The Artistic Genius of Alexis Preller

Alexis Preller was a Pretoria born artist whose work played a definitive role in the South African art scene during the mid 1900s. He is remembered for his brilliant imagination and artistic genius. Many remember him for being somewhat different; to say the least. As his career progressed, so did his popularity and he is now remembered as a massive kingpin on the South African art scene.

Born in South Africa in 1911, Preller worked as a clerk before pursuing formal education at the Westminster School of Art in England. After graduating in 1934 he moved on to the Academie de la Grande Chaumiere in Paris, where he graduated 3 years later. Vincent van Gogh and Piero della Francesca, along with numerous visits to European museums and galleries, were the major influencers of this artistic genius. A few critics even labelled him as South Africa’s very own Paul Ganguin.

Preller’s style evolved into something rather unique, isolating him from the artistic movement of the 20th century, A style not common to traditional old school movement. Although he was always highly regarded in his home town of Pretoria, his following spread to the Cape in the 1960s as a result of an exhibition of his works in the Mother City.

His works are characterised by absolute precision, sound structural composition and a testament of a perfectly balanced palette. This is what makes Alexis Preller not only unique, but an artistic genius, who was way ahead of his time.

The South African Pranas Domsaitis

Pranas Domsaitis was an artist of Prussian descent, who opted for a Lithuanian passport in 1920. As Nazi Germany took control of Europe, artists like Domsaitis were seen as a threat to the Führer’s idea of domination and control. Refusing to give in to the oppressor’s tactics, Pranas Domsaitis continued painting “harmless still lifes”. The frontiers of South African art were furthest from his mind.

Life in war-torn Europe was a struggle at the best of times and for artists like Domsaitis this was a cause for concern. So when his wife, Adelheid Armhold, was offered a senior position at the then Cape Town college the couple were happy to make the move down south.

He undoubtedly made an impression on post-war South African art. He introduced some of the latest expressionist influences and brought a fresh approach to art. Some commentators note that he was deeply spiritual man, Elsa Verloren van Themaat said he was “an essentially spiritual man who needed to paint”. (quote credit www.bonhams.com)

South African landscapes were some of Pranas Domsaitis' favourite places — South African landscapes were some of Pranas Domsaitis’ favourite places

He enjoyed painting landscapes and village life. His travels through the South African countryside, namely the Karoo, left Domsaitis in a state of awe; leading to various portraits of these vast landscapes. True to his religious beliefs, he often painted christian themes as well. Among them were portraits of the annunciation and crucifixion.

He passed on at the end of 1965. The following year he was honoured by the National Gallery in Cape Town with an exhibition of about two hundred of his art works. A large number of his works have since been transferred to the Lithuanian Art Museum and in 2001 the Pranas Domsaitis Gallery opened in Klaipeda, Lithuania; a fitting tribute to the life of this much adored artist.

Pranas Domsaitis: The Still Life

Pranas Domsaitis was a young man during World War I. He was also an artist who preferred to stay on his parent’s farm rather than doing military service. 1914 – 1918 symbolised a short break in the career of this Lithuanian artist.

The conclusion of the war meant a return to normality for most of Europe. This was true for Domsaitis as well, who was eager to resume his life as a travelling artist. He continued doing what he loved, exhibiting in Germany, Austria, Switzerland, Romania and Turkey. His works were well received, by most. As the years rolled by, Europe was facing another decade of oppression. Pranas Domsaitis was flourishing as an artist until his work was disastrously included in a ‘degenerate’ art exhibition in 1937.

Degenerate art was a tactic of the Nazi regime to oppose and silence all creativity. The German majority classified degenerate art as all modern art that was un-German; in other words Jewish or communist by nature. This resulted in artists, like Domsaitis, being sanctioned. This proved to be a crippling blow to Europe’s community of artists. Individuals like this were dismissed from teaching positions, forbidden to exhibit or sell and even prohibited to produce any art.

