When working in a museum with my after-images, I find that I often have formed habits in terms of the times of the day I paint, how I enter and leave the gallery with the painting, and for how many hours I will work. When I am in place in the gallery, I enter a state of mind that I could only describe as a ‘retreat’ – time spent with the original painting. However, I am also conscious that I am on display, that I am performing, that I am seen seeing, as the copyist. Phelan continues, “Repetition is distinct from habit, in part, because repetition involves the recollection of the previous time.” 107 My act of painting in copying is a repetitive act, and in my case its significance is doubled as I return to the same kinds of Ideal Landscape over and over again. 108 For example, the ‘recognition’ I feel in front of Landscape with Rebekah cannot be fully explained or satisfied, so I have to return to learn more about it, and this accumulation of knowledge does not resolve my desire to return, quite the contrary, it enervates it.
A paradox arises in my attitude towards the painting that shows itself in my role as an artist, as opposed to my role as a viewer, both of which I try to fuse in my practice. The Chilean writer, artist and filmmaker Raúl Ruiz describes a scene from a Lisbon museum. 109 It is about a civil servant who spends his nights copying a painting by Hieronymous Bosch. All his copies are many times larger than the original, and they only show parts of the painting. Ruiz writes, “… but because he added other details, his version is more exact”. 110 Another example connected to the desire for copying can be found in the Louvre of today, where one of the museum’s own security officers returns to the museum during his holidays to copy masterpieces in order to create his own collection. 111
Obsession, for the artist, has many facets; the differences perhaps can be related to the notions of original and imitation, where the artist as genius represents the first term and the craftsman, imitator, forger and amateur represent the second term. 112 Here we find the basis for our traditional view of the object of art in the West. Without this division, the museum would not exist in its present form. 113 Here I would like to stress that my way of working with vision in relation to the museum relies upon the context of these traditional conventions of the museum. For example, ‘the art museum’ as institution has been the focus of critique by artists, in particular throughout the 20th century, with contemporary artists inhabiting the museum to alter/mediate/affect the displays. 114 My work is often made in relation to the 19th century model, still stored in my mind as the ‘museum’. For me it is where paintings have remained in the context of their time, and therefore stayed more open to the forms of mimicry I work with. Where there is the instance of the museum itself questioning its role, this steady context is lost and the focus of my work could be compromised. Conversely, the stability of the museum (however much a fantasy it is) means that I do not have to consider my material again for every presentation, as it is based on the relation to the original, the institution.
;)
;)
107 Ibid.
108 See Matts Leiderstam Moderna Museet Project, Moderna Museet, Stockholm, 1999, here work in relation to Nicolas Poussin (1594-1665), Spring or The Earthly Paradise, 1660-1664.
109 Raúl Ruiz, Poetics of Cinema, Editions Dis Voir, Paris, 1995, p. 43. Ruiz has taken the scene from the novel Requiem by Antonio Tabucchi.
110 Ibid., p. 43.
111 Joseph A. Harriss, “Master Class”, Smithsonian magazine, October 2002, pp. 76-81.
112 According to Larry Shiner, handicraft, science and art were separated in the late 17th century. This separation was the condition for the development of aesthetics and the notion of “fine art” and “handicraft”. Larry Shiner, The Invention of Art, University of Chicago Press, Chicago and London, 2001.
113 Larry Shiner claims that the modern Western artist’s role grew out of the ‘liberation’ of the artist from the role of the artisan: ”Whereas the ideal qualities desired in an artisan/artist in the old system combined genius and rule, inspiration and facility, innovation and imitation, freedom and service, these qualities were finally pulled apart in the course of the eighteenth century. As it happened, all the ”poetic” attributes – such as inspiration, imagination, freedom, and genius – were ascribed to the artist and the ”mechanical” attributes – such as skill, rules, imitation, and service – went to the artisan.” Larry Shiner, The Invention of Art, University of Chicago Press, Chicago and London, 2001, p. 111.
