Christo Coetzee: From Office Jobs to Gutai Art

By the late 1950’s Christo Coetzee had been collecting stamps in his passport for the most part of the decade. He completed his studies in fine arts at Wits University in 1951. The months that followed saw him relocate to London and enter into a short-lived marriage with Marjorie Long.

Many mixed years of exhibiting and office work followed, including his separation from his wife, who preferred normal life in the republic, in contrast to Christo’s life in Europe. The end of the 50’s saw Coetzee’s art being exhibited in numerous international art exhibitions in Japan, the United States and Italy. After a two-man exhibition with Lucio Fontana in Paris, he made a move to the eastern edge of the globe.

Shortly after Coetzee’s arrival in Japan he was introduced to the avantgarde Gutai group. This group was birthed in response to the reactionary artistic ideas of the time. They were known for their large-scale multimedia environments and theatrical events. Their work emphasising the relationship between body and matter as they explored new ways of being fresh and original. Christo would eventually leave Japan for Europe.

Christo eventually left Paris to live in a small village in Spain. A trademark of this part of his life was his increased travels to his homeland, by 1975 he moved back to Cape Town on a more permanent basis. The mid-seventies saw the start of the protest years; he started an exhibition and returned after day one to cut up 23 of his paintings. The media labelled him as being angry but he would later explain this Gutai inspired conduct – labelling it as constructive rather than destructive.

Towards the end of his career he received numerous awards, including a Science and Arts Medal of Honour as well as various exhibitions in his name. Christo Coetzee died of colorectal cancer at the end of 2000. The Christo Coetzee House museum and gallery was opened in Tulbagh in August 2011.

(credits: www.wikiart.org)

Christo Coetzee making it big in Europe

Christo Coetzee’s story is typical of most South African artists; studied in South Africa, spend a number of years in Europe, return home to establish a career in art. This Wits alumni made the switch to London’s Slade School of Art in 1951. Unlike many of this peers, this European expedition would last more than a few years. In fact, it was only during the latter part of the 1960s when he would start spending more time in his homeland.

Coetzee travelled to London on a Wits scholarship to further his talent under the mentorship of professor William Coldstream. In 1952 he married Marjorie Long. The newly weds travelled to Spain for an extended honeymoon, which lasted for several months. The new mrs. Coetzee returned to South Africa to continue her teaching work at the university, Christo reluctantly tagged along. He forcibly engaged in the mundane tasks of office work, both at the South African Railways and then at Wits. His journey was lit up by some of his own art and later by some smaller exhibitions. It wasn’t long before Christo decided to find his way back to London. Marjorie never joined him again.

Upon his arrival on British shores he started working as a sales assistant for a tobacco company in London and then moved to working in the framing business. It was during this time that he met Anthony Denney, who would an important part in his career and later on became a good friend.

After spending some time in London he received funds to go to Italy for four months, where he would make several important connections in the art world. After his four months in Italy had come to an end he went on to Paris where he followed up on some of his French connections, which he met through his good friend Anthony Denney. Upon arrival, he met Georges Matthieu and Michel Tapié would introduce to art informel, an art form evident in Coetzee’s latter work.

One might be forgiven for thinking that Coetzee either knew how to ride his luck or it must have been a case of right-place, right-time, as his next stop was Japan; again on a government bursrary. By this time Coetzee was a well-known artist on the European circuit as he was often asked to exhibit in various locations; quite remarkable for a boy from Turffontein.

Christo Coetzee: Great Artists Start Early

Christo Coetzee, a Johannesburg local and part of the Wits group, went beyond the boundaries of Europe by extending his footprint east, to the land of the rising sun. His love for art started at a young age as a student at Parktown Boys High School, arguably even inheriting a talent for drawing from his father, who worked in the building industry during his career.