Domsaitis, a Lithuanian citizen by now, thought this would be the best time to start with his “Lithuanian” signature. Preferring peace rather than persecution, he continued painting; only now he reverted to painting “harmless still lifes”.

This kind of timeline was not uncommon for people in Europe. Everyone was affected by political agendas which eventually led to much devastation. Art provided some kind of respite for the people of this time. Artists who ‘survived’ this period deserve a special mention for creating beauty when it was difficult to find.

Pranas Domsaitis: From Prussia to South Africa

Pranas Domsaitis was an artist of Prussian descent who spent a large part of his life as a farmer and became a full-time artist prior to the dark cloud of World War I gripped much of Europe. Defined by a mix of European expressionism and ecclesiastical art, Pranas was definitely not one-dimensional.

Born on 15 Augustus 1880 in the town of Cropiens, formerly part of the Kingdom of Prussia; although the current location is somewhat of a mystery, it is considered to be mostly Lithuanian even though he only formally took citizenship in 1920. The son of a peasant farmer, his original name was Franz Domscheit and probably never received any formal education till much later in life.

Being a son of the farm, art might not have been something his father would have planned for him. Much to his father’s dislike and with the assistance of Max Liebermann, Domsaitis embarked on studying at the Royal Academy of Fine Art in 1907. Upon graduation of his first form of schooling in 1910 he embarked on further travels and studies in some of Europe’s major art centres; including Paris, Florence, Amsterdam and London.

Picture Credit: www.5thaveauctions.co.za and www.lithaz.org

His peasant and religious culture had a formative influence on his artistic development, style and subject matter. On his travels through Europe he met and befriended Edvard Munch in Norway. The influence of Liebermann, Lovis, Corinth, Rouault and other Lithuanian folk art also played a major role in his formation as an artist. Munch was credited as being the greatest influence in Domsaitis leaning toward expressionism.

World War I confined Domsaitis to military service and returning to his parents’ farm. The end of the war meant that this budding artist could continue with his aspirations in art.

Walter Battiss and Fook Island

Walter Battiss was one of South Africa’s most well known abstract painters. His thirst for knowledge stretched him in all directions. He was a jet setter, writer and publisher and also took part in numerous exhibitions.

Walter Battiss is credited with the creation of Fook Island. His travels during the 60s took him to many different islands, such as Seychelles, Zanzibar, Madagascar, Fiji etc. Fook Island, an imaginary place, was a fusion of his fondest memories of these islands. He described it as an “island of the imagination”. An island complete with a map, people, plants, animals, history, postage stamps, passport and driver’s license, captured the attention of his followers.

Over the following years the island gained popularity and attracted much interest. A study of many of the artefacts show some satire and humour. Never intended as a political statement, one could see it as a parallel to the South Africa of the 1970s. For King Ferd III, Walter’s alter ego, Fook Island represented a “creative utopia”;(source: www.mahala.co.za) a world away from the crude, selfish world we sometimes live in.

The innovation, creativity and diversity of Walter Battiss continues to inspire and challenge aspiring artists. From bushman to friend of Picasso to King Ferd III, Walter Battiss has a special place among South African artists.

The Wandering Mind of Walter Battiss

The wandering mind of Walter Battiss made him one of the unique characters of his time. He had an almost unusual interest in African art, ranging from Ndebele artwork to Bushman rock art. Some commentators attribute his eccentric style to the influence of his friendship with Picasso in the 1950s.

(Photo Credit: www.nladesignvisual.wordpress.com and www.witsfoundation.org)

He was a founding member of The New Group, a collective of young South African artists who set out to explore fresh ideas in art and explore new frontiers. A large number of this group had been studying in Europe at the time and their arrival in their motherland left them disillusioned with the conservative culture surrounding South African art. This group enjoyed a tenure of about 10 – 12 years after which it was disbanded as a result of being institutionalised. It was in this period of time that he released his first book, ‘The Amazing Bushman’.

