Manet- Luncheon on the Grass. ( Paris, 1832-1883)
“Le déjeuner sur l’herbe—testimony to Manet’s refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation—can perhaps be considered as the departure point for modern art.”
( Richman-Abdou K 2018https://mymodernmet.com/edouard-manet-the-luncheon-on-the-grass/)
Im inspired by Manet and in Oct 2018 I saw one of his versions of Luncheon on the grass at the National Gallery.
I have been back to the Gallery three times since to stare at it.
When Manet first showed this painting to the Jury of the Salon in 1863 it was rejected and was showed at the Salon De Refuses an exhibition that Napoleon III created for the rejected artists .
In Manet's painting he depicted a nude female for the first time as a mere mortal, up until then they had been portayed as goddesses and divine.What also was shocking was that the women is looking directly at the viewer with no sense of shame.
The painting was also scandalous because it wasn't painted in a classical style and it was very gestural with the brush marks showing.
Manet- Luncheon on the Grass.1863
Naeem Mohaiemen.( London, 1969)
I had the pleasure of meeting Naeem Mohaiemen on Dec 3rd 2018, I emailed him asking if I could interview him as part of my research and he suggested meeting at the Tate Britain cafe as he was in the country for the Turner Prize.We spoke about inspiration and his shortlisted films for the Turner prize 2018.
Two Meetings and a Funeral and Tripoli cancelled were the films that were selected for the Tuner prize.
Tripoli cancelled was the film I was interested in as it is a film about a man stranded at an airport (a metaphor for no mans land) The protagonist to pass the time reflects on a life lived and plays out his memories in the abandoned airport. A haunting take on the migrants experience.
Mohaiemen’s transnational left political work is research-led and includes film archives and stories about the retelling of memories. He highlights decolonisation and memories of political utopias. the erasing and rewriting of memories of political utopias.
Rebecca Harper ( London, 1989)
I first became aware of Rebeccas work when I visited Turps Banana end of year show at Paul Stolper Gallery, Bloomsbury in 2018. The paintings below were exhibited at the London Art Fair with Animamundi Gallery, January 2019.
Rebecca Harper, Stouping (2017)
Sikelela Owen( 1984, London) James Freidman Gallery
Wilhelm Sasnal ( Tarno, Poland, 1972)
Michael Armitage ( Kenya, 1984)
David Streatfield( 1945) My dads paintings from the 60s and 70s, these were on the walls of my house growing up and subconsciously his work has influenced me a lot.
Chantal Joffe ( 1969)
Matthew Krishanu ( 1980)
Jenny Saville (1970)
Sir John Everett Millais
Diego Velasquez (1599)
Caroline Walker (1982)