The drawn serigraph: An investigation through portraiture
This is a short blog! Â Its simply to present a short film of the exhibition of Printed Portraits that runs until the 7th July.
Please share and if you get the chance drop in to Gallery 16 at Birmingham Museum and Art Gallery.
More details here : HSWM Printed Portraits
and related blog from the opening evening.
“Lord, now lettest thou thy servant depart in peace.”
The last line in Simon Schama’s epic book.
As Duncan Macmillan says in the Scotsman: Schama at his very best. He rises to Rembrandt’s level. In a few sentences …. he summarises how Rembrandt broke the chrysalis of classicism to release the butterfly of modern art …… The result is massive.
I’ve learned much in reading this deeply detailed book by the ‘engaged beholder’. It has given me the opportunity to reflect on the life of the great artist and his range of work. Particularly into his draughtsmanship and portraiture as he sought to ’embody’Â the ‘character’ of his subjects rather than describe them. Insights that will feed into my research plans. Â Thank you.
I visited a range of galleries in Amsterdam recently. Â The Stedelijk, Foam, Marseille Huis, Rijks Museum, Van Gogh Museum which were all a pleasure and update on my previous visits years ago. There are great opportunities to see a wide range of European Art of the highest quality and there was a regular insight and celebration of the value of Artist’s printmaking. Whether traditional etching, lithography and mezzotint, through French poster printmaking to Dutch multi colour photography from black and white negatives made in 18th C Egypt.
However I was most surprised by Rembrandt’s Huis on a city centre High Street.  The Huis he bought and early in his career to include domestic and commercial accommodation for family and clients as well as his Painting Studio, collections room, apprentice salon and ‘etching chamber’. It was also the house he had to sell when he was made bankrupt later in life.  An inventory of all his possessions was made to assess the value that could be accrued. This includes an early picture I had not seen before – old man with curly hair
This inventory has enabled the house to be brought back to its original state for his creativity. I’ve never been one for recreating historic museums, however experiencing the rooms he lived and worked in had a strangely ‘real’ feeling.  He not only painted and printed in these rooms, but slept in that box bed and looked out of that window by the front door he opened and welcomed met clients and sitters.
The experience was brought more to life by a enthusiastic guide and paint preparation and etching demonstrators. They were not dressed in 17th C clothes , but modern black aprons while presenting knowledgable demonstrations of the techniques adopted by the master. Â All of which made more real the experiences, trials and tribulations captured in books and internet films I am researching to understand his portraiture and printmaking.
Pictures from the Rembrandt Huis visit.
Picture from the Amsterdam visit
Rembrandt Huis
http://www.rembrandthuis.nl/en/rembrandt-2/collection/etchings/
View from 2nd floor apartment in Jordan district as night falls. Drawn with Apple iPad, Pencil and procreate app.
Living in apartments opposite apartments it is always enticing to watch what is ‘going on’ opposite and who is passing by in the street below.
 
Very different from a ground floor garden flat in Birmingham England.
Opening charity night was introduced by Dr Ellen Mcadam the Director of the Museum and Art Gallery and the High Sheriff of the West Midlands 2017 John Hudson OBE DL.
Before the speeches there was much networking and chatting to do. Â The star of the show was Lara Ratnaraja’s Mother who had been excited about the event since Lara invited her as her +1. At every turn she was posing with another guest.
Dr Mcadam gave a warm welcome to the Shrieval gathering and the growing positive relationship between the West Midlands Shrievalty and the the Museum Trust as they both have historic value to the city and  region. She was also vey happy to encourage the purchasing of prints from the show as all proceeds will go to supporting the Museum Trust.  John Hudson gave a very warm welcome to the assembled audience and a brief insight into the role of the shrievalty in England and in the West Midlands. He pointed out that he was surprised to meet someone as well turned out as himself in black and silver. He was of course referring to Phil Hawkins from Hodge Hill who has a portrait in the exhibition as a worthy winner of the Bromford Estate local heroes.
We concluded with an acknowledgment that there had been another historic event the previous week – the election of the first ever Metro Mayor for the West Midlands – Mr Andy Street CBE – and that Mayor Street had made the time to attend the opening and come see his portrait. Â We all joined him and went through the curtains to Gallery 16.
Pictures were being sold with all proceeds being donated to the Birmingham Museums Trust.
There waere not many opportunities for visitors to get back from the walls to see the portraits in their ordered lines, however groupings gathered around pictures to cast judgement -all very positive. To see the portraits click the gallery below or actually  go to Gallery 16 in Birmingham Museum and Art Gallery.
May 10 th arrives and the 30 Printed Portraits will be revealed to all and those  who feature on the walls of the Birmingham Museum and Art Gallery.
