re-elected as joint Chairs
Ian Hunt continues as Secretary and Jeremy Clynes as Treasurer
 
Jo reported a active and productive 2022 coming out of lockdown and looked forward to a busy 2023.
The EFOA photogroup exhibition at the Phoenix Cinema is just completing and our next major exhibition ‘INTERPLAY’ will be at the Original Gallery, Crouch End either side of Easter 
4th - 6th  and 11th - 23rd April 
Private View to be announced
ART YOU CAN WALK ON

MIKE COLES writes:-

It’s not usual to have art that is deliberately meant to be walked on. But two things come to mind. This month we will have a quick look at mosaics and in the future, carpets.

What is a mosaic?

Everyone will know what a mosaic is, but here is a definition -
A mosaic is a picture or recurring pattern made up of individual pieces. They tend to have small but visible spaces between each element, creating a semi-broken image.

What elements are they made from?

Traditionally they were made from bits of glass, stones, shells, unglazed and glazed ceramics. Nowadays they are made from practically any media.

The history of mosaics goes back 4,000 years or more, with the use of Teracotta cones pushed point first into a background for decoration in one of the most advanced civilisations of its time in Mesopotamia. (That’s the area in modern day Iraq between the Tigris and Euphrates rivers).
Early mosaics evolved from unstructured decorations and pebble pavements, but by the time of the Greeks, around 500 BC, mosaics had moved into a more structured form with and geometric patterns and detailed scenes depicting people and animals and were now recognised as ‘art’.
Several centuries later, with the rise of the Roman Empire, mosaics went through a period of great development – anyone who was anyone wanted a mosaic floor for their villa. There are more intact examples of mosaics than any other construction from Ancient Rome, they even had shops that had patterns in books in the same way that wallpaper is presented today for people to choose how to decorate their homes. Many Roman mosaics are still being uncovered today – a tribute to their durability.

Probably the greatest period in mosaic history followed in the Byzantium period between the 4th and the 14th centuries AD. The Romans used mosaics mainly for floors but by now mosaics had moved off the floor and were now on walls and ceilings too. The costs and skills now meant that the best work was seen in palaces and religious buildings (of all faiths).
Cordoba Cathedral/Mosque
Cordoba Mosque and Cathedral is a good example. Cordoba, in Southern Spain, was in Islamic hands in 785 AD and the then Muslim leader, Abd ar-Rahman, ordered the construction of a Great Mosque on the site of an old Christian Church.

No expense was spared and the best mosaic artists were brought in from Constantinople and Syria. The results, which you can still see today, were staggering – among the best examples of mosaic art anywhere.

The Christians recaptured Cordoba in 1236 and turned the mosque into a Cathedral in various stages throughout the following centuries, but left the original Mosque building and decorations intact. (Today it’s known generally as Cordoba Mosque-Cathedral and worth a visit if you are down that way).
St Marks Basilica, Venice
Mosaics continued to be used in churches through the Middle Ages, particularly in Catholic Italy.

In some parts, which were still under eastern artistic influences, like Sicily and Venice, mosaic making flourished during this time. The whole interior of the St Mark's Basilica in Venice is clad with elaborate, golden mosaics.

The oldest scenes were executed by Greek masters in the late 11th century but the majority of the mosaics are works of local artists from the 12th–13th centuries. The decoration of the church was finished only in the 16th century. The one hundred and ten scenes of mosaics in the atrium of St Mark's were based directly on the miniatures of the Cotton Genesis, a Byzantine manuscript that was brought to Venice after the sack of Constantinople in 1204.
Moving now to Victorian England.
During the industrial revolution rapidly growing cities sparked a huge new demand for housing. Successive housing booms resulted in the building of around 6 million Victorian houses in a period of less than 75 years.  The majority of these houses still stand today and are a defining feature of most British towns and cities. Built mainly in the Victorian Gothic style, in middle class suburbs they all had a tiled mosaic hallway and/or front path – most have survived and can be seen everywhere in London.

The patterns were simple and easily laid by Victorian builders. Tiles were practical and easy to keep clean at a time when the link between health and hygiene was starting to be more fully understood.

