Mind or Matter?

 

More books.

No matter how many books I acquire, I always have space left in my ‘enthusiasm quota’ to delight in a few extra to add to my library.  I would like to say that I am a discriminating purchaser, but I realize that what I actually am is an omnivorous bibliophile.  I find no problem in finding a reason to purchase a book and am an extremely good fabricator of justifications.

My self-imposed task of writing a short monograph on the famously un-famous German painter Adam Elsheimer has given me the ideal opportunity to spend more and have volumes winging their way to me.

The most substantial book is the truly excellent catalogue that accompanied the 2006 exhibition of Elsheimer’s work shown in Edinburgh, Dulwich and Frankfurt – a scholarly and exhaustive work extending the pioneering efforts of Keith Andrews.  This is going to be a key book in my research.

The second of my new volumes is a very much smaller books called “Lives of Adam Elsheimer” that is a compilation of early biographers of the artist translated by Keith Andrews with an introduction by Claire Pace.  It’s under a hundred pages long, but is an invaluable source of documentation of contemporary information.

The last if a book from the past, one of a series of large format magazines that comprised the series of “The Masters” published in Britain in 1966.  This one is number 53 “Elsheimer”, 14 colour prints with an introduction by Malcolm Waddingham.  Originally each of the issues cost the princely sum of 6/- (six shillings or 30p) though I paid considerably more than that and for a second-hand copy too!  Though I do have some of the other issues that I bought at the time.

I now have three books that deal principally with the artist and a series of other publications that mention him.  My reading so far has given me a clearer idea of the artist himself and also is beginning to suggest a way of approaching the writing I intend to do.

Or I could just sunbathe!

The flesh is willing, but in my view, it is still far too pale to be acceptable and autumn is almost upon us and lazing time has its expiration date.

One has to make a judgement between the intellectual and the sensual and, as the most interesting thing that I have experienced today is evaluating the new non-alcoholic G&T (not convincing) it perhaps gives you some idea of where my priorities lie!

The direction is set!

Adam Elsheimer, self portrait

The hunt is on! The game’s afoot!

There is nothing quite so satisfying as playing at research. I have had numerous opportunities to do this seriously, but have generally squandered those opportunities, and have instead settled for the more mundane and parochial research of Man + computer + limited library.

Having been fascinated by a painting that I saw in the National Gallery in Edinburgh, I am slowly garnering information and indications about the life and work of Adam Elsheimer.


Elsheimer (1578-1610) is a famously un-famous painter, whose work is generally unknown and unappreciated, but a painter who influenced a whole direction of pictorial representation, influencing painters as famous as Rembrandt and he was a painter who counted Rubens as an admiring friend.

Of course, in the world of art history Elsheimer is well regarded and has a respectable number of scholarly monographs and books written about him, but outside this rarefied world his is not a name that comes to mind when talking about great artists.

Adam Elsheimer. Rest on the Flight to Egypt.

Probably his most famous painting is “Rest on the Flight to Egypt” where the Holy Family is depicted in a landscape setting at night. Illumination comes from separate sources: the moon and its reflection on water; the constellations and a depiction of the Milky Way; shepherds around a blazing fire and a torch held by Joseph. This is a small painting of oil on copper measuring only 31 x 41 cm. It is believed to be one of the first naturalistic depictions of a night-time scene with accurate rendering of stars in their constellations. It has been suggested that Elsheimer might have been influenced in his painting by the discoveries of Galileo. It was a painting that Elsheimer kept for himself, in his bedroom and may well have been one of the last paintings that he completed before his early death at the age of thirty-two.

Elsheimer was a meticulous artist whose paintings demand intimate viewing. Indeed, in one exhibition of his work, visitors were given a plastic magnifying glass as part of their admission price so that they could look at aspects of his work that were difficult to appreciate with the naked eye: “Devil in the detail” was the subtitle of the exhibition!

Elsheimer was German, born in Frankfurt and ended his life in Italy. Although he produced a small number of paintings because of his attention to detail and the painstaking way in which he worked, the influence of his paintings was extended throughout Europe by their use as the inspiration for a number of etchings and prints. The influence of his tiny paintings explodes into something more epic in the much larger paintings of Rubens and Claude.

Although Elsheimer was modest about his own ability, he was famous and, what is more, he seems to have been what you might term “an artist’s artist” who was highly regarded and much copied.

Altogether, Elsheimer is a fascinating character as well as a wonderfully gifted artist and well worthy of more study. At least by me.

The first thing to do is (breathe it not to Toni) buy more books. I have no books on Elsheimer, and reading through what I have already written that is hardly surprising. His name does not jump out at you from what is generally a fairly meagre collection of volumes of art history in most bookshops.

I will, assiduously, set about building up a collection of and about Elsheimer that will be the wonder of . . . well, at least my street. And yes, I do realize that owning a single volume of his work will probably allow me to gain that accolade!

If the fates are generous then I should be able to utilize not only my course books from my last OU Renaissance Reimagined module, but also the course books that I have bought from the module that I cannot afford to take about art and its global histories.

Although it seems a simple statement to say that Elsheimer was born in Frankfurt and moved to Rome via Venice, it does not give the requisite detail to realise just what the moves meant and what the places represented.

Italy (Metternich’s famous dismissal as nothing more than a “geographical expression”) was not a country then; Rome was the home of the papacy, but a European power in its own right; Venice was one of the most powerful city states in the world with financial and cultural links to the known and unknown world, a centre where the interchange of cultures could thrive. While Frankfurt, a commercial and intellectual centre by the middle of the sixteenth century, had become crucial in the development of the Reformation linked with the rise of a confident middle class. In other words, there is a lot to think about before you even get to a consideration of the works of art. I do enjoy a good wallow in historical, social, religious and political background!

I am not sure if we have any Elsheimer works in Barcelona, but I will find out. And if not, then I will travel to where there are.

Any excuse!