As a young boy Christo had a vivid imagination, often enjoying the late rains, as they provided him with a natural studio from which to craft an array of mud-sculptures. He continued on this course as a youngster; even building a miniature theatre and making chessmen out of washers and screws he found around the yard. Christo became a real artist at the age of 13, after being commissioned by Finie Basson to do his first painting. The medium sized oil painting of pink and white roses earned him £5. (Binge-Coetzee in Ballot, 1999).

Coetzee grew in stature as his paintings were well received across the globe. It was during time spent in London that one of his works fell in the hands of photographer and stylist, Anthony Denney, who immediately bought it from Coetzee for £12. Denny subsequently invited Coetzee for dinner where he found his art posing above Antoni Clave’s piece. The two become great friends after this, Coetzee even lodging with Denney and paying the rent in paintings.

One of Coetzee’s works, Crespian (1957) was included in an international exhibition alongside artists like Conrad Marca-Relli, Maurice Wyckaert and Alexander Calder. In 1959 his work was exhibited at Galerie Stadler alongside Lucio Fontana.

Japan would be his next destination. He quickly found a likeness in the Gutai group and soon met founder Jiro Yoshihara. He spent the best part of the following year working with Yoshihara. Coetzee eventually had a studio in Tokyo, which led to an exhibition of Informel works at the Minami Gallery in Tokyo. The Gutai group eventually also inviting him to exhibit his works in Osaka in 1960.

After this Japanese exhibition he returned to Johannesburg in 1961 for his first exhibition in South Africa in almost 10 years. After his brief stint in the city of gold he spent many years living in France and Spain.

As one of his Japanese counterparts noted, Coetzee’s art gave him that “fresh feeling”. The artist would continue in this vein for much of his career.

(credits: www.wallsaart.co.za and www.wikiart.org)

Christo Coetzee: From Turffontein to Japan

Christo Coetzee was a well known South African assemblage and Neo-Baroque artist. He is closely associated with the European and Japanese avantgarde art movements of the fifties and sixties. After completing his studies he held several mundane jobs, before turning to an art career towards the halfway mark of the fifties.

He was born at 54 Biccard street, Turffontein, to Josef A. Coetzee and Francina S. Kruger; the latter being a distant of former South African president P. Kruger. Coetzee senior was originally a farmer but after relocating several times, eventually ended up in the building industry. It was here that Josef discovered a talent for drawing; something that proved to be significant in Christo’s art career.

(photo credit: invaluable.com and wikiart.com)

Christo’s love for art started as a teenager when he attended Parktown Boys High School, followed by his time at Wits University where he studied alongside the likes of Larry Scully, Cecil Skotnes, Esme Berman and Nel Erasmus. It was during this time that he would become part of the Wits group, known for their careers that followed their time at Wits. A career in art for the so-called Wits group, was prepared by their teachers; Maria Stein-Lessing, Heather Martienssen and Marjorie Long; the latter who would become his first wife. Coetzee also met another reputable South African artist, Alexis Preller during his time as a student. It seems that Wits was a stepping stone for any budding artist during the forties and fifties.

An exciting yet eventful time for this up and coming South African artist was on the cards following his studies at Wits. He spent a lot of time in Europe during the fifties, even extending his reach to Japan. Christo Coetzee seems to have been at the right place at the right time, as his time at Wits university was followed by a successful stint overseas before eventually embracing the South African art scene in the seventies.

Stanley Pinker, The Artist and Teacher

He was liked by both his peers and students. Remembered as a magnificent man. Stanley Pinker, a leading South African painter, left behind more than just his art. A telling contribution to art and the cultural sphere in general counts him with some of the greats, from Cezanne to Matisse.

