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    Photogravure etchings at https://kamprint.com/ and https://kamprint.com/xpress/

    Photogravure etchings at https://kamprint.com/ and https://kamprint.com/xpress/

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    Photogravure etchings at https://kamprint.com/ & https://kamprint.com/xpress/

    Photogravure etchings at https://kamprint.com/ & https://kamprint.com/xpress/

La Touraine

The Loire is the last wild river in Europe, flowing unimpeded from Mt Gerbier, in the eastern Massif Central, to the Atlantic. Yet it’s not completely wild. Levees built in the Middle Ages keep the Loire within bounds, without which it would spread out as it once did throughout the entire valley. The levees are now topped with roads, and with grass covering the sides there is no sign of this ancient flood control project. Imagine the countryside without the levees, and it becomes one grand estuary, with the river wandering and changing course every few years.

The many chateaux of the Loire Valley and the Touraine were the playground of French royalty.

Azay-le-Rideau

Azay-le-Rideau

Chenonceaux

Chenonceau

Kings and dukes, counts beyond counting, and numerous lesser lords built dozens of chateaux here. These started out as forts and evolved into pleasure-palaces, such as Azay-le-Rideau. Renaissance chateaux such as Chenonceaux with its ballroom-gallery built onto a bridge over the Cher, and Chambord — ostensibly a hunting lodge — with its dizzying array of roof-designs and Escher-like double-spiral

Chambord

                       Chambord

staircase, completely discarded the austerities of the previous era. Such excesses eventually enraged the people who were taxed to support these follies. Nothing is left of the chateau built by the much-unloved Cardinal Richelieu, its stones taken and used for more plebian constructions. All that remains is a large park and his ‘ideal city’ which resembles a prison. Other chateaux fell in war, occasionally leaving splendid ruins like the one at Lavardin.

Lavardin

                                                Lavardin

Still others decayed through weathering and neglect, like Villandry before it was restored by a penniless Portugese aristocrat who had the good fortune to marry a rich American heiress. The gardens were restored to medieval paeans to Love.

Villandry

Villandry

Medieval medicinal herbs are still grown today in the gardens of Villandry.

The real wonder is not that so many chateaux have survived, but that so many have been maintained in a condition suitable for visitors. This is due to an ingenious French institution known as the Compagnons du Devoir, a guild whose members have completed a series of apprenticeships in the traditional building techniques. Once certified, they are assured of work for life: Whether the treasures of national patrimony are in public or private hands, proprietors must employ members of this guild, usually at premium rates, to do all the restoration. The name of their order (literally ‘Companions of Duty’) suggests their role as upholders of national patrimony.

The Most Beautiful Villages in France

Villages announcing themselves as the most beautiful in France invite skepticism — who decides such things? The designation is surprisingly accurate, though, as a visit to Lavardin confirms. The village is graced by a splendid ruin, a Romanesque church, numerous cave houses (maisons troglodytiques), and the banks of Le Loir (a tributary of La Loire).

Village of Lavardin

                                        Village of Lavardin

L’Association Les Plus Beaux Villages de France was started in 1981 by Charles Ceyrac, Mayor of Collonge-la-Rouge. As of 2010, the list includes 152 villages in 21 regions and 66 Departments of France. The judging is done by elected officials and partner companies, based on local history, patrimony, architectural quality, urbanity, environmental quality, the inhabitants’ savoir-faire in the art of living, and absence of theme parks and similar distractions. To qualify, the village must have at least two officially protected sites and agree to enter the Association by means of a local council decision. The selected villages are also subject to continued review and de-classification. More info here.

