"Deadened snowscape sound" is so well put, Chloe. It was a little frustrating not being able to show his paintings worked up from photos of people where (for me) his limitations as an artist appeared. I think his earlier landscapes are gorgeous, however.
I must admit I did not know of this painter-photographer. His ambition or desire to become Paris's greatest painter (or really of anything) was lofty indeed. I noticed one of the photographs was by Berenice Abbott, one of the best of the best of her time (one of my friends was Abbott's last apprentice; wonder how the two of them met). I had the same impression as Mary about "Girls with a Doll": Wednesday Addams. (I wonder what the seeming fascination is with dolls in Japan.) There is a lot to notice in that piece, such as the dolls (?) in the glass jars on the mantle and the faces. I agree with you, Jeffrey, that the self-portraits are the more interesting of what you're able to show us. I appreciate that you write an honest opinion of an exhibition like this, rather than accepting what curators indicate. Do have a great vacation.
Abbott's work (though I'm not so familiar with it) is fabulous, isn't it?
All I can say about the importance of dolls in Japan is that it's complex and longstanding. There seem to be religious, cultural and social aspects to it. I'd hesitate to try to summarise!
I think I'm still processing this exhibition and would like to see more of Foujita's paintings on display in one space to get a better sense of his work. As for curators, I always have great respect for their work and always learn a huge amount from them. However, trying to "read" an exhibition critically for oneself is part of the joy of the experience.
The friend Maureen speaks of (aren't the connections happy?) as "The Last Apprentice" of Abbott (memoir coming soon, we hope) is my partner, Julia. It was said of Abbott's Paris portraits that to be shot by Abbott then meant you were somebody. This one, in its starkness and sitting profile, is characteristic.
Thank you, Jay, for sharing what is, as you say, a happy connection. Interesting to see this confirmation of Foujita’s celebrity status. And I look forward to that memoir!
It would be wonderful if additional work could be exhibited. You are right, of course, that judging an artist’s work requires seeing lots of it, observing it closely, and reading helpful critical evaluations. You have a great sense of art’s merits, and also understand that first impressions can always be adjusted. I admire how you write about the exhibitions you attend.
Thank you for your kind words, Maureen. Even after decades of viewing art, I remain a real amateur. I'm surprised I have the temerity to write about it at all. But I find the act of engaging with an exhibition hugely stimulating (if exhausting). And I don't know about you, but I prefer to read about works after I have come to an initial impression myself, so I never, for example, use the audio guides (though I'm sure they are excellent).
Don’t sell yourself short, Jeffrey. I always find something in your art write-ups that make me curious and want to do a bit of poking around myself. I don’t think there really is a right or wrong way to look at art, though you are absolutely correct that developing the eye takes time, lots of visits to museums and galleries, and deep interest. I almost never read wall text, unless I’m interested to know how the artist has titled something or its date, and I’m not a fan of audio guides, especially in a crowded gallery. If it’s not too expensive I’ll buy an exhibition catalogue and take that home to learn more.
Thank you for your kind words, Maureen. I'd agree that how you read the art is less important than approaching it with curiosity and wonder (and some scepticism in reserve). When/if I lose those two things, I'll stop going.
“Girls with a Doll” is my favorite. It’s Wednesday Addams at her most baleful, about to cut off the head of the doll in her lap and maybe the heads of the two girls standing on either side. I think of Warhol as well, constantly cultivating his image. The “secret sauce”: baby powder and white paint. The cats! I know I’m looking back, unfairly, from an Instagram world. I agree with you that the photos taken of the artist are most engaging. And because he’s classified as “unclassifiable,” it’s hard not to reach for a definitive label.
Thank you for this delightful piece, Jeffrey. Safe travels.
Wednesday Addams – now that you mention her, that seems a very apt comparison, Mary. Yes, the "unclassifiable" label comes almost as a challenge... But I don't know if I can really go beyond that word in his case.
Thank you for your comments, Mary. They mean so much to me!
Jeffrey, I agree with Mary about "Girls with a Doll." I wonder if this is the kind of work that leads to the Magical Realism label, verging on incipient horror. I must say also that I like the effect of urban flux in "People in Front of a Bus" -- the orientation of the standing bodies in front of the bus windows.
