Let’s once and for all kill the solitary Romantic genius
Translations — Creative Copying and OriginalityThomas Dane Gallery, London, 14/7 to 9/9 2005
“They said that when I began in Paris I copied Toulouse-Lautrec and Steinlen; possible, but never was a painting by Toulouse-Lautrec or Steinlen taken for mine. It is better to copy a drawing or painting than to try to be inspired by it, to make something similar. In that case one risks painting only the faults of the model. A painter’s atelier should be a laboratory. One doesn’t make a monkey’s job there: one invents.”Seventeen works by nine artists look at the central role copying plays in day-to-day studio practice. The idea that artists create autonomously is a great myth. The exhibition shows how artists have always been attracted by the works of their predecessors and contemporaries and how they have explored the creative potential of copying for their own goals. Allowing a multitude of approaches to the source (record, exercise, parody, quotation, paraphrase, exorcism, caricature, metamorphosis, transformation, catalyst), copying has enabled artists to establish their own voices, to invoke and reject precedents and declare affinities, to measure distances and declare new goals. In some cases the most radically advanced work has been deeply indebted to history (For example, Cezanne’s Bathers or Picasso’s Les Demoiselles d’Avignon).Pablo Picasso
Rembrandt —> Frank Auerbach —> Glenn Brown
Pierre Puget, Peter Paul Rubens and The Antiquity —> Paul Cezanne
Daumier —> Peter Doig
Degas —> Howard Hodgkin and Rebecca Warren
Petrus Christus —> Gary Hume
Manet —> Pablo Picasso
Jan van Eyck and Georges Seurat —> Bridget Riley
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posted by Jonas Andersson @ 3:54 pm
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