Da Vinci and Mick Jagger in Amboise

Leonardo's boats

                      Leonardo’s boats

What do Leonardo da Vinci and Mick Jagger have in common? They have both lived in Amboise. Leonardo da Vinci spent the last three years of his life in Clos Lucé, within sight of the chateau of his friend and patron King François 1st. There da Vinci continued his drawings and studies of everything from plant life to flying machines to principles of landscape. The Clos Lucé has working models of da Vinci’s inventions, including these pedal-driven double-paddlewheel boats for river transport. All of da Vinci’s inventions of course consume no electricity, and might profitably be used today. Mick Jagger is (incredibly) about as old now as da Vinci was in his days at Amboise. Perhaps they’d enjoy comparing croissants at a neighborhood cafe.

Scenes from a Vernissage

Saint Cyr-sur-Loire, across the Loire from Tours, hosted an exhibition of the Mongolia photogravures. A five-minute video of the vernissage (opening of a painting exhibit), narrated by the inimitable Mireille Turquois, Secretary-General of the Association Touraine-Mongolie, is here. This group consists of people who have visited Mongolia or would like to, and is part of an active program of international relations conducted by the Touraine region of central France.

St Cyr-sur-Loire vernissage

                              St Cyr-sur-Loire vernissage

The vernissage (opening) held April 6, 2010, attracted a large number of enthusiastic viewers. An April 10 conference at the Tours Museum of Fine Arts, sponsored by the Friends of the Museum, gave participants a chance to learn more about the history and technique of photogravure. Tours has a special place in this history as the home of Abraham Bosse, author of a 17th-century manual of printmaking technique that is still in use around the world. As the aptly titled book, Abraham Bosse, savant graveur, by Sophie Join-Lambert and Maxime Préaud (Tours Museum and Bibliothèque Nationale de France, 2004), makes clear, Bosse showed the way to linear perspective and tonal gradation of depth that became essential resources for all the graphic arts. Well, it’s a long way from 17th-century printmaking technique to photogravures of Mongolia, by way of an American artist living in Kamakura, Japan, but this is all within the cultural perspective of the people and political officials of Touraine. It is a privilege to take part in their extraordinarily high level of artistic appreciation, which is completely inter-twined with the art of living that the French have given to the world.

Lavardin

                     Lavardin, photogravure etching, Peter Miller

Gone With the Wind

Fallen ginkgo tree at HachimanguAt 4:40 am on the morning of March 10, 2010, a security guard at Hachimangu heard a sound like snow falling off a roof. Only there was no snow. Then he heard a thunderous crack, and a dull crash. Rushing out to investigate, he saw the 30-meter ginkgo tree that had stood for 1,000 years was lying on its side. Living since before the existence of Kamakura and Hachimangu, the ancient tree was completely uprooted by winds that reached 12 meters/second during one night.

No one was injured.

The demise of the giant tree has been attributed to internal rot, softening of the ground by heavy rains, and strong winds during the first months of 2010, related to ‘El Nino’ weather patterns. The tree was officially designated a natural monument, and has long been known as a symbol of Hachimangu and Kamakura. The chief priest of Hachimangu is too shocked to comment on the matter. The Asahi Newspaper’s headline ‘Gone With the Wind’ evokes the grandeur of this irrevocable loss.

As with the reign of Emperors, time seems divided between before and after the demise of this evocative symbol. Residents and tourists alike have gathered at the site to see with their own eyes whether it is really so. The shock of the loss is palpable, but why such shock? The loss brings back many childhood memories, of school excursions, of dressing-up in kimono or hakata and going to Hachimangu Shrine for shichi-go-san, the festival for girls who are three and seven years old, and for five-year-old- boys. Like a human death, the loss of this once-vibrant being causes people to reassess their own lives, to check that they themselves are still living, and to ask what that living consists of. Whether it’s their work, their relationships with family and friends, their cultural pursuits, or the recognition of their own existence as part of nature, from this shock may come a re-dedication to the human lives and natural environment around us, that we care for them while we and they are still alive.

Here is the ginkgo tree at Hachimangu in better days.

Hachimangu ginkgo in brilliant glory

The Asahi newspaper of May 12, 2010 carried an article featuring this print and The Kamakura Print Collection workshop.

