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Brian Sewell - How to be an art critic: 'It's a repeat experience' (29/90)
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- Опубликовано: 19 сен 2017
- To listen to more of Brian Sewell’s stories, go to the playlist: • Brian Sewell - John Si...
Born in Britain, art critic Brian Sewell (1931-2015) wrote for the "London Evening Standard" and made numerous television appearances throughout his distinguished media career. He was known for his outspoken and erudite reviews of art. [Listener: Christopher Sykes]
TRANSCRIPT: The time factor is essential, and the repeated experience is essential. I… when people would say, how should I look at pictures? My answer is always the same, and it is this: that you go to the National Gallery, for example, and you do not look at every picture. You look at a picture that, in some way, communicates with you. There is something about the picture that makes you pause. And it’s that picture and not these. And that you spend a little time with. And you ask yourself, what is the subject? And then you might ask yourself: what is essentially the subject? Because if it’s pilgrims on the road to Emmaus, it may be the landscape that matters, and the pilgrims are only the excuse for the landscape. Or it may be entirely figurative and have no landscape, and you have no idea through what kind of territory these pilgrims are walking. That’s a beginning. You’re getting a hold on where the painter looks at the story. And then you go and look at something else, which may be Judith and Holofernes, and what is the story of Judith and Holofernes? Is this a great moral story, or is it really fiendishly immoral? Here is a woman who kills a man for not going to bed with her, you know. She thought he was going to seduce her, and he didn’t, but she cuts off his head nevertheless. This is a great Jewish heroine, you know. Think about it. So what element is the painter bringing into this? Is he… does he paint Judith so that she is exultant? Does he paint her as though she is melancholy? Look at the Rubens of “Samson and Delilah”. And it seems to me that there is, on Delilah’s face, in his picture, an expression of extraordinary melancholy. She’s cutting off the curls and she’s looking at him, and she knows what is about to happen. And she is not entirely convinced that she is doing something that she should.
Look at Rembrandt’s interpretation of it, and you have somebody who is mean and wild, rushing away from the tent, you know, with a backward glance, and curls in her hand. A different way of looking at things. Compare one subject shared by several artists, and each picture will tell you something about the other. Then poke your nose in pictures and look at brushstrokes, because if you look carefully enough, you can see how big the brushes were, and how small. You can see where the brushstroke began and where it ended. You can see whether it’s a heavily loaded brush, with thick paint, and it leaves a little tail behind, an impasto, as we call it. And you lift it away... a little thick point. So you get some idea of the gesture of the painter with the brush.
Look at a shipping picture and it’s full of rigging. How do you think it’s done? Is it done with a very thin brush and very little paint on it? No, it’s not. It’s done with a very long-haired brush with quite a lot of paint on it, and an expert sweep, so that the whole piece of the rigging gets done in one stroke.
Look at the knots in the carpet in Holbein’s “Ambassadors”. And how do you think they’re done? Well, they’re done with a perfectly normal brush, from which quite a lot of the ends of the hairs have been cut. So it’s short and thick, stumpy. And it carries exactly as much paint as you need for one knot in the carpet. So one knot, one touch of the brush.
Then you see a carpet somewhere else, by Velázquez, perhaps. And it’s impressionist. There are no knots in it. They are loose paint, like this. Slowly, you will get an idea, not only of how different painters paint, but how French painting is different from Italian, and Italian from German. You will get a feeling of how this painting could only have been done in the 17th century, not the 16th, not the 18th. It has to be 17th. And you’ll be soon be going around galleries saying, I don’t know who it’s by, but it’s mid-16th century, and it’s Italian. Then you go and look at the label and you congratulate yourself, and you find that it’s by Parmigianino and the only thing you’ve got wrong is that it the first half of the century and not the middle. But, you know, you’re getting there.
This is how it happens. But it’s a repeat experience. And if you look at the pictures that you looked at the very first time, after you’ve looked at 100 or 200 or 300 other pictures, you go back to them, you will see them with entirely different eyes. And if you do this all the time, you will never stop seeing...
Read the full transcript on [www.webofstories.com/play/bri...].
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He was a treasure. I hope he realised how much we loved him.
Fascinating!
I really miss seeing him on TV.
I’m learning to look at something and then look again. It’s nice to get confirmation that others do the same
How wonderfully he embraces both art and the audience with his sublime interpretations ......I continue to be inspired by his words: RIP
I have enormous admiration for Brian yet regret he never had children. Perhaps a son and a daughter and passed on to them his vast erudition and knowledge of art. The world would have been blessed.