114 See the work of artists such as Andrea Fraser, Hans Haacke, Louise Lawler and Guerrilla Girls. See also artists’ own writing on the subject, The Museum as Arena: Artists on Institutional Critique, ed. Christian Kravagna, Kunsthaus Bergenz, Walter König, 2001.
Åsberg, Stig
Page: 20(a.)
after-image
Page: 5, 5(a.), 26, 32, 34, 40, 48, 49, 55, 56
Akerman, Chantal
Page: 3, 3(a.), 57(a.)
Alberti, Leon Battista
Page: 27
Angelo Giorgio, Cardinal
Page: 19, 19(a.)
Armitage, John
Page: 51(a.)
Art Institute of Chicago
Page: 32
Arvidsson, Kristoffer
Page: 35(a.)
Ashburton, Lord
Page: 19(a.)
Bätschmann, Oskar
Page: 33(a.)
Bal, Mieke
Page: 8(a.)
Barton, Judy (character in Vertigo by Alfred Hitchcock)
Page: 30
Baudelaire, Charles
Page: 44
beat, the
Page: 44
Beckett, Samuel
Page: 39
Bellini, workshop of Giovanni
Page: 28
Bierstadt, Albert
Page: 17
Bjurström, Per
Page: 19, 19(a.), 33, 57, 57(a.)
Blaugrund, Annette
Page: 17(a.)
Bonaparte, Lucien
Page: 19(a.), 41(a.)
Bosch, Hieronymous
Page: 40
Brealey, John
Page: 19, 19(a.)
British Museum, London
Page: 22, 22(a.)
Brooklyn Museum of Art, New York
Page: 45
Bryson, Norman
Page: 2, 2(a.), 8, 8(a.), 27(a.), 44(a.)
Butler, Judith
Page: 48, 48(a.), 49
Calaresu, Melissa
Page: 9(a.)
Calefato, Patrizia
Page: 43, 43(a.)
Cavalli-Björkman, Görel
Page: 19(a.)
Cederström, Gustaf
Page: 46, 46(a.)
Certeau, Michel de
Page: 53
Cézanne, Paul
Page: 39
Church, Fredric Edwin
Page: 17, 17(a.)
Claude Glasses
Page: 5, 12, 18, 51, 54
Claude Lorrain Mirror
Page: 10
Claude Mirror
Page: 5, 10, 11, 18
Claudian
Page: 11, 14, 14(a.), 15, 17, 41, 41(a.), 53, 56
Claudian gaze
Page: 17
Claudian light
Page: 14
Claudian model
Page: 14, 14(a.), 15, 41(a.)
Cohen, Ernst
Page: 8(a.)
Constable, John
Page: 25(a.), 41(a.)
copy
Page: 4, 4(a.), 5, 5(a.), 20, 22, 25, 26, 30(a.), 31, 32, 32(a.), 34, 38, 40, 41, 41(a.), 42, 42(a.), 44, 48, 51, 55, 57
copying, act of -
Page: 31, 51
copyist
Page: 26, 32, 34, 40, 41, 42, 44
Courbet, Gustave
Page: 34(a.)
Crary, Jonathan
Page: 13, 13(a.)
cruising
Page: 8, 35, 35(a.), 44, 44(a.), 49
Dahlbäck, Bengt
Page: 20(a.)
Degas, Edgar
Page: 44
Dercon, Chris
Page: 51(a.)
Düsseldorf School
Page: 15
Dughet, Gaspard
Page: 27
Dunwell, Frances F.
Page: 16(a.), 17(a.)
El Greco
Page: 2
Elster, Madeleine (character in Vertigo by Alfred Hitchcock)
Page: 30, 31, 34, 38, 44
Fabiani, Bardo
Page: 43(a.)
Fahlcrantz, Carl Johan
Page: 14, 15
Ferguson, John "Scottie" (character in Vertigo by Alfred Hitchcock)
Page: 30, 31
Ferrier, Maïten de
Page: 32
Field, Cyrus
Page: 17(a.)
framing
Page: 7, 33, 35, 51, 54
Fraser, Andrea
Page: 40(a.)