While nothing can replace the Hachimangu ginkgo tree, this one at Myohoin Godaido is equally brilliant (usually in the first week of December), and its setting behind the thatched-roof temple is lovely. Sandstone cliffs (not shown here) shelter the tree from wind and provide a background of depth and majesty.

Godaido gingko

The ginkgo is the world’s most ancient living tree: It originated two hundred million years ago, in the time of the dinosaurs. Imagine the adaptive ability of a tree whose seeds were once distributed by dinosaurs, which are now distributed by birds. The ginkgo is the only link between pines and ferns, its seed-coverings like those of pine cones, yet clustered like those of palm-ferns. A unique species, botanists have assigned the ginkgo its own genus. (This is a great honor among botanicals.) Some in China have lived for 2,500 years or more. Clues to their longevity lie in their resistance to insect pests, fungal, viral, and bacterial infections, to cold, snow, and ice, CO2, and even to radiation.

Ginkgo trees come in two flavors — male and female. The seeds when they drop and decay give off butyric acid which is also found in rancid butter. If harvested, the seeds can be roasted and eaten, they taste like a combination of pine nut and pistachio.

The leaves, when dried and processed, have been shown in well-designed scientific studies (reported in JAMA and elsewhere) to improve blood circulation and memory, and to prevent acute mountain sickness in rapid-ascent climbing. They may also be useful for treatment of dementia. Ginkgo extract is a $280 million business in Germany, where it is prescribed by doctors (five million times per year) and covered by national health insurance. Further information about the ginkgo tree, including how to grow it, history, medicinal uses, photos, videos, and much else, is here.

Sub Rosa

Sub Rosa, photogravure etching

Sub Rosa, photogravure etching

Comment by Alex Gorodny, Director, Artetage Museum of Contemporary Art, Vladivostok, Russia:

Sub-Rosa is Vladivostok!

Peter Miller has been here three times and now can’t help but truly feel, in his heart, what our city is about.  However, one could find such a landscape anywhere in the world.  But this is a chronicle – a historic record:  you can see the graveyard of sunken ships right alongside seaworthy ships — ready for new adventures — at the mouth of the Golden Horn, a bay in meditative sadness.  The stillness of the bygone greatness pulls in the bystander, makes him stop, not just to witness the past… but, I believe, yearn to witness the future… because this city — the whole of this place is magnetic… Such landscapes as these give food for thought; they make you stop and ponder…

Here Peter Miller’s tender lyrics — tinged with anxiety and consequence — are filled with formidable primordial fantasy that is possibly not within everyone’s grasp.  This landscape becomes surreal.  All of the author’s compassion, the openness of his artistic soul, is represented in this beautiful example of photogravure art.

I have acquired Sub-Rosa for the Artetage Museum for two reasons.  One is that this piece of art is really close to me.  When I was young I used to work as a sailor in the Vladivostok port fleet for several years.  Second, this is a great artistic work!

A. Gorodniy,

03.10.09

English translation by American astronaut Alvin Drew, Gagarin Space Center. Original Russian text:

Sub-Rosa – это Владивосток!

Хотите видеть подводные лодки, как розы, хотите – розовые подводные лодки…

Питер Миллер был здесь трижды и не мог не видеть того, что явствует нашему городу

абсолютно и полноценно. Хотя, этот пейзаж можно найти в любом уголке мира. Здесь  –  документ:   мы Sub Rosaвидим свалку затонувших кораблей, суда готовые ещё к своим походам, устье бухты Золотого Рога в состоянии задумчивой грусти. Тишина былого величия притягивает зрителя, заставляет остановится и стать свидетелем не только прошлого, ему, как мне представляется, захочется быть свидетелем и будущего, поскольку город этот и место притягательны. Такие пейзажи навевают… , заставляют призадуматься…

У Питера Миллера здесь нежная  лирика атмосферы тревожна и  значима, заполнена грозной, фундаментальной фантазией, и возможно это не каждому по нутру. Пейзаж этот становится сюрреалистичен. Все сочувствие автора, его открытость души художника,  представлена в прекрасном образце искусства фотогравюры.