‘The Wheel of Life’ painting dating back to 1974 is seen as one of his most noteworthy paintings, fetching R 2.4 million. He used the artistic elements to create a commentary about the political and social climate of the South Africa he lived in. He uses various symbols to depict the state of affairs in apartheid South Africa, something artists of the time seemed to gravitate towards for inspiration. He uses marionettes, a red devil on a bicycle and a red locust, Strelitzias and flags to capture the state of affairs in South Africa. This painting is one of Stanley Pinker’s most direct references to political folly, providing the public with much to ponder on. (source credit www.wikiart.org and www.straussart.co.za)

Stanley Pinker Garden of Eden

In Pinker’s rendition of ‘The Garden of Eden’ one sees the mastery of cubism at work. It is a scene of Adam and Eve, face to face, in the presence of a floral audience. One can be forgiven for getting caught up in the idyllic scene; before noticing the dramatic irony of the situation. The imminent theme of loss is clearly visible as is a contrasting ambience of dark and light, innocence and knowledge. (source credit: www.bonhams.com)

Stanley Pinker’s work speaks of a thorough understanding of European modernism while being rooted in a South African milieu. His return to South Africa after a decade long stay in Europe brought him face to face with the complexities of South African society, breaking away from place specific work to being more content focussed.

That was Stanley Faraday Pinker. A remarkable man known for being a great artist and teacher, accentuating the struggles of society with a reflective tone and touch of humour.

Stanley Pinker’s Influence

South African artists of the 50’s, 60, and 70’s had a tendency of heading for the famed European cities in search of artistic enlightenment. Stanley Pinker followed this trend, trading the African sun for a European chapter. His travels took him to the streets of London and France, but not before being educated at Cape Town’s own Continental School of Art.

The late 1940’s saw Pinker, who had moved from Namibia to the republic some 10 years earlier, enrol at the Continental School of Art under the guidance of Maurice van Essche. His next stop was the Hammersmith School of Art in London. He returned to South Africa for a stint at the Cape Town Art Centre during the 1960’s. His next stop was the Michaelis School of Fine Art, where he became a much loved teacher and mentor. Still remembered by an array of accomplished artists; Marlene Dumas being one of them.

His art is remembered for being a breath of fresh air, many admirers remembering his ability to incorporate some odd objects to his art. Some remembering the buttons he stitched to the back of the coats of musicians in one of his earlier paintings. Stanley Pinker’s art accumulated substantial value, Wheel of Life fetching R 2,4 million on an auction by Strauss & Co.

This artist not only had a following, he created a legacy. He held several exhibitions at SAAA, Western Cape (now AVA). He was awarded the Rembrandt Gold Medal at the Cape Town Triennial. His lifetime devotion to art also earned him the Molteno Medal. His work is housed in many of the major public galleries in South Africa as well as countless private collections, locally and abroad.

The Stanley Pinker legacy goes far beyond the canvas, this great teacher and mentor helped other along the way of artistry.

(credit: http://www.iol.co.za/capetimes/pinker-touched-more-than-paint-brush-1328704)

Stanley Pinker, light-hearted politics

Stanley Pinker was renowned as one of South Africa’s most important “modernist” painters. He is remembered for his distinctive style of ‘afro-surrealism’. A trademark for which he is fondly remembered in the company of Alexis Preller and Cecil Skotnes.

Pinker’s work was a breath of fresh air during the 70’s when art seemed to be stiff and clichéd as artists attempted to make sense of European modernist teachings within an African context. His paintings were often light and lyrical, drenched in colour.

Typical to the South African scene of the 70’s and 80’s, the political climate of the time had a major impact on the artists of the time. Pinker offered the following thought about that time in his career: “…in the dark days of our country, there were times when one had to live with the reality of what one read in the newspapers and saw on TV, but when I went into my studio I did not want to paint those things.” His paintings were also often gently satirical in response to what they were experiencing in every day South Africa. His work was branded by colour and humorous detail which he used as a metaphor to navigate South African politics.

Stanley Pinker was a leading voice on the South African art scene, both as an artist and mentor. His legacy firmly entrenched in the heart of his followers.