I can certainly see the incipient horror in that painting. There were one or two others, painted from photos that I'd call creepy...One or two of his photos did stand out. I like what you say about the urban flux. There was also a good one taken on a beach that I couldn't track down online.
Wednesday Addams holds a special place in my heart; any artist who can channel her gets my vote. I appreciate your deep curiosity and the enthusiasm you bring to all of your work.
Very Charming, especially when you’re in your mid- Sixties. Must love cats or dogs 🐕, essential for everyone to. Animals are a big comfort at times of distress or fear.
Thank you for commenting, Linda. I know many people find comfort in having a dog or cat. Foujita certainly seems to have been attached to cats, judging from the images on display.
Thanks for this, Jeffrey. I was in a bookstore the other day and I browsed a few books about him and his art. I like some of his paintings, but as you’ve noted, I’ve always found his persona more intriguing than his art.
What an interesting work of art. And I love the idea as artist as object too. It's funny how much someone reveals of themselves when trying to create an 'image' to face the world. And also cats.
Another artist I didn’t know, who you have illuminated for me, Jeffrey. I really enjoying your essays on artists, poets, writers etc., they are so interesting! It’s so cool to hear a bit about their life, a bit about their work, and a quirk or two unique to them. Thank you. :)
These are new to me Jeffrey and I find them very compelling, especially Café - very Jean Rhys! Thank you for opening my mind to something, as you so often do.
It's always interesting to see how artists mask their weaknesses, whether it be with hands or faces. Since my husband is classically trained, he points out things that I certainly would never notice! Artists see the world differently, indeed! Foujita strikes me as a man who loved the idea of being an artist more than anything else.
I certainly agree that Foujita was in love with the idea of being an artist. Perhaps even more, he loved the image of himself as an artist, I think. It wasn't an abstraction for him. It was about an emodiment - in himself.
My favorite from this collection you shared is the Porte d’Arcuei. A standout! It’s refreshing to hear your critique of works that others may have deemed masterful. Sometimes I walk away from an exhibit scratching my head, and resign to thinking I’m the only one. :)
Thank you, Kimberly. I found that painting quite beguiing too - unlike some of his other work. When it comes to views of art, I guess my main feeling is “vive la différence!”
Jeffrey, I’m struck by your ability to detach from the curator’s message and approach this confounding work with a curious gaze. It’s been a long time since I felt such a visceral dislike for an artist. His doll faces and pseudo-Dutch Golden Age girls make my skin crawl (I looked them up). As troubling as the work itself is my reaction to it, which I find hard to explain. “Kitsch” is the word that comes to mind, but it seems lazy. You have challenged me this morning.
I hope the challenge wasn't too disagreeable, Rona! Perhaps the description of unclassifiable is right after all. His work maybe defies easy labelling for unfavourable as well as sympathetic judgements?
Thank you, Mathew. There were a few tantalising glimpses of the chapel in the exhibition. They made me think of the late work of Matisse in his own chapel. Foujita became a Catholic late in life so perhaps he thought the chapel would bring together in another way the strands of his life and art.
I would love to visit the Matisse chapel one day. I think that’s exactly what Foujita was aiming for. He’s buried there. (I think alongside his wife, but I might have mis-remembered that.) Not having been to Vence, the place it reminded me of most was Stanley Spencer’s Sandham Memorial Chapel.
I've not been to the Spencer Chapel. In fact, I haven't visited Vence, but it was recreated in large part at the major Matisse exhibition I saw in Tokyo last year.
Oh I like the snowy scene from 1918... you can almost hear that deadened snowscape sound.
Also, "And his treatment of hands often seemed rather lacking in grace." - a statement somehow equal parts kind and cutting. Well done, Jeffrey.
"Deadened snowscape sound" is so well put, Chloe. It was a little frustrating not being able to show his paintings worked up from photos of people where (for me) his limitations as an artist appeared. I think his earlier landscapes are gorgeous, however.