Я приобрел Sub-Rosa  для музея Артэтаж по двум причинам: Первое – это то, что для меня  близко, поскольку несколько лет в юности проработал матросом в портовом флоте Владивостока. Второе – это замечательное произведение!

А.Городний

03.10.09

An art-inspired view of the world

What if we let our artistic responses guide our understanding of the world, rather than the other way around? The conventional view makes art out to merely reflect reality — in a nice or nasty way, or in an approving / disapproving way — but basically derivative. But the truth is that a lot of what we take as solid reality is the product of imagination. The power of imagination to re-form the world becomes clear when we consider our artistic responses as primary; and laws, regulations, studies, models, and so on as rationalizations of conclusions arrived at viscerally.

Sea turtles have to be saved because they are officially an ‘endangered species’, not because they are lovely creatures that deserve to live for their own sake. We pretend that science and law require their survival, as if a study or a regulatory re-classification could justify their extinction. Yet it’s that first impression, an essentially artistic response, that animated the human desire to keep them around.

Sea turtle

Art exists to realize that response in graphic form, thereby creating and renewing a contemporary sense of reality. Through form and texture, line and shape, color, tone, shading of light and dark, dynamic composition, and other means, images become so memorable that we refer to them when we want to know what a particular slice of life looks like.

Everyone has the imagination to do this. Once the notion of artwork ‘capturing’ or documenting something is discarded, a whole new world opens up, a world shaped by one’s own vision, where novel graphic forms, textures, and tones give new meaning to our surroundings.

Viewer response to the ‘Unexpected’ video

Viewers seeking to while away five minutes and 47 seconds might like to join the many who have already seen the video Accidental Discoveries and Unexpected Pleasures. Noted screenwriter and author Robert Whiting writes, in a review exclusively for this blog, ‘Outstanding piece of film making. The lighting and cinematography are first rate. And so is the acting. The guy who plays Peter Miller really nails his character, avoiding the temptation to overact. The opening scene, in which the sound of footsteps can be heard in a deserted bamboo grove, builds anticipation and suspense in a way that is reminiscent of Steven Spielberg’s finest work.’ High praise indeed, but we won’t let it go to our head. Cast and crew will redouble their effort to make the sequel a worthy successor.

The video Accidental Discoveries and Unexpected Pleasures (偶然な発見と楽しみ) reveals how fleeting visions of light and shadow are transformed into ink on paper, through the magic of photogravure etching. Filmed in Kamakura’s bamboo temple of Hokokuji (報国寺), and in my workshop, the video interweaves hands-on demonstrations of how the prints are made with answers to questions like: ‘Why go to all this trouble?’, ‘What’s the difference between a photogravure etching and a conventional photo?’. See the video for my take on these and other mysteries.

日本語のバージョン (Japanese version) of the video is here.

Wedgwood and photogravure

Two hundred fifty years after Josiah Wedgwood established his pottery firm in Stoke-on-Trent, England, its bankruptcy this month reminds us anew of how taste changes. The firm’s colorful floral designs on luminescent bone china were once the favorite of European royals and their followers. But now casual living and lower cost are more in favor. What does this have to do with photogravure? Unremarked in all the obituaries is the opportunity missed in the early days of the Wedgwood firm: Thomas Wedgwood, Josiah’s son, was one of the first to experiment with light-sensitive materials — materials whose form changed by the direct action of sunlight. Young Wedgwood made photograms (contact prints) of leaves and other objects in the 1790s, but the exposure once started could not be stopped, and the prints darkened with further viewing. We don’t know whether Wedgwood considered using light-sensitive materials to bake designs into pottery, but had the firm done so, perhaps it would have a greater variety of design available today. Several decades after Thomas Wedgwood’s experiments, William Talbot used different light-sensitive materials to develop the permanent prints we know today as photogravure etchings.