 
The Parc Güell, Barcelona
For something a good deal more artistic and unique we need to go to Barcelona.

Architect Antoni Gaudi (1852-1926) is best known for his creation of La Sagrada Familia, a large, almost finished, Roman Catholic church in Barcelona. but he’s also responsible for the mosaic work in Parc Güell, a public park system composed of gardens and architectonic elements, also in Barcelona. The park, was built between 1900 and 1914, contains long, winding rows of tile-covered benches surrounding a large courtyard.

Trencadís is a technique used to cover structures with a mosaic, normally abstract, of irregular pieces of ceramic, glass or marble tiles. The story goes that one day Gaudí visited the ceramics workshop of Lluís Bru and, when he saw how slowly he was putting the pieces in place, Gaudí got impatient, grabbed a tile, broke it and said: “We have to put them on by the handful, like this, or we’ll never finish!”

Anecdotes aside, the fact is that Gaudí used bright, durable colours in his projects on curving surfaces that made them shine and added to their artistry. To do so, he used ceramics, but they had to adapt to the wide variety of surfaces he built. His trencadis technique (broken tiles) also made it possible to recycle and reuse materials, because, in addition to his revolutionary architecture Gaudí was a pioneer in environmentally friendly construction. He used waste materials from factories willing to collaborate. He also used glass, marble and stone. The materials he chose also acted as a shield for the buildings he designed, as they are resistant to weathering.
Left: 'The Kiss' by Gustav Klimt  Right: Buy your own mosaic version for your hallway or patio for a modest £6,000
At around the same time (The very early 20th Century), Viennese artist Gustav Klimt visited Ravenna in Italy, where he saw the Byzantine mosaics in the Basilica San Vitale,

As a result Klimt made/painted “The Kiss”, his best known work. It’s possible to see the Byzantine influence in many of Klimt’s paintings during his Golden Period. For Klimt, the two-dimensional nature of the mosaics only enhanced the brilliant effect of the gold he used on the work. The Kiss is one of the most iconic paintings from the Art Nouveau period. Klimt painted this rich oil painting with added platinum, silver, and gold leaf in 1907.

Now, ironically, modern mosaic artists have reproduced the painting as a mosaic.
Moving to the present day there are hundreds of artists who work in the medium.

One of the pioneers of the Green Fine Art movement, Sandhi Schimmel Gold has been an avid upcycle artist; utilizing materials that would otherwise go to waste. Each piece of material she uses enters her home via the letter box as junk mail or as packaging. Instead of landfill, it is upcycled into something entirely new – pieces of art called paper mosaics.
Everything is bigger in America, so unsurprisingly, currently, the world's largest ‘conventional’ religious mosaic installation is in the Cathedral Basilica of St. Louis, located in St. Louis, Missouri. (above)

Mosaics are particularly common in underground stations - both in London and many European capitals
Mosaics have developed into a popular craft and art form - anyone can make a small mosaic to put in front of their house.

They are seen in everything from kitchen backsplashes, craft projects, garden art, fine art, sculpture, park benches  and public art.

Do-it-yourself kits are available. With mosaics anyone can create beautiful art work that is durable and low maintenance.
MEMBERS NEWS - DAWN FINN at the BANKSIDE GALLERY
VAN GOGH

We are reproducing here 'Grim Historian' Carlyn Becca's short article on Van Gogh's death

Was Vincent van Gogh Murdered?

Could a rusty revolver finally solve this mystery?
 

On July 29, 1890, Vincent van Gogh wandered out to a field in Auvers-Sur-Oise, a village less than an hour north of Paris. He made his way past the sprawling wheat fields and along the Rue Daubigny. And with the first morning light dancing through the dense forest, he set down his canvas and began to paint.

But this time, he chose to paint a different subject — twisted and gnarled tree roots. Art historians were even able to pinpoint the exact location of his last painting by these unique trees.

Unfortunately, Van Gogh never finished the painting.


Soon after, in the place that he had once painted wheat fields and cawing crows, he put a revolver to his abdomen and pulled the trigger. He then staggered back to the Ravoux Inn where he was staying. He died two days later.

His death was the final tragic end to a life of despair.