The Walter Battiss Company notes that it was 1955 when the started experimenting with calligraphic art and evidence of human and animal abstractions became evident. It was about this time when Ndebele art became a prominent feature of his artworks.

(photo credit: www.financialmail.com and www.artexpertwebsite.com)

The early 60s saw his curiousity soar to new heights as his interest in Islamic culture took him on several trips to Central Africa and the Middle-East. One might surmise that this was the period of time that he wanted to explore the rest of the world. Towards the end of that decade he made numerous trips to the north; including Greece in 1968 and Seychelles in 1972. Walter Battiss traveled to many other parts of the world as well, including Hawaii, Zanzibar, Fiji and Madagascar.

Walter Battiss was an influencer and innovator. He had a special interest in man and his environment. His impact on many young artists and the South African art scene remains as valuable as the art he left behind.

Walter Battiss: A Bright Imagination

Walter Battiss, one of South Africa’s foremost abstract painters, spent a large part of his career coupling art and education. Amongst other things he was the art master for Pretoria Boys High from 1936 till the late 1960s. He travelled, collaborated, wrote books, exhibited; doing everything an artist could do.

He was born in 1906 in Somerset East, Eastern Cape. In a few short years his family moved to Koffiefontein and then eventually settled in Fauresmith, where he matriculated in 1923. He started working as a clerk at the magistrates court just the following year. After gaining some work experience he enrolled in tertiary studies.

He completed a diploma at Witwatersrand Technical College followed by a teacher’s diploma at Johannesburg training college. Soon afterwards he went back to work at the magistrates court while also studying. He finally obtained a bachelors degree in fine art at UNISA; by this time he was already into his thirties. Unlike many other local artists, he did not study overseas at this time.

Battiss met up with Picasso and Gino Severini in the 1950s and was even invited to lecture on South African art during that same year. He took some time to travel through Europe in the 60s and visited the Seychelles in the early 70s. This saw the birth of his legendary and imaginative ‘Fook Island‘. His imagination and ideal of Fook Island led him to a much deeper place than just being a quirky artist. This was his weapon of choice against apartheid; he noted that Fook Island exists inside everyone.

It is clear that Walter Battiss was more than colour, imagination and abstract art. He was a deep thinker and used his art to speak to people.

Come back for more of Walter Battiss in the weeks that follow.

The Legacy of Robert Hodgins

Robert Hodgins described painting like surfing; much time is spent bobbing about, waiting for the right wave to come. Herewith noting the nature of creating art, often a lengthy process instead of instant gratification. This is a typical Hodgins analogy, finding the most unlikely comparisons to art.

After having a late start as an artist, Hodgins spent the early 80s on a series of paintings depicting Alfred Jarry’s Ubu character. (Read our previous posts incase you missed out) He continued referring to himself as a “young artist”, despite his advancing years. During this time he enjoyed experimenting with various media and techniques. In this way he could stay relevant and exhibitions always offered something new, rather than predictable retrospectives, as many artists do once they reach a certain point in their careers.

He quickly became a much loved feature on the South African art scene. Collaborating with the very well-known William Kentridge and Deborah Bell in Hogarth in Johannesburg (1987) and The Little Morals Series (1991).

(photo credit: www.hypocritedesign.com, www.goodman-gallery.com)

A self-proclaimed optimistic old sod is indicative of his nature and character. He was witty and sharp, verbal banter with Robert was considered a treat. An opportunity to dine with Mr. Hodgins was considered to be nourishment for the soul as much as for the body.

Robert’s art is extensively represented in museums and corporate collections throughout South Africa, various private collections also boast a number of his pieces. The Wits Art galleries have a significant portion of his artwork, including a number of major paintings donated to the institution by the artist himself. To this end Wits University takes great pleasure in bestowing a Doctorate of Literature on Mr. Robert Hodgins.