A Great Art Historian and an Typical English Eccentric Snob, but really interested to watch. Brian, you had wit and certainly knew your knowledge of Art and at the same time entertaining. There is no one who could place you. RIP Mr Swell, but never forgotten.
Brian Sewell might at times have been mean and cruel about modern art and I might not always like what he had to say; but he presented counter arguments to mainstream views on what is accepted as good and that is now sorely missed.
I didn't agree with a lot of what he said, but I loved the way he said it and he provided a counterpoint almost unthinkable in these sterilised 'woke' times we live in, where many young people can't cope with a view that differs from their own. I loved and envied his not giving a fuck what people thought of him. Wonderful and sorely missed. Both parts of his autobiography are extraordinary and at times incredibly rude and laugh out loud funny.
Sadly most if not all so called experts are just bland and obvious ...not this man, sadly missed
Brilliant
a brilliant mind
Everything is subjective. I like to look and learn as much as I can. If there were no differences in opinions then every painting would be the same.. I like to get as many opinions as I can and then make up my own mind. My enjoyment cannot be spoiled by another’s opinion. My great uncle was in the Bloomsbury group. That is not to everybody’s taste.
mmmmBaaoooooooo
He's very dismissive of Jack Vettriano = why? Because he's self-taught (?) or because he's very popular with ordinary people, or both or?
he cared about quality, like any connoisseur
@@chrish12345 'quality is in the eye of the beholder' & is affected by education, experiences & propaganda; sometimes I think we can recognise 'quality' in good art but then I think I'm deluded/wrong because we have all been influenced by so much so cannot have an unbiased perception/opinion unless we'd been brought up by wolves - but that would of course shape what we see and know and therefore our perception. So if loads of people (often without artistic training) LIKE a piece of art and THEY think it has a 'quality' they find appealing, does that mean nothing?
Perhaps because he's shit?
@@alexart63Who, Vettriano or Sewell? In YOUR opinion? Of course we can all have our own opinions - but we've ALL been affected by others' opinions, majority/elite opinions and bias & propaganda... All the best to you.
Jack Vettriano is good in the sense of portraying realistic-looking figures, but he has also been criticised for portraying an excessive number of seductive women and accused of making erotica. Many art critics like to see variation in an artist's style.
renaissance, reason science / Washington & laws & regulations* 1776 is going through an adolescent crisis, it is a young nation, it believes it can do what it wishes, the answer is to denied him of his wish not by opposing Washington “the adolescent” but simply by ignoring Washington. Go on with the world without Washington. Just as it was before 1492// 1400/ Renaissance / The eventual business, philosophers and artist of the nation will understand. 1776/ Proletarians capitalist bourgeoisie. 1776 was done too soon, and now the world is feeling the repercussions, the world of Washington created an industrial revolution, which evolved in part thanks to the proletarians that became bourgeoisie, however the evolution as any evolution evolves and now, we are on the technological evolution. Washington has based his power on a military doctrine, while the world has changed, it is no longer the industrial revolution, now we are on the technological one. The military is no longer that important as it previously was, wars become unproductive, wars no longer discover new technology but impedes the technological evolution, once the world ignores Washington military; it becomes senseless. Washington has to become a dictatorship to manifest itself. Since democracy is the world not just Washington DC. It is the nation that needs psychological help. By misusing technology Washington has perverted the nation during his adolescent years. misunderstands technology. the path is to help america understand how & why the world runs, the most sophisticated way; once it learns how to properly behave, on the world that they inhabit, 1776 will make a lot of more sense.
v Bremont
Nobody:
This guy: writes an essay on GW.
a renaissance is arts and literature a return to the 1400 inspiration 1776 gets revamp, like taking a long distance walk to do a short one correctly, that is what the renaissance will bring to 1776. so the 1913 brainwashing ends and Freud takes a rewind. kind of AI on the new world, because america is the new world rediscovering america is the new path of 2019 21 century of technologie & science & arts.
BOOOOOOOOOOOOOOOOOOOOOOOOO
Like all art critics, Sewell is not actually an artist.
Here he doesn't even know what the word "figurative" means, and not being an artist he doesn't know what he's talking about.
Did he not say he had painted and had a canvas sold in Bond Street?
Oh dear. If you really think that you know what you are talking about and Brian Sewell didn’t then you are sadly lacking in self awareness.