In his final days, van Gogh was tormented by mental health issues and committed himself to an asylum in early May 1889. Between then and his death the following year, he vacillated between recovery and relapses of mental health. One of his most famous paintings, The Starry Night, was painted during this time, along with Eternity’s Gate.

It’s not exactly a cheery painting.


Vincent van Gogh, Eternity’s Gate — 1890 

Historians have long debated the events that led up to van Gogh’s death. And that mystery might be solved by the revolver that fired the fateful bullet.

In 1960, a rusty Lefaucheux revolver was found in a field in Auvers-Sur-Oise — the same field that van Gogh allegedly shot himself.

In 2019, the revolver sold for €162,500 ($182,700) — a staggering price considering there isn’t any solid proof that it belonged to van Gogh. What is certain is that the gun’s calibre matched the bullet retrieved from the artist’s body.

But the real mystery remains — was the revolver a suicide or a murder weapon.

The murder theory

The suspected murderer was sixteen-year-old René Secrétan. According to rumours at the time, Secrétan was your typical surly teen who bullied Vincent for months. It is believed the two got into a scuffle, and Secrétan shot Vincent.

Interestingly, handgun expert Vincent Di Maio has claimed the angle of the bullet entering van Gogh’s abdomen was too “awkward” to be suicide. I would never discredit forensic evidence, but I wonder how accurately his physicians recorded the bullet’s trajectory.

Proponents of the murder theory point to the absence of a suicide note, especially since van Gogh was a prolific letter writer. But trying to follow van Gogh’s mental state in his letters is like trying to ride the crest of a wave. Like most people suffering from mental illness, he went through periods of ebullience followed by periods of manic depression.

The gun has no smoke.

The theory that van Gogh was bullied and murdered has some holes. To start, it’s hard to believe anyone would bully the tempestuous artist.

Van Gogh’s irascible nature was well-documented. When his friend Paul Gauguin annoyed him, van Gogh chucked bottles of absinthe at Gauguin’s head. He quarrelled on enough nights with his brother Theo for him to remark, “…he makes life hard not only for others but also for himself.” Given Van Gogh’s combative nature, he doesn’t seem the type to let bullies pick on him.

There is also no solid forensic evidence that this was the gun used to kill van Gogh, nor does the gun indicate who pulled the trigger.

But what makes the murder theory the most incredulous was van Gogh’s mental health. His friends, family, and physicians paint a picture as turbulent as his haunting swirls of paint — Vincent van Gogh was fighting his demons.

His doctors believed he was mentally ill.

Van Gogh was probably closest to his doctor and friend, Dr. Gachet. Shortly after van Gogh was diagnosed with epilepsy, Dr. Gachet treated van Gogh for “melancholy.” (Ironically, van Gogh also described his doctor as “melancholic.”)

Then, there is the ear cutting incident…

Dr. Félix Rey, the physician who attended van Gogh, made drawings showing exactly how van Gogh cut his ear off. In his notes, he writes, “The ear was sliced with a razor following the dotted line.”


Letter in French dated 18 August 1930 with two sketches by Dr. Félix Rey (1867–1932) to writer Irving Stone 

You can see from the diagram that van Gogh didn’t just cut off his ear lobe. He self-mutilated his entire ear. And how much of his ear he sliced off matters. An ear lobe is a cry for help. An entire ear indicates serious mental disturbance.

Even more telling than body mutilation, Dr. Rey also wrote about his patient’s epileptic seizures and the depression that followed each episode — an unfortunate symptom of epilepsy. 


Vincent van Gogh, Portrait of Dr. Felix Rey, 1889 

His family believed he committed suicide

Aside from his doctors, the person who was most familiar with Vincent’s struggles was his brother, Theo.

Theo was his confidant, his art dealer, his most cherished friend, and the person who kept Vincent tethered to the hope he would someday recover. Theo most certainly believed his brother had committed suicide. A few days after Vincent’s death, he wrote to his mother:

Vincent said, “I would like to go like this,” and half an hour later, he had his wish. Life weighed so heavily upon him…”


Vincent’s brother Theo was his art dealer and his most trusted confidant (1888) 

Van Gogh told everyone he pulled the trigger.