Fredlund, Björn
Page: 8(a.), 19(a.)
Fried, Michael
Page: 28(a.)
Göteborgs Konstmuseum, Gothenburg
Page: 8(a.), 19, 19(a.), 46, 46(a.)
Galleria degli Uffizi, Florence
Page: 24
Gallerie Brunner, Paris
Page: 19(a.)
Gardner, Jack
Page: 29(a.)
gay
Page: 8, 35, 35(a.), 44, 45, 46, 47, 48, 48(a.)
gaze
Page: 4, 5(a.), 8, 9, 13, 17, 20, 23, 24, 26, 27(a.), 28, 29, 30, 31, 34, 35, 36, 42, 44, 44(a.), 45, 47, 48, 49, 50, 52, 54
gender
Page: 30, 43, 48(a.), 49
Georgel, Chantal
Page: 24(a.)
Gilpin, William
Page: 9, 9(a.), 12, 12(a.), 16, 16(a.)
Giori, Cardinale
Page: 22
Goldfarb, Hilliard T.
Page: 28(a.), 29(a.)
Gombrich, Ernst Hans
Page: 25(a.), 48(a.)
Gordon, Douglas
Page: 30(a.)
Grünewald, Matthias
Page: 2
Grammel, Sören
Page: 30(a.)
Granath, Olle
Page: 4(a.)
Grand Tour
Page: 9, 14, 32, 35(a.)
Grate, Pontus
Page: 37(a.), 41(a.)
Gray Mirror
Page: 10
Great Chain Overlook, The
Page: 5
grid
Page: 24, 25, 25(a.), 26, 37, 38, 44, 46, 47, 49
Guerrilla Girls
Page: 40(a.)
Gustaf Adolf VI of Sweden, King
Page: 18
Hansen, Constantin
Page: 8(a.)
Harriss, Joseph A.
Page: 32(a.), 40(a.)
Hedén, Karl-Gustaf
Page: 8(a.), 19, 19(a.)
Herrmann, Bernard
Page: 30(a.)
Hidaka, Ritsuko
Page: 24, 24(a.)
history
Page: 1, 7, 15, 18, 19, 20(a.), 21, 24, 26,32(a.), 35, 41(a.), 44, 46, 47, 48, 55, 56
Hitchcock, Alfred
Page: 30
Hockney, David
Page: 11(a.)
Holger, Lena
Page: 46(a.)
horizon
Page: 25, 27, 35, 38(a.), 41, 52, 53, 54, 56
Hudson River Highlands
Page: 16, 16(a.), 17(a.)
Hudson River School
Page: 17, 17(a.)
Isabella Stewart Gardner Museum, Boston
Page: 28, 29(a.)
Isakson, Karl
Page: 39
Kennedy, Randy
Page: 45(a.)
Kitson, Michael
Page: 22(a.)
Købke, Christian
Page: 8(a.)
Konstantin Konstantinovich of Russia, Grand Duke
Page: 46, 46(a.)
Kopp, Céline
Page: 42(a.)
Krauss, Rosalind
Page: 25, 25(a.)
Kulick, Don
Page: 44, 44(a.), 49
Kunstverein München, Munich
Page: 30(a.)
landscape, Arcadian -
Page: 9, 35
landscape, cultivated -
Page: 16
landscape, designed -
Page: 10
landscape, Dutch -
Page: 10
landscape, lost -
Page: 16
landscape, national -
Page: 9, 14, 15
landscape, Nordic -
Page: 15
landscape, pastoral -
Page: 21, 34, 35
landscape,pictorial
Page: 14
landscape, Roman -
Page: 11
landscape, Romantic -
Page: 52
landscape, Swedish -
Page: 14, 15
landscape painter
Page: 5, 14, 17, 19(a.)
landscape painting
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
Landscapes, Ideal -
Page: 9, 9(a.), 22(a.), 33(a.), 35, 40, 41(a.)
Landscapes, Imperial -
Page: 14, 14(a.)