Robert passed away on 15 March 2010, after a short battle with cancer. He is not only remembered for his significant contribution to South African art, but also for his witty and often humorous outlook on life.

Some of the tributes that poured in on his passing came from Deborah Bell , Art on Paper Gallery and and www.artslink.co.za .

The Rise of Robert Hodgins

When you think of Robert Hodgins, you are reminded of the artist, the expressionist, a man who earned the kind words his friends remember him with. Spending much of his life as a “working” man, he left his position as a Senior Lecturer at Wits to become a full-time artist.

Hodgins had done a number of exhibits from as early as the 50’s, even though his work was only recognised in 1981. Living in apartheid-South Africa, he used his art to make anti-apartheid statements. This was a trend followed by many artists. He particularly enjoyed satirizing figures of power. These expressions had a major impact on the social climate of South Africa. In response to this Standard Bank National Arts Festival hosted a major retrospective exhibition in 1986.

Robert Hodgins had quite a remarkable rise from his days of teaching painting and drawing in Pretoria to the much loved South African artist he became towards the end of his life. His biography reads like a novel, an inquiring artist who made his way through life and became an accomplished artists towards the end.

Some of his earliest works include “Hidden Man” which he produced during his time at Pretoria Technical College; he actually made his own frame for that painting. “Man with a Cup” made its way to the Gertrude Possel Gallery, Hodgins’ work at the time was characterised by dark lines and sombre line work.

Art and politics are an unlikely combination, but in the 80s Hodgins used art to cut to the bone of inequality. (photo credit: timeslive.co.za, artnet.com, artvalue.com) — Art and politics are an unlikely combination, but in the 80s Hodgins used art to cut to the bone of inequality.
(photo credit: timeslive.co.za, artnet.com, artvalue.com)

The early 1980s saw the arrival of the iconic Ubu character in Hodgins work. Ubu Roi was a character from one of Alfred Jarry’s stories. Ubu became a central figure of Robert Hodgins’ art, especially during the 80s, when so much of his work was focussed on depicting the social wrongs of the day. In “Ubu and Mr America”, a dreamy-eyed Ubu, painted in a series of lines, swirls and flat planes of colour gazes lustfully at muscular bodybuilder. In contrast, the Mr America figure is painted with warm colours and textured with fine indentations, like the pores of human skin.

This was the real Robert Hodgins, the artist who was not content with the status quo, but chose to use his expression as a voice against injustice. He started building a loyal following, not only because he made a statement, but because he spoke their language.

Robert Hodgins: The Optimistic Old Sod

The life of Robert Hodgins does not just lie in his art, almost more importantly it lies in the hearts of those close to him. He is described by some as an expressionistic painter and others label him as a graphic artist. Regardless of where he fits, Hodgins’ art makes him a much loved figure in the history books of South African art.

Robert Hodgins was born in Dulwich, London. His earliest encounters with art woud be from his childhood; it has been noted that many of the city’s fine galleries became his hideout during the cold winters in his home city. He went on to finish his schooling career in England before immigrating to South Africa. As a young adult he joined the Union Defence Force and served in various African countries before returning to England where he was discharged at the end of the second World War.

The life of Robert Hodgins, marked with an honest interpretation of life around him. (photo credit: www.artvault.co.za , pixgood.com, bu.edu)

He spent the first few years of his post-military life studying teaching and art. After returning to South Africa in the mid-fifties, he embarked on a career as a teacher and journalist, culminating in the position of Assistant Editor at “Newsweek” and later on filling the position of Senior Lecturer in the Department of Fine Art at the University of Witwatersrand. The university was probably his last employer and ushered in the start of his career as an artist.

Robert Hodgins is revered among his peers, most notably by the South African conceptual artist, Kendell Geers who paid tribute to Hodgins with the following words: “Very few artists command the respect and admiration of their peers in the way Robert Hodgins does, a reverence often verging on cult status.”

Join us for part two as we explore is life as an artist.