Queensland Art Gallery Presscuttings Book 8 : Pressclippings, 1977-1981

A Century ofmoderY!firt The Thyllflen-Bomemlua exhibition in– cludes 107 paintings which represent 100 yean of Modem European and American ut. TI1e collection is not as impressive as the fanfare mighl suggest. II is lrue that ii is a very signilicant exhibition by Australian standards. This is nor meant to be a criticism ; it is simply a matter of too Ii Ilic. too late. Australia and especially Queensland is a victim of profound cultural deprivation. This is witnessed by lhc gawkish public curiosity generated by every major ex– hibition that floats lo our shores. It is not surpnsmg then that the Thyssen– Bomemisza Collection has been the most popular exhibit ion ever shown in Brisbane. There are a number of specific dis– appoinlmenls in this exhibitinn. Monet's "Ice Breaking Up al Vethcuil" represents a relatively obscure period in his artistic development. This painting belongs to a period which precedes the abstractionist waterlilies series and follows the luminosity of his earlier work . . A similar criticism can be applico to Bonnard's "Luncheon under the Lamp". This painting is bland and monotonal in comparison to his latter masterpieces. It is a misrepresentation of the exuberant and glistening quality of Bonnard's famous intimate domestic scenes. This criticism of misrepresentation is not isolated and can be levelled at a large number of paintings in the exlfibition. Fauvism is represented by two paintings. Paintings by Henri Matisse can only be seen lo be conspicuous by their absence. Asurvey of Fauvism or Modern Art for that matter is incomplete without Matisse. His treatment of colour and composition which was based on. an instinctive response is intrinsic to an understanding of lhc development of modern art. The early American paintings are con– servative and lacklustre. The parochial American realism represented in this ex– hibition is a non-event. These paintings are interesting because they provide a quaint sociological dimension to the development of American art . This strong reactionary element within American Art continued for almost half a century. American Arl which precedes Jackson Pollock and Queensland Art Gallery, 5th floor, M.I.M. Building, Ann Street. PORTRAIT DE GEORGE DYER DAN UN MIROIR by Francis Bacon, 1958. Abstract Expressionism reflects a tentative and inarticulate response to European Modernism. Jackson Pollock and the Abstract Ex– pressionists are well represented in this exhibition. Even though Jackson Pollock's "Composition 11" is small in scale this surprisingly docs not reduce its emotional and visual impact. ''Composition 11" is the work of an artistic giant who through his own sense of personal conviction re– defined the boundaries of modern art. In comparison the earlier American Realism appears trammcllcd by a Renaissance tradition which had become impotent and absurdly inappropriate. Willem De Kooning unlike Pollock maintains a dialogue with visual reality . ''Abstraction" expresses the tension between the beautiful and the ugly , order and chaos, reality and ~motion , movement and still– ness which is characteristic of De Kooning's personal genius. Of course there are other paintings in the exhibition which allain this level of artistic achievement and integrity. These include Francis Bacun's "Portrait of George Dyer in a Mirror" which is disturbing and enigmatic. This group also includes the Impressionist paintings especially Renoir's "Woman with a Parasol", a slice of old world charm, which is a line example of the aims and ideals of French Impressionism . This pain_ti~g alone reaflinns the superior place traditionally afforded lo painting within the arts. fhe criticisms levelled at this exhibition should be seen within the proper perspective . The Thyssen-Bornemisza collection re0ects the individual tastes of the Baron and his late father. Although it represents an extensive survey of Modern Art it is 1101 meant to be artistically re– presentational or historically definitive. Also it is a collection of paintings which were never meant to represent the highest levels of artistic and intellectual integrity . This is expressed quite clearly in the foreword to the catalogue : "Baron Hans Heinrich Thyssen-Bornemisza has learned to appreciate modern art not through books but by looking closely at the works them– selves ...". This rather euphemistic state– ment throws light on the special character of this collection. Despite these shortcomings the Theyssen– Bornemisza collection is a rare cultural event. Its breadth of scope is somewhat staggering. It would therefore appeal to a variety of personal tastes. The collection offers an historical overview of the develop– mental patterns of a century of modern art. Comparisons of these developments are in– evitable. Teachers, students, artists and those. seriously interested in art should not miss this uncommon opportunity . The. educational materials which accompany .this exhibition arc excellent. The exhibition will be on display unIii 30 March. •JAN SMITH