Another letter written from van Gogh’s friend Emile Bernard to Albert Aurier is the most revealing. Bernard detailed van Gogh’s final hours after he staggered back from those golden wheat fields. He writes;

“He finally died on Monday evening, still smoking his pipe which he refused to let go of, explaining that his suicide had been absolutely deliberate and that he had done it in complete lucidity. A typical detail that I was told about his wish to die was that when Dr. Gachet told him that he still hoped to save his life, he said, “Then I’ll have to do it over again.” 

Van Gogh was so determined to end his life that he would do it more than once if anyone stopped him. Logically, if someone attempts to murder you, you would not refuse medical assistance.

The police did investigate the shooting too. And van Gogh told them to let him be. He said, “What I have done is nobody else’s business. I am free to do what I like with my own body.”

Van Gogh never accused anyone of shooting him, nor did the police have cause to investigate foul play.

Suicide was a mortal sin.

We also have to remember the stain of disgrace suicide left behind. At the time, society and the church considered it such a mortal sin that van Gogh’s hearse was not allowed to be carried up the hill to the church cemetery.

If his friends and family believed he was murdered, they surely would have insisted he receive a proper burial.

Was van Gogh murdered?

I love a good conspiracy theory as much as the next person, but the truth is that without any clear forensic evidence, there isn’t any smoking gun that indicates murder.

According to his brother Theo, Van Gogh’s final words on his death bed were– “La tristesse durera toujours” [The sadness will last forever].” Not even death could allow van Gogh to escape the clutches of hopelessness.

Theo wrote of his brother’s last words, “I understood what he wanted to say with those words.” Theo knew the anguish that chipped away at his brother’s heart probably better than any modern biographer. Vincent’s pain was his pain, and as brothers, they shared that crown of thorns.

If Theo believed Vincent van Gogh committed suicide, I believe him.

Sources and footnotes:

[1] The Letters of Vincent Van Gogh, 68.
[2
] Due to how the ear was cut off cleanly, historians have also speculated that Gauguin might have cut van Gogh’s ear off with a fencing sword.
[3]It is still unknown if van Gogh had epilepsy, but he did have seizures. Naifeh and Smith (2011), 701 ff., 729, 749.
[4
] http://www.webexhibits.org/vangogh/letter/21/etc-Theo-mother1.htm
[5] http://www.webexhibits.org/vangogh/letter/21/etc-Bernard-Aurier.htm

MEMBERS NEWS - GAIL ALTSCHULER

Highly regarded EFOA ceramicist Gail Altschuler is in a group exhibition at the Contemporary Ceramics Gallery in Great Russell Street in February. The venue is near the British Museum  

Gail writes:- 
LAURA FISHMAN
www.stephenshouseandgardens.com/events
www.laurafishmanart.com

Household Surrealism  Now here is an Art Movement you may not have heard of.

London-based Russian visual artist Helga Stentzel transforms everyday household items into a host of playful characters. Helga creates artworks using a myriad of household objects and food.

In her words:- 

“To me, household surrealism is about finding magic in the mundane, seeing beauty in imperfections, and connecting to our reality in a new way. I love noticing playful similarities – be it a sweater on a clothing line looking like a horse or a slice of bread resembling a dog’s head. It’s only the starting point though. From this moment onward the stories and visuals start buzzing in my head: What will this horse look like? What’s her name and character? Does she like racing with other horses? – the list goes on and on!”

https://www.saatchiart.com/account/profile/223347
Why is it hard to talk to an abstract painter?

They never go into detail.
ABOUT EAST FINCHLEY OPEN ARTISTS
Find out about us on our website www.eastfinchleyopen.org.uk
There you will find details of all our current members plus photo's of their work and contact details plus information on recent and upcoming exhibitions
MEMBERSHIP:  If you are interested in
joining East Finchley Open Artists please contact the Membership Secretary at membership@eastfinchleyopen.org.uk
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Send your comments to  mikecolesphoto@gmail.com
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To visit the EFO website with details of all the EFO artists and much more click on this link:-

www.eastfinchleyopen.org.uk
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