I must admit I did not know of this painter-photographer. His ambition or desire to become Paris's greatest painter (or really of anything) was lofty indeed. I noticed one of the photographs was by Berenice Abbott, one of the best of the best of her time (one of my friends was Abbott's last apprentice; wonder how the two of them met). I had the same impression as Mary about "Girls with a Doll": Wednesday Addams. (I wonder what the seeming fascination is with dolls in Japan.) There is a lot to notice in that piece, such as the dolls (?) in the glass jars on the mantle and the faces. I agree with you, Jeffrey, that the self-portraits are the more interesting of what you're able to show us. I appreciate that you write an honest opinion of an exhibition like this, rather than accepting what curators indicate. Do have a great vacation.
Thank you, Maureen!
Abbott's work (though I'm not so familiar with it) is fabulous, isn't it?
All I can say about the importance of dolls in Japan is that it's complex and longstanding. There seem to be religious, cultural and social aspects to it. I'd hesitate to try to summarise!
I think I'm still processing this exhibition and would like to see more of Foujita's paintings on display in one space to get a better sense of his work. As for curators, I always have great respect for their work and always learn a huge amount from them. However, trying to "read" an exhibition critically for oneself is part of the joy of the experience.
The friend Maureen speaks of (aren't the connections happy?) as "The Last Apprentice" of Abbott (memoir coming soon, we hope) is my partner, Julia. It was said of Abbott's Paris portraits that to be shot by Abbott then meant you were somebody. This one, in its starkness and sitting profile, is characteristic.
Thank you, Jay, for sharing what is, as you say, a happy connection. Interesting to see this confirmation of Foujita’s celebrity status. And I look forward to that memoir!
It would be wonderful if additional work could be exhibited. You are right, of course, that judging an artist’s work requires seeing lots of it, observing it closely, and reading helpful critical evaluations. You have a great sense of art’s merits, and also understand that first impressions can always be adjusted. I admire how you write about the exhibitions you attend.
Thank you for your kind words, Maureen. Even after decades of viewing art, I remain a real amateur. I'm surprised I have the temerity to write about it at all. But I find the act of engaging with an exhibition hugely stimulating (if exhausting). And I don't know about you, but I prefer to read about works after I have come to an initial impression myself, so I never, for example, use the audio guides (though I'm sure they are excellent).
Don’t sell yourself short, Jeffrey. I always find something in your art write-ups that make me curious and want to do a bit of poking around myself. I don’t think there really is a right or wrong way to look at art, though you are absolutely correct that developing the eye takes time, lots of visits to museums and galleries, and deep interest. I almost never read wall text, unless I’m interested to know how the artist has titled something or its date, and I’m not a fan of audio guides, especially in a crowded gallery. If it’s not too expensive I’ll buy an exhibition catalogue and take that home to learn more.
Thank you for your kind words, Maureen. I'd agree that how you read the art is less important than approaching it with curiosity and wonder (and some scepticism in reserve). When/if I lose those two things, I'll stop going.
“Girls with a Doll” is my favorite. It’s Wednesday Addams at her most baleful, about to cut off the head of the doll in her lap and maybe the heads of the two girls standing on either side. I think of Warhol as well, constantly cultivating his image. The “secret sauce”: baby powder and white paint. The cats! I know I’m looking back, unfairly, from an Instagram world. I agree with you that the photos taken of the artist are most engaging. And because he’s classified as “unclassifiable,” it’s hard not to reach for a definitive label.
Thank you for this delightful piece, Jeffrey. Safe travels.
Wednesday Addams – now that you mention her, that seems a very apt comparison, Mary. Yes, the "unclassifiable" label comes almost as a challenge... But I don't know if I can really go beyond that word in his case.
Thank you for your comments, Mary. They mean so much to me!
Jeffrey, I agree with Mary about "Girls with a Doll." I wonder if this is the kind of work that leads to the Magical Realism label, verging on incipient horror. I must say also that I like the effect of urban flux in "People in Front of a Bus" -- the orientation of the standing bodies in front of the bus windows.
I can certainly see the incipient horror in that painting. There were one or two others, painted from photos that I'd call creepy...One or two of his photos did stand out. I like what you say about the urban flux. There was also a good one taken on a beach that I couldn't track down online.
Wednesday Addams holds a special place in my heart; any artist who can channel her gets my vote. I appreciate your deep curiosity and the enthusiasm you bring to all of your work.
