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.

Pierneef: The Unfolding (1)

With the subsiding of the Second Anglo-Boer War, the Pierneef family returned from Holland to South Africa. (Read about Pierneef’s intriguingly formative years here.)

Whilst the 18 year old Pierneef had firmly set his sights and heart on studying architecture at university, the financial upheaval of returning from Europe and the unexpectedly exhorbitant resettling costs paralysed his father financially, and Pierneef was forced to take up work.

Pierneef’s godfather was none other than the acclaimed sculptor, Anton van Wouw – who had, like his godson, studied fine art at the Rotterdam Art Academy. The well-connected van Wouw was determined to see Pierneef succeed as an established artist, and lent him his whole-hearted support, knowledge and connections. And with this specialised support and his trademark tenacity, Pierneef made his impressive first mark on the South African art world in a group exhibition alongside his godfather and Hugo Naude.

Photographs of Anton van Wouw and Shangaan sculpture

Van Wouw organised for Pierneef to study under the brilliant Frans Oerder, a friend and colleague. Following his three years under Oerder, the Irish artist, George Smithard taught Pierneef the printmaking disciplines of wood engraving and etching – and imbuing him with a rich understanding of graphic design.

And so, with his richly diverse art education, immense skill-set and undeniable natural talent, Pierneef built upon this foundation a career which has earned him worldwide acclaim and continued attention.

READ MORE next time about how his fine art career unfolded across the decades, encountering everything from petty jealousy to global applause!

(SUBSCRIBE here so you don’t miss it!)

Pierneef: Of Exile, Drawing & a Paint Factory

Absolut Art Gallery - J H Pierneef - Biography

Pierneef wielded his brush with a bold tenderness, conjuring colours and carving out shapes across the canvas with a soulful dexterity that has set him apart as an artist of exceptional worth – in every sense of the word. (In terms of South African investment art, a Pierneef piece is more than just a pretty picture – and worth every penny! His work is prized all around the world, selling for up to R12 million.)

‘Henk’ Pierneef enjoyed and excelled in art class at school – most particularly in drawing, which continued to fascinate him throughout his teenage years – which were spent in Holland in a temporary sort of exile away from the turbulance of the Second Anglo-Boer War.

L-R: Transvaal Boer leader, Paul Kruger | Boer defending from a trench | Burghers | concentration camp to detain Boer families and POWs

L-R: British leader, Horatio Kitchener | Wounded British soldiers after Battle of Modderfontein | POW camp | British leader: Baden-Powell

A church in Hilversum, Holland (by P J Cuypers - circa 1900) — A church in Hilversum, Holland (by P J Cuypers – circa 1900)

Initially, the family lived in Hilversum where the 14 year old Pierneef pursued his love of drawing with a remarkably industrious persistence, attending evening classes in architectural drawing at an age when his peers preferred girls, dance halls and football.

His daylight hours were spent working in a paint-making factory, where his understanding, knowledge and skills in colour-mixing and paint techniques were the perfect complement to his sketching skills and natural talent for the foundational art discipline of drawing.

In 1902, the family relocated to Rotterdam – where the sixteen year old snapped up the opportunity to study art in a more formal, academic setting at the Rotterdam Art Academy. Holland, and Europe as a whole, overflowed with an incredible passion for all things cultural — fine art, classical music and literature was accessible in abundance. Our young burgeoning artist’s imagination and art education was nourished by his immersion in the fine art of Europe, with particular emphasis on the Old Dutch Masters like Rembrandt, Hals and Vermeer. Rome, too, was another art adventure for Pierneef which we can only imagine must have been exquisitely enriching for him, surrounded by the opulence and excellence of Michaelangelo, da Vinci and Giotto.

Eventually, at the age of 18, Pierneef left with his family, leaving their Rotterdam home behind them to return once again to South Africa: a brand new canvas for Pierneef to paint.

(Be sure to visit again soon to read Part II of our Pierneef series!)

Exhibition: ‘Life, Distilled.’

This exhibition is about LIFE itself:

its emotions, memories and happenings,

distilled into a single moment: captured on canvas, by lens, in wood.

Each of us experiences life in an indelibly unique way – and we capture and communicate our experiences just as uniquely. Some capture experiences in paint, photographs or penned words on paper, distilling life down to the most absolute essence. For some it is a moment of exquisite joy they capture. For others, despair and disappointment. For some, they ask questions about life and its meaning – while for others again, their distillations of life attempt an answer.

“We do not remember days, we remember moments.” ~ Cesare Pavese

Life, Distilled seeks to shift your gaze away from the constant clutter of our lives, and block out the noise so our ears can hear our own true heartbeat. Each work presented is an opportunity to leave the toil and hassle behind you and return to simplicity, purity and clarity.

Sign up for our newsletter here.

Life, Distilled – 17 September- 10 October 2015

Life, Distilled

17 September- 10 October 2015

Each of us experiences life in an indelibly unique way- and we capture and communicate our experiences just as uniquely. Some capture their experiences in paint, photographs or penned words on paper, distilling life down to the most absolute essence. For some it is a moment of exquisite joy they capture. For some, despair and disappointment. For others, they ask question about life and its meaning- while for others again, their distillations of life attempt an answer.

“We do not remember days, we remember moments”

Have a He{art}

We’re excited to announce our Online He{art} Auction which we’re hosting to boost KIN Culture‘s online exposure, support opportunities and funding!

KIN Culture is no ordinary ‘children’s home‘ but a groundbreaking new concept in helping orphaned and vulnerable children:

KIN Culture is a faith-based organisation where orphans and vulnerable children are given a home and a bright future. We believe that a safe environment and a family atmosphere are crucial to every child’s development. KIN Culture will operate as a village.

