BOTTICINI

Botticini, for all of his genius, is historically illusive. We have very few works confirmed to be by his hand, but many more which have since been attributed to him with some certainty, though without the necessary records to be definitive. His handiwork exists as invisible threads pulled by art historians, finding fingerprints of a master, and contemporary of Da Vinci, in works long mis-authored. Born in Florence as the impact of the Renaissance was growing, his father made and painted playing cards and trained the young Francisco in his early life, before he joined Leonardo Da Vince as an apprentice in the workshop of Del Verrocchio. Botticini’s work was unusual, graphic and compositional strange, perhaps inspired by the playing cards he grew up painting. The work, despite obvious technical signs of age, feels extraordinarily contemporary, the manipulation of planes and positioning of Jesus is almost surrealist. It is a celebratory, affecting and uncanny work of reverence and experimentation.

STUART DAVIS

In Jazz music, a basic chord structure is improvised on by musicians, creating new and unlikely combinations and songs from a base starting point. Stuart Davis’ paintings can be understood in the same way; he worked within a theme, painting series of similar images where he would alter the color, the geometric composition and scale but retain the base formal components. Employed by the Works Progress Administration, that gave artists jobs painting murals during the Great Depression, he was fiercely patriotic, depicting America in joyous reverie. His works are jazz ballads, loose and unstructured by rich in emotion in movement. This is a fragment of a preparatory work of his masterpiece, “Swing Landscape”. It depicts workers at a dock, abstracted and frenetic. There is an inherent optimism to Davis’ paintings of contemporary life, he renders labour and leisure in the same vivid style, uplifting the everyday occasion into musicality.

EMIL CARLSEN

Regarded as one of the greatest painters of his day, Carlsen struggled financially throughout his career. He worked mainly in still lives, beautifully and delicately rendered in a palette of soft hues and fine brushwork, and he held many prestigious teaching posts across America. Yet, still lives were hard to sell, having fallen out of vogue in favour of portraits, nudes and landscapes. It would take the Cubists to resurrect the medium some decades after he Carlsen reached prominence, and Carlsen found himself a master of an art-form considered dead. Despite that, he persisted, sure in the importance of the medium and his creations. “The simplest and most thorough way of acquiring all the knowledge of the craft of painting and drawing”, he said, “[is] the study of inanimate objects, still life painting, the very surest road to absolute mastery over all technical difficulties.”