In the morning I was attending to final details including briefing the wonderful front of house team and remaking the nameplates with larger type and a Shrieval coat of arms. A gentleman came into the space and after a while focussing on the pictures I asked what he thought.  He had seen the exhibition advertised on the BMAG Whats on listings and had travelled in especially from Telford in Shropshire to see it.
We talked about the how he is semi retired and visits galleries near and far to get a sense of artists work close up. We discussed portraits, photography, art before taking a picture of each other. He asked if he could take my picture in front of the Portrait of Eileen Wright as it is his favourite because of the ‘glint in her eye at her age’, as well as the big buttons on the phone she used to take he 97th birthday call.
Mike had been to the TATE in Liverpool to see the Rossetti Monna Vanna portrait and had taken a celebratory picture. I pointed out that next door in Gallery 17 is a beautiful picture by Rossetti of Beatrix.  He thanked me and went to see it, quickly returning with glee and after one last tour of the portraits made his comment in the book.
As the normal viewing day came to a close  a group of women came into Gallery 16. They viewed the portraits with interest and consideration, sharing their views to each other about the portraits and the subjects. They enthusiastically reflected, and nominated their top three! Top of their favourites  was Eileen Wright.
I heard later that evening at the private view that as they left the Museum they met Eileen’s daughter and husband on the gallery entrance doorsteps and eulogised about the portrait exhibition and in particular the one of the older lady making her birthday phone call.   Wonderful
There are many clever,  precise skills and crafts required to hang a 30 frame exhibition.  Especially as I wanted a very aligned approach.  Getting the balance right between the 3 different sizes of frames to provide an equality of status for each portrait, while a unity across the 4 walls was a priority that Dr Rob achieved to perfection with his attention to detail at every stage. Rob also suggested not using the traditional ‘mirror clips’ to hang the show, but to use  security picture fixings. These have the benefit of being hidden from the view as the frames ‘magically’ hang on the wall.  In addition the spring locks are secure and prevent the frames being removed with out the ‘special lever. Lawrence at the Framers was able to supply.
Click on the gallery below to see pictures of the process.
Dr Rob Top tip : If the walls are not necessarily flat – you end up with rocking pictures. This can be remedied with a slice of cork behind the frame, but it can become uneven to look at on the oblique view which matters if the galleries are big.
The exhibition is in the Print Room, Gallery 16 in Birmingham Museum and Art GalleryÂ
The High Sheriff Printed Portraits were framed by Lawrence at The Framers in the Custard Factory, Digbeth, Birmingham. ‘The Hangman’ Dr Rob Grose  and I collected the frames to transport to the hallowed and impressive galleries in the city’s municipal Gallery in the city Centre. Lawrence assisted with the 3 Large A0 frames.  It was a cold and damp start, but we were let through the historic, heavy metal gates and up in the slow, but sure lift to the 2nd floor gallery level.
Gallery 16 was pristine after the recent redecoration, but a tad daunting in its emptiness. While we got underway the galleries seen through our closed glass doors were bustling with visitors and groups of eager school children travelling in from their city schools to see the collections and be inspired to write and draw.  The Front of House staff and volunteers are very experienced, knowledgable and open to engage with all visitors. In fact our first visitor pre public viewings were invigilators eager to see the new exhibition and to understand more in order to respond to visitor’s questions.
Gallery 16 has brass plates on each door designating it the PRINT ROOM.
Originally this was a dedicated and curated print room, but it is now utilised for a range of exhibitions. It seems vey appropriate to be exhibiting the High Sheriff Printed Portraits here.
Click ‘Installation’ gallery to see how we embarked on the hang.
Hanging the exhibition was a revelation. Individual prints began to ‘connect’ with each other and we began to see ‘themes’ that had not been apparent until this moment. Some subjects looked one way, while others looked elsewhere. Hands began to follow each other, and subject’s emotions became clearer and clearer and the exhibition began to reveal itself.  Each portrait and its subject  is important in itself, but gathered together they become a body of work that reflects on the breadth of people I met in the West Midlands in 2015/16.
The exhibition is in the Print Room, Gallery 16 in Birmingham Museum and Art GalleryÂ
My twosome, double up  4 colour silkscreen has been included on the ON PAPER artists submissions site. Â
ON PAPER is a project to promote the art of printmaking and develop connections between printmakers around the world. It is based in Barcelona and run by an art association with Nuria Melero as a main organiser.
ON PAPER contest :Â 3rd ANNUAL ‘ON PAPER’ INTERNATIONAL PRINTMAKING AWARD 2017
The shortlisted artists for the On PAPER Award 2017 will be exhibited in The Chicago Printmaking Collaborative, Chicago USA, from July 8th – August 31st 2017.  More information here :
More about Twosome here :
The Closing Prize night was last night
http://rbsa.org.uk/whats-on/exhibitions/photographic-prize-2017/
