Hype: Den store Storm P.-bog

Den landede for nogle uger siden, men det gør den ikke mindre aktuel. Den Store Storm P.-bog er et overflødighedshorn af den danske humorists bedste værker — valgt på tværs af tid og genre. Den dækker hele karrieren og alt fra ungdommens grove satire og ekspressionistiske maleri over banebrydende tegneserier som De tre små mænd og Nummermanden og Den kulørte side til klassiske plakater og ‘opfindelser’ og ikke mindst, alderdommens flue-bevingede visdomskondensater. Og meget mere.

Bogen er redigeret af Steffen Rayburn-Maarup fra forlaget Aben Maler i samarbejde med Storm P.-museet og Alvilda, der som bekendt i disse år har gang i en større udgivelsesrække med Storm P. Og jeg har haft æren at skrive forordet, hvilket trak tænder ud, men endte med at være en fornøjelse. Storm P. er svær at skrive om, fordi hans geni er så svært at indkredse, og fordi han bare er sjovere en dig og mig og hvad vi kan finde på at sige om ham. Men jeg har i efterhånden en del år gerne villet prøve kræfter med opgaven og her kom den så. Jeg havde givet mig selv alt for dårlig tid til at producere det gennemarbejdede essay, jeg førhen havde forestillet mig at ville skrive, men sådan er virkeligheden jo og jeg endte med at være godt tilfreds, selvom meget (‘i en perfekt drømmeverden’, som min mand Thorhauge altid siger) kunne have været bedre.

Men hul idet, det er Storm Ps. fantastiske og usigeligt morsomme tegninger det handler om, og dem har den her bog in spades. Læs den.

PS — bogen er også planlagt til udgivelse i USA, hos kvalitetsforlaget Fantagraphics. Hvornår ved jeg ikke, men du kan læse mere om det her.

Arcadia in Print Quarterly

Giulio and Domenico Campagnola, Musicians in a Landscape, c. 1517, engraving, Berlin, Kupferstichkabinett

In the latest issue of Print Quarterly (vol. XXXI, no. 4), I’ve reviewed the catalogue of the exhibition “Arcadia — Paradies auf Papier, Landschaft und Mythos in Italien”, displayed at the Kupferstichkabinett of the Staatliche Museen in Berlin earlier this year.

The exhibition was based entirely on the Kupferstichkabinett’s incredibly rich holdings and provides a stimulating overview of Arcadian imagery in Italian graphic art from c. 1440-1640.The catalogue is written by Dagmar Korbacher, Christophe Brouard and Marco Riccòmini. It contains innovative takes on especially the Venetian drawings and engravings of Giulio and Domenico Campagnola and related artists, like the above masterpiece by the two of them.

De nye genreserier i Information

Fra Rybergs Gigant

I ugens Bog(Forum)tillæg til Information kan man læse min anmeldelse af en håndfuld nye danske udgivelser med forbavsende mange fællestræk. Mit postulat er, at de er udtryk for en bredere tendens blandt tidens yngre tegneseriemagere, nemlig at ny, personligt vinklet tilgang til de traditionelle genrer.

De anmeldte tegneserier er Lars Kramhøft og Tom Kristensens Inficeret, Tatiana Goldbergs Anima, Glenn Augusts Lava og Rune Rybergs Gigant.

Læs anmeldelsen her. Men bemærk venligst, at overskriften og rubrikken (som det er reglen med avistekster) ikke er mine.

Soul on Fire

This review is was originally published in Danish at Rackham in 2004 and is reprinted here as a supplement to the short essay Yvan Alagbé’s comics that I’ve just published over at The Comics Journal.

The French-Belgian publishing structure Éditions Frémok, or FRMK for short, has now been in the game for ten years, initially separately, as Belgian Frémok and French Amok, and since 2002 together. They have managed one of the most consistent and challenging publishing programs in avant-garde comics. They have unerringly emphasized the boundary-breaking, the experimental, and often fine arts-oriented comics by some of the most innovative creators in Europe, people such as Thierry van Hasselt, Olivier Marboeuf, Dennis & Olivier Deprez, Stefano Ricci, Silvestre, Kamel Khélif, Vincent Fortemps, Michael Matthys, Dominique Goblet, Martin tom Dieck, Nabile Farès, Aristophane, and the Dane Søren Mosdal.

Their publications are unequivocally high art and as such expose themselves to criticism on two flanks. One is the risk of pretentiousness and postulated profundity, the other is the inevitable comparisons with other forms of visual art, comparisons which tend to put this kind of sequential painting to a disadvantage. Unsurprisingly, FRMK’s publication history is one of precarious and not always successfully negotiating these difficulties, but the fact that they persist is entirely to their credit. It is refreshing to see somebody uncompromisingly asserting their belief in the potential of the medium to fathom the wide expressive range that has traditionally been the domain of other media.

Hype: Titian’s Early Portrait of a Man in Copenhagen

And they keep coming… although this is probably the last one in a while. Part of my core research as a fellow at Statens Museum for Kunst in Copenhagen centred on the early Titian portrait of an elderly man (above), which is on long loan to the gallery from Ny Carlsberg Glyptotek. That the sitter might just be his teacher, the great painter Giovanni Bellini, doesn’t make this sensitive portrait less interesting. The results of my research, and — crucially — that of restorer Troels Filtenborg, are now published (in Italian) for all to see in the storied journal Arte Veneta, published by the Fondazione Giorgio Cini in Venice.

Here’s the English abstract:

The article provides a thorough examination of the Portrait of a Man by Titian in the collection of Ny Carlsberg Glyptotek, on permanent loan to Statens Museum for Kunst, Copenhagen. Its provenance is laid out in unprecedented detail. A thorough technical examination reveals that the portrait was painted on top of another, cancelled one, showing a figure dressed in a red garment. It further reveals that the landscape view at left was added to what was originally a plain background. The painting’s attribution to Titian, which has been occasionally disputed, is considered and affirmed with reference to the technical evidence as well as comparable works in his oeuvre. This also provides a likely date of completion around 1512. Lastly, it is proposed that the first, overpainted sitter may have been the Venetian senator Andrea Loredan di Nicolò, for whom Titian worked his early years. As for the person portrayed in the finished picture, the long-standing if controversial hypothesis that he may be the painter Giovanni Bellini is discussed. While this identification impossible to affirm conclusively, the authors consider the arguments in favour sufficiently strong that it should not be dismissed.

The volume can be acquired directly from The Fondazione Cini, as well as from Mondadori. Or any self-respecting art library, I should think, for those understandably reluctant to fork out the big bucks.

Hype: Titian and Bonasone

Here’s another one. In the latest issue of Zeitschrift für Kunstgeschichte (vol. 77, no. 3) I have an article on Titian’s collaboration with the printmaker Giulio Bonasone in the early 1560s. Examining their collaboration not only sheds new light on Titian’s active involvement in printmaking, but also on the chronology of his paintings for Philip II and the Spanish court during these years. And then there’s the above drawing, always placed in the Titian studio but never convincingly attributed. I think I’ve made a decent case that it’s by Bonasone (with retouching just possibly by Titian himself).

Read it at your art library! TOC here.