Langdon, Helen
Page: 11(a.), 33, 33(a.), 57(a.)
Lawler, Louise
Page: 40(a.)
Lefebvre, Henri
Page: 27
Lenbach, Franz von
Page: 30(a.)
Liber Veritatis
Page: 21, 22, 22(a.)
linguistic matrix
Page: 25
Lorrain, Claude
Page: 2, 4, 4(a.), 5, 8, 8(a.), 9, 10, 11, 11(a.), 12, 12(a.), 13, 14, 15, 16, 18, 18(a.), 19, 19(a.), 20, 21, 21(a.), 22, 22(a.), 23, 25, 25(a.), 26, 27, 28, 33, 33(a.), 34, 34(a.), 35, 36, 36(a.), 38, 38(a.), 41, 41(a.), 42(a.), 51, 52, 53, 54, 55, 56, 57, 57(a.)
Louvre, Paris
Page: 24, 32, 32(a.), 40, 44, 44(a.)
Lyberg, Louise
Page: 32(a.)
Magasin 3 Stockholm Konsthall, Stockholm
Page: 35(a.)
Maillet, Arnaud
Page: 12(a.)
Malsch, Friedemann
Page: 28(a.)
Manson & Woods, London
Page: 8(a.)
Martin, Elias
Page: 14, 14(a.)
Matisse, Henri
Page: 39
memory
Page: 7, 11, 17(a.), 20, 30(a.), 31, 35(a.), 41, 41(a.), 43, 51
Merleau-Ponty, Maurice
Page: 24, 24(a.), 27, 27(a.), 39, 39(a.), 55, 55(a.)
Metropolitan Museum of Art, New York
Page: 17(a.), 24
Metz, Philip
Page: 30(a.)
mimicry
Page: 5, 6, 34, 40, 47, 49, 51
Mitchell, W.J.T.
Page: 11(a.), 14, 14(a.), 28(a.), 38(a.), 48(a.)
Moderna Museet, Stockholm
Page: 20, 40(a.)
Molvidson, Martin
Page: 46(a.)
Mulvey, Laura
Page: 30, 30(a.), 31
Musée Fesch, Ajaccio, Corsica
Page: 41, 41(a.)
museum
Page: 4, 4(a.), 5, 8,18, 19, 20, 20(a.), 23, 24, 24(a.), 25,26, 27, 28,29, 29(a.), 30, 30(a.), 31, 32, 32(a.), 33, 34, 36,38, 40, 40(a.),42, 42(a.), 43, 44, 44(a.), 45, 46, 46(a.), 47,49, 50, 51
Museum of Modern Art, New York
Page: 45, 45(a.)
National Gallery, London
Page: 24, 41(a.)
Nationalmuseum, Stockholm
Page: 4, 4(a.), 5, 8(a.), 18, 19, 19(a.), 20, 20(a.), 24, 27, 32, 32(a.), 37, 38, 41(a.), 46, 47, 48(a.), 55, 57(a.)
nature
Page: 7, 9, 12, 13, 17, 18, 24, 33, 34, 39, 43, 47, 48, 51, 57
Newman, Michael
Page: 51, 51(a.), 52, 52(a.)
New Orleans Museum of Art, New Orleans
Page: 8
Nilsson, Håkan
Page: 48, 48(a.)
Nordic Light
Page: 15
Nordqvist, Per
Page: 14
Novak, Kim (actor in Vertigo by Alfred Hitchcock)
Page: 30
original
Page: 4(a.), 5, 5(a.), 8, 14, 18(a.), 19(a.), 20, 22, 25, 25(a.), 26, 29(a.), 32, 33, 34, 39, 40, 41, 41(a.), 42, 46, 46(a.), 47, 48, 48(a.), 49
painting, historical -
Page: 6, 24, 30, 35, 41(a.)
painting, landscape
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
painting, lost -
Page: 26
painting, process of -
Page: 39, 57
Palazzo Riccardi, Florence
Page: 19(a.)
Pehrson, Mathias
Page: 18(a.)
perspective
Page: 11, 18, 27, 27(a.), 33, 44
Persson, Helena
Page: 8(a.)