Stanley Pinker’s Legacy

Stanley Pinker has been described as a wonderful teacher and great artist. In some admirers’ books he was a magnificent man; yet intensely private. He was of Namibian descent and spent much time in Europe before making his way to Cape Town.

Stanley Pinker started painting at the age of 18 and went on to distinguish himself as an accomplished artist before entering his role as teacher of art. In 1969, after a stint in Europe, he returned home to take up a position at Michaelis School of Fine Arts. Throughout his career he managed to paint and lecture, even putting brush to canvas up until the time of his death in 2012.

He had the typical pedigree of a teacher and shared a passion for art with his students. One of his students was the now well-known Marlene Dumas to who he once wrote in a postcard, “My poor child, you are doomed to be a painter.” In her he recognised the same compulsion that drove his own life. Another well known South African on the art scene was curator Andrew Lambrecht who said, “Pinker had an immense impact on a generation of artists he taught.” He was an important South African artist whose influence as a mentor and guide could be the greater legacy.

Stanley Pinker’s art contributed greatly to the Cape Town art scene. His ability to create new art during a time when his peers were struggling to marry modernist teachings to African landscapes, made him a bright light on the South African stage; something for which he is dearly remembered.

Alexis Preller: an African Modernist

Alexis Preller was a South African artist whose influences came from far and wide. He was known for his unique approach and ability to expose a different kind of beauty. Obviously not fond of labels, he rejected the “surrealist” tag. Another great South African artist, Walter Battiss, called him an expressionist. Battiss invited him to join the “New Group”, because of his innovative and different approach to art.

After completing tertiary education in England and France, Alexis Preller served in the South African Medical Corps during the Second World War. Spending two years as a prisoner of war was certain to leave a few scars in his mind. It was from this state that he returned to South Africa and the memory of horror and suffering formed the basis of his new work. The post-war Preller was adamant to show that even in the most gruesome sights there is some beauty, even if only in the colours.

His art had many influences; from European surrealism to the African art he encountered on his trips to Swaziland and Belgian Congo. Some of his later sculptures were the influence of the Dogon people, which were images of a reclusive tribe in an isolated region of Mali. Furthermore, his still life compositions bear testimony to his instinctive sense of perfection in every facet of his art. His absolute command over the media which he used inspired many.

As one journeys through his art, the influence of various artists are clear to see. Preller’s “Florentine Head” reflects the seriousness with which he studied Pierro della Francesca, while other pieces illustrate his admiration for the Dutch post-impressionist, Vincent van Gogh.

A thoughtful look at his life shows why he is regarded as an important figure in the South African avant-garde movement of the time.

Alexis Preller, Imagination Gone Wild.

Creative genius and an affinity for being different are apt descriptors for Alexis Preller. This South African artist is remembered for his unique and counter cultural style. Similar to many artist of his time he spent a lot of time in Europe; travelling, exploring and learning the tricks of the trade.

The great South African artist, Pierneef, was partly responsible for Preller’s choice to study in Europe. A stroke of genius in many commentator’s books. It was in this time that he travelled large parts of Europe and even crossed the Mediterranean to set foot on North Africa. Visibly influenced by the works of Piero del la Francesca and the mystery of Egyptian pyramids, he came up with art works such as Hieratic Women (1956) during this time. Despite the European influence which may have been evident in his art, the African spirit had gripped him from a young age. This was after he went on a camping trip and safari to Swaziland and Congo. By his own admission, he was stirred by African customs, traditional rites, sculptures and fetishes of tribal Africa.

This combination of African heritage and European sophistication saw Alexis Preller’s own formulation of a primeval African art form, which resulted in the establishing of a compendium of iconographic imagery which would serve him well as his career progressed. The trajectory of his journey through the history of art became one of solitude. His worked seemed rather different and unfamiliar to the rest of society, but his brilliance was yet to be discovered.

Alexis Preller didn’t seem to care much about the status quo as he was focussed on expressing deep ideas through his art.