A History of Pictures, by Hockney and Gayford

a history of pictures

In the format of a semi-dialog, David Hockney and Martin Gayford in A History of Pictures discuss the history and various aspects of  picture-making.

Beautifully illustrated.

The most interesting thing is that Hockney seems not to have a very high regard for photography.

“… I question photography. A lot of people don’t, they accept the world looks like a photograph.

“But colour photography couldn’t get tones like those [Vermeer] as is has to rely on the dyes or printing ink. Those aren’t like paint, and never will be.”

“… I don’t know whether photography is an art. Some photographers considered themselves artists, and some didn’t
… Good photography does require intelligence and imagination but aa lot of it is very mechanical.”

Vermeer, Caravaggio, Degas, Delacrois, a few of the painters mentioned in the book that used photographic techniques for their paintings.

“Photography came out of painting and as far as I can see that’s where it is returning.”

Hellen van Meene in Huis Marseille

Panoramas of death. Strange coffins with almost dead bodies. Grandchildren stand mourning alienated next to the coffin. A dog too. In the film, a cat in the polder that doesn’t seem to want to be photographed and disappears from view. The panorama that does not want to be a panorama because it is upright. A dress blows in front of the coffin, which has been placed on a touching pair of yellow bricks so that it stays upright.

farewall 2 - helen van meene

Surely the best is the image of nothing, or of what was.

In the other half of Huis Marseille show Koos Breukels photographs of his son. Can’t stop thinking: what a brat.

Ed van der Elsken, street photographer in love

I visited Ed van der Elsken’s retrospective at the Stedelijk Museum. Van der Elsken is chaotic and distinctly extroverted, an expressionist. His films are messy and experimental. The exhibition was impressive, but mostly, it was a lot.

I came down the stairs with a full head. The book De Verliefde Camera is the catalog of this retrospective. In the introduction, Hripsimé Visser, the catalog’s compiler, calls the work vibrant and dynamic. Surely that seems like an understatement. The book gives an overview of Van der Elsken’s work chronologically.

Paris, street photographs. Then, a series called A Love Story: Love on the Left Bank. The photographs in this series are large areas of black, little light, and stark—more lust than love.

Then Africa. Again, rather dark photos. Where the story is anthropological, in my opinion, Van der Elsken was much more interested in the aesthetics of black people. Close-ups of Negroes and Negresses, and I don’t mean that as a swear word, but as an indication of the style of the photographs. Photographs that are not about life in Africa as their subject but much more about the anatomy of the African man.

Sweet Life. Van der Elsken at his best: street photographs of everything that comes in front of the camera that he finds interesting. Here, Van der Elsken measures up to William Klein and Robert Frank.

Amsterdam. There are street photos, reportage-style photos, and portraits. Again, the individual photos are the strongest. The street photos are of everyday things.

Eye Love You. Color for the first time. Everyday scenes. Topper: a photo of elderly ladies with sunglasses and in neat dresses photographing two Negro children as if they were at the zoo. The vicarious blush comes to your cheeks.

Japan. Again, the street photos of someone who takes unfettered pictures of everyday subjects.

Ultimately, Ed van der Elsken was primarily an excellent street photographer who tried to make ends meet through his photography. His street photographs are world-class.