Petterson, Åke
Page: 18(a.)
Phelan, Peggy
Page: 5, 39, 39(a.)
Phillips, Tony
Page: 27(a.)
pictures journey
Page: 8
Picturesque
Page: 5, 9, 9(a.), 10, 10(a.), 11, 11(a.), 12, 12(a.), 14, 16, 17, 18
Pollock, Jackson
Page: 48(a.)
Pordenone, Bernardino Licinio da
Page: 28(a.)
Poussin, Nicolas
Page: 9, 27, 33, 33(a.), 40(a.), 41(a.)
Prado Museum, Madrid
Page: 41(a.), 53
Röthlisberger, Marcel
Page: 8(a.), 19, 19(a.), 21, 21(a.), 22(a.), 34(a.), 35, 35(a.), 36, 36(a.), 37, 38(a.), 41, 41(a.), 42, 42(a.)
Rørbye, Martinus
Page: 8(a.)
Raphael
Page: 36
Rebekah
Page: 4(a.), 5, 15, 16, 18, 19, 19(a.), 20, 21, 22, 23, 25, 25(a.), 26, 28, 32, 33, 35, 36, 37, 37(a.), 38, 40, 41, 42, 47, 55, 57
recognition
Page: 2, 8, 28, 38, 39, 40
Rembrandt van Rijn
Page: 19(a.)
restorer
Page: 18, 19, 19(a.), 20, 21
Rossholm Lagerlöf, Margaretha
Page: 9(a.), 22(a.), 33, 33(a.), 34, 34(a.), 41(a.)
Rubens, Peter Paul
Page: 41(a.)
Sandberg, Ragnar
Page: 39, 39(a.)
Sandrart, Joachim von
Page: 36, 57
Sarto, Andrea del
Page: 30(a.)
See and Seen
Page: 1, 4, 5, 6, 9, 29(a.), 44, 47, 49, 50, 54
seeing, act of -
Page: 27, 43, 49, 54
seeing, moment of
Page: 21, 48, 54
seeing, process of -
Page: 5, 26
seeing, way of -
Page: 7, 9, 14, 18, 39, 51
shepherd
Page: 4(a.), 19(a.), 22, 33, 35, 42
Shiner, Larry
Page: 40(a.)
spectator
Page: 11, 11(a.), 13, 29, 29(a.), 30, 33, 38(a.), 41, 43, 44, 50, 53
Stewart, James (actor in Vertigo by Alfred Hitchcock))
Page: 30
Stewart Gardner, Isabella
Page: 28, 29, 29(a.), 49
Storrie, Calum
Page: 44, 44(a.)
tourist
Page: 5, 7, 9, 9(a.), 10, 13, 18, 54
translate
Page: 2(a.), 11, 19(a.), 26, 39, 46
translation
Page: 1, 18(a.), 19(a.), 27(a.), 39(a.), 55(a.), 57(a.)
Turner, J.M.W.
Page: 11
US Military Academy at West Point, New York State
Page: 5, 16, 17, 18, 54
vanishing point
Page: 11, 27, 51, 52
Vertigo
Page: 30, 30(a.), 31, 38, 44
Victoria & Albert Museum, London
Page: 43
viewer
Page: 2, 4, 5, 7, 13, 17, 18, 21, 23, 24, 24(a.), 26, 27, 28, 29, 29(a.), 30, 33, 34, 38, 40, 41(a.), 43, 44, 45, 47, 48, 49, 50, 51, 54
viewing, act of -
Page: 13
viewing, conditions of -
Page: 44
viewing, modes of -
Page: 13
viewing aids / instruments
Page: 10, 13, 48
Warner, Deborah Jean
Page: 10, 10(a.), 12, 12(a.)
Williams, Raymond
Page: 7, 7(a.), 10, 10(a.)
Wittgenstein
Page: 48(a.)
Wood, Marjorie 'Midge' (character in Vertigo by Alfred Hitchcock)
Page: 31