BRIDFAS
British Decorative and Fine Arts Society
of Brussels
BRIDFAS Events 2010-2011
Our 25th Anniversary Celebration
Deborah Howard
BRIDFAS marked its 25th Anniversary in May with a special lecture by Deborah Howard, Professor of Architectural History at the University of Cambridge. (See the lecture page for more information.)
Her lecture on the “Impact of the Islamic World on the Architecture of Venice” supplied the inspiration for the evening’s Venetian theme. We began with a prosecco toast and delicious Venetian buffet.
The Brussels Madrigal Singers
The Brussels Madrigal Singers then delighted us with a selection of Venetian, British and Belgian madrigals, a perfect mix considering the location of our society and our anniversary theme. The choir was directed by Julius Stenzel, a former cellist in the RTBF Symphony Orchestra, and we were given the added pleasure of hearing Rosalind and Pam, two of our members, sing.
Above: Tiffany and David Prodger,
Deborah Howard and Robert Perry
Deborah Howard,
Julian and Julie Hartland-Swann
After Mr. David Prodger, the British Deputy Head of Mission, addressed our society, Professor Howard gave us a brilliant look into little-known aspects of a much-loved city.
In lieu of a lecture fee, we were proud to make a donation to the Cambridge 800 Campaign, a major fund-raising effort which marks the University of Cambridge’s 800th Anniversary and provides an endowment to safeguard its future excellence in research and scholarship.
A world-famous author and scholar, Professor Howard kindly offered four beautiful books for our raffle.
Many thanks to Robert Perry for organising such a wonderful lecture. Thanks also to FULCRA International Financial Planning for sponsoring the lecture and to Ferrero confectioners for supplying “sweet” souvenirs of our 25th Anniversary Celebration.
Photos courtesy of Paula Cagli
London Study Day 2010, Saturday, November 20
Paul Gaugin
Gauguin
“Gauguin: Maker of Myth” was a perfect title for the exhibition BRIDFAS saw on its 2010 study day at the Tate Modern in London. In fact, Gauguin actively cultivated myths about himself. Not only did he exaggerate the tales of his exploits in foreign countries, especially Tahiti, but he painted scenes of those countries that did not exist in real life.
His purpose was two-fold. He wanted to please the tastes of the lucrative Parisian art market at the same time that he wanted to leave a legacy about himself and his work.
The exhibition is thematic, and the first room is dedicated to Gauguin’s self portraits. Here, at a glance, the history of the man, his psychology and the changes in his style are immediately obvious. The first works are made by someone who is self-assured and knowingly handsome. They are works done in a relatively classical style with realistic colours and a flair for bold, engaging poses.
As money got tighter and life got harder, Gauguin became less certain of himself. He looks at us either with exaggerated proportions, a challenging gaze, a blank stare, or even in the guise of a pensive Christ. Slowly his colours become pure, outlines heavy and juxtapositions unusual. Most touching is his last work where he simply depicts himself with cropped hair in a hospital gown.
So important to Gauguin’s fame, two of the eleven rooms of the exhibition are dedicated to documenting his life and times. There are photographs of the artist, his wife, his children and the places he visited and depicted.
The exhibition is large, and it gives a complete picture of the cult surrounding Gauguin’s personality and his artistic production. Beyond his paintings, it includes sculptures, wood carvings, drawings and prints. One particularly fascinating piece of pottery shows the artist with a bloody severed head in the form of a mug from which to drink!
Most of all Gauguin is best known and best loved for his paintings. Here, too, the exhibition does his staggering legacy justice. It shows his evolution from an impressionist painter of still lives and domestic scenes to an avant-garde painter of landscapes and exotic women.
Two Tahitian Women
He gradually abandons the impressionist style of small strokes, pastel colours and fleeting images in favour of a new style dominated by large zones of pure colour, black outlines and solid forms. While this makes him appear to be heavily influenced by naive art, his use of colour is actually very sophisticated and uniquely his own. The fascination lies in the juxtaposition of sombre shades of dark, evening colours with sunlit fuchsias, vermilions, and lime greens.
Tahiti offered him the ideal occasion to optimise his colour palette. Whether he depicts a brown-skinned native girl offering ripe, red fruit or a deep green-toned girl lying languidly across a bed with a lemon yellow pillow, Gauguin creates harmony from contrast and gives his paintings an atmosphere of indecipherable intrigue.
Nearly 40 people attended the BRIDFAS study day, including the former chairman and his wife who have since moved back to the UK. After an inspiring preparatory lecture and sumptuous exhibition, we were treated to coffee and cake at the Tate café. We all enjoyed the well deserved rest and relaxed chat. As usual, Victor’s organization was impeccable, and we’d all like to thank him for such a lovely day spent together.