🙏🙏
I find them captivating, Porte d'Arcueil is especially charming. Enjoy your summer break, Jeffrey!
Thank you, Portia! I agree about that work. There are one or two more landscapes on WikiArt and I like them too.
Very Charming, especially when you’re in your mid- Sixties. Must love cats or dogs 🐕, essential for everyone to. Animals are a big comfort at times of distress or fear.
Thank you for commenting, Linda. I know many people find comfort in having a dog or cat. Foujita certainly seems to have been attached to cats, judging from the images on display.
Thanks for this, Jeffrey. I was in a bookstore the other day and I browsed a few books about him and his art. I like some of his paintings, but as you’ve noted, I’ve always found his persona more intriguing than his art.
What an interesting work of art. And I love the idea as artist as object too. It's funny how much someone reveals of themselves when trying to create an 'image' to face the world. And also cats.
Thank you, Evelyn. I guess we all have some kind of image to face the world with? But some try harder than others... 😊
Another artist I didn’t know, who you have illuminated for me, Jeffrey. I really enjoying your essays on artists, poets, writers etc., they are so interesting! It’s so cool to hear a bit about their life, a bit about their work, and a quirk or two unique to them. Thank you. :)
Thank you, Michael. I’m so grateful to you for your comments. It’s great to have you as a reader :)
The pleasure is all mine :)
“Look at me. I’m an artist.”
The photographs of him are great.
Thank you for sharing.
Happy break!
Thank you, Holly!
These are new to me Jeffrey and I find them very compelling, especially Café - very Jean Rhys! Thank you for opening my mind to something, as you so often do.
Thank you for commenting. It's been fascinating to see the different reactions to Foujita’s work. So many perspectives!
It's always interesting to see how artists mask their weaknesses, whether it be with hands or faces. Since my husband is classically trained, he points out things that I certainly would never notice! Artists see the world differently, indeed! Foujita strikes me as a man who loved the idea of being an artist more than anything else.
I certainly agree that Foujita was in love with the idea of being an artist. Perhaps even more, he loved the image of himself as an artist, I think. It wasn't an abstraction for him. It was about an emodiment - in himself.
Interesting reading about Foujita, for the first time. Enjoy your summer break!
Thank you, Yi!
My favorite from this collection you shared is the Porte d’Arcuei. A standout! It’s refreshing to hear your critique of works that others may have deemed masterful. Sometimes I walk away from an exhibit scratching my head, and resign to thinking I’m the only one. :)
Thank you, Kimberly. I found that painting quite beguiing too - unlike some of his other work. When it comes to views of art, I guess my main feeling is “vive la différence!”
Jeffrey, I’m struck by your ability to detach from the curator’s message and approach this confounding work with a curious gaze. It’s been a long time since I felt such a visceral dislike for an artist. His doll faces and pseudo-Dutch Golden Age girls make my skin crawl (I looked them up). As troubling as the work itself is my reaction to it, which I find hard to explain. “Kitsch” is the word that comes to mind, but it seems lazy. You have challenged me this morning.
I hope the challenge wasn't too disagreeable, Rona! Perhaps the description of unclassifiable is right after all. His work maybe defies easy labelling for unfavourable as well as sympathetic judgements?
Without this kind of challenge, I’d get cocky.
I’ve always found Foujita difficult to like, but we visited the chapel he built in Reims last year and found it both beautiful and moving.
Thank you, Mathew. There were a few tantalising glimpses of the chapel in the exhibition. They made me think of the late work of Matisse in his own chapel. Foujita became a Catholic late in life so perhaps he thought the chapel would bring together in another way the strands of his life and art.
I would love to visit the Matisse chapel one day. I think that’s exactly what Foujita was aiming for. He’s buried there. (I think alongside his wife, but I might have mis-remembered that.) Not having been to Vence, the place it reminded me of most was Stanley Spencer’s Sandham Memorial Chapel.
I've not been to the Spencer Chapel. In fact, I haven't visited Vence, but it was recreated in large part at the major Matisse exhibition I saw in Tokyo last year.
I wish that had come here! Perhaps it will. (Or perhaps it did and I missed it…)
Enjoy your weekend.