Every child will be placed in a loving home with parents and siblings. Children will have access to world class opportunities and facilities through means of education, sport, culture and a community of activities. We will build a self-sustainable village that will be a model of excellence and community life.

Orphans and vulnerable children are a real issue in South Africa and the world. At KIN Culture we believe that collaboration between government, business and church could become a real solution for the plight of orphans and vulnerable children in South Africa and the world.

Be part of this exciting chance to make a truly he{art}felt difference to the lives of these children and those who are investing their love, time and hope into these precious little people → Join hands with KIN Culture and us on Facebook and stay up to speed with what we hope will be a wonderfully successful fundraiser!

PLEASE FORWARD THIS EMAIL TO THOSE WHO ALSO LOVE TO MAKE A DIFFERENCE!

Galleries: The Fine Art of Business

{ STAYING SOCIAL } Facebooking, Blogging & Educating!

As a business based on the marriage between tradition and creative, contemporary innovation, we make sure we continually evolve alongside current cultural and technological trends – which is why we are hatching a new look and approach to showcasing South African art online!

Julian Motau - South African Artist - Township Art - Apartheid Era - Absolut Art Gallery

One of our responsibilities as a gallery is to continue the celebration and honouring of our South African art heritage, and also providing rich educational resources online – for art lovers, art collectors and young art students alike. This is why we keep our Facebook page fresh with current art news and interesting posts about both old masters and contemporary artists. This is also why we’ve now added a Blog section to our website for you!
We are also updating all of our artist CVs to include videos, podcasts, interviews and more! Have a look at Julian Motau‘s CV and tell us what you think on our Facebook page. We invite you to share any facts, photos or intriguing snippets of information with us on Facebook which we can then add to the artists’ CVs!

We leave you with a moving tribute to Julian Motau after he was assassinated, shot from the back: ‘En Skielik is dit Aand‘ by South African composer Hendrik Hofmeyr, inspired by poet, Wilhelm Knobel:

Irma the Rebel, Irma the Red

Letters from the Artist

Irma Stern is perhaps the absolute epitome of South Africa’s presence within the European movement of avant garde. (Read her biography here.)

As promised, we’re going to be looking at Irma Stern’s letters and how they revealed a dislocated and magnificent turbulence of the heart — reminiscent of Van Gogh’s experience of life, love, art and identity.
Stern’s identity can perhaps painted as a dichotomy of black and white, torn as she was between her deep identification with the Africa of her birth, and her European heritage as a German Jew.

This prolific letter writer was (in a sweet serendipity) born in a post office, deep in the Northern Province of South Africa. When she was three years old, her father was incarcerated by the British for his pro-Boer perspectives, and Stern’s mother whisked her two young children away to Germany until his release. With the explosion of World War 1, the family returned to Germany yet again, where Stern confessed to having felt trapped, cloistered, claustrophic and dislocated.

“… this divided upbringing leaves one with the feeling of belonging to nowhere.”

Upon returning more definitively to South Africa as her true home, Stern’s avant garde Expressionism caused an uproar across the country, with a police investigation triggered by charges of alleged immorality surrounding her 1922 exhibition. Nothing, however, could break this strong woman’s fierce and passionate independence, and she diligently transgressed the conservative cliches of what it meant to be an artist and woman in South Africa. She travelled prolifically. She worked like a man. And in her own words:

“My appearance is that of a well-dressed lady, but inwardly I run more and more wild.”

With a dogged ferocity that was then considered unfeminine, she closed herself up in her studio – coffee and cigarettes her only sustenance – and worked for days. She ran her business solely on her own: framing her paintings, packaging them and arranging sales. However, beneath this almost rebellious strength, was a highly sensitive, compassionate and humble heart which carried within itself raw wounds of pain, tragedy and grief. Excerpts from letters to her friends paint an emotionally evocative picture of her.
To her friend Max Pechstein, she wrote:

“You have made me so contented, so eager to work and happy, with a few words you cast down all the dark hours of despair and inner conflict.” And after her first solo show: “I really can’t tell you over the telephone how grateful I am to you for all the good things you have done for me! I am truly always aware of it – how wonderfully you have helped me along – how you showed me what is true and good in my work and what is empty phrasing, and then how you have helped me with other people, have smoothed the path for me. For I know what human impediments you have cleared from my way through your interest in my work!”

(In a tender gesture of grateful reciprocation, Stern sent Pechstein food parcels during the war.)

After the war, she vowed never to return to Germany, writing to her childhood friend, Trude Bosse,

“I have buried the past … It hurts more than one thinks. A country, its well-disposed people – all of this into a mass grave. Everything that comes from Germany is like a bygone century to me, like the echo of a sunken world.”

Art historians and theorists have judged, some harshly and some more compassionately, Stern’s character, identity and heart – like Neville Dubow and Marion Arnold who said Stern was “quite highly talented, though sexually frustrated, emotionally drained, humanely ambivalent, politically disinterested and suspect.” And that her work was “the vent of a physically unattractive, unloved and unhappy woman” Perhaps more realistically, German curator Irene Below acknowleged Stern as “a sensitive, acutely observant, qualified artist who, from childhood, came to grips with her life and her experiences in two extremely different worlds.”

Her boldly vibrant and exuberant colours antithetically mirror her dirtier, mournful colours — like a self-portrait. Unlike her South African and European contemporaries who painted portraits of themselves in abundance (like Vincent Van Gogh, Paul Gaugin and Frida Kahlo) Stern declined. Why?

We’ll be talking about this enigma of a woman on our Facebook page – and would love to hear what you think the answer might be. Click here to join the conversation!

TO DELVE DEEPER….

Google “Beyond Black and White: Rethinking Irma Stern by Claudia B Braude” for deeper insights into Irma Stern’s life and work.
And click here to read more about her by acclaimed UCT art academic, Clive Kellner.