Laure Albin Guillot

As you might have noticed in my previous post 'Paintography and Wassily Kandinsky', I have been to Paris recently. When there I simply had to visit a very interesting exhibition of Laure Albin Guillot, a French photographer living and working in Paris at and beyond the first half of 20 century. Her photographs are on display at the 'Jeu de Paume' until 12 May 2013. To see her work was on my to-do list and what a great experience that was...

On the left is a montage of two extraordinary photographs taken by Laure Albin Guillot who started as a portrait and fashion photographer in the 1920's when a revival of elegance and grandeur of 'french style' was sought after (especially after the WWI).

Her understanding of the lens, light and photography would allow to a very subtle, soft, almost paint-like approach.

However, she was also involved with commercial photography and with the influence of her doctor husband also developed 'micrography', microscopic images that would be turned to patterns used on, for example, bookbindings.

Throughout the exhibition, I could not but admire her approach that is so modern even now. Just imagine a commercial image that advertises foundation make-up. Every photograph that is focusing purely on the product with just a snippet of the model is, at least to me, very different, very special, beyond its time. Probably something that is even now hard to find. This is what I find so special, so elegant, so unique.

She photographed artists, painters, sculptors, architects, ceramists, decorators, lacquer makers (she herself used lacquered wood to frame some of her photographs to make them to screens or fireguards for the Exposition Internationale des Arts Industriels et Modernes in 1925).

Her observation into the origin of the photographed subject and its transmission to a reproduced image was published in 'Micrographie décoratifs' in 1931. These were twenty plates of minerals or plants revealing micro patterns that could be eventually used for wallpapers, bookbindings or silks.

Laure Albin Guillot would see this as a decorative art.



An established photographer and artist of the time, she was a member of the Société des Artistes Décorateurs and Société Française Photographie, she was a director of the photographic archive at the Direction Générale des Beaus-Arts, the first keeper of the Cinémathèque Nationale and president of the Union Féminine des  Carrières Commerciales et Libérales.

What an achievement. How rewarding to visit exhibitions at first and explore more afterwards. I find it amazing to learn about people's lives, work and influences of that time on their work. With that, I will leave you and see you next time. K-)

Paintography and Wassily Kandinsky

Since I saw you last time regarding paintography, I have been investigating further into this rather powerful tool. I say 'powerful' but most of all it is a fun tool. It is given that one can and have to use it in connection with other photoshop tools and it is at this stage that I find it so rewarding.

Today, I want to share with you a journey of one image. It is a picture of a bush in spring. I go past this bush every day and watch it flourish into quite a beauty. This image was taken a few month ago when the weather did not know whether to turn into spring or remain at winter...

In this image you can actually feel the chill even on a sunny day.

When paintography is applied, colours become more saturated, much bolder. Of course, a certain blur is added loosing the detail that one expects when a photograph is taken at the first place.

This is what I am actually after. Bolder colours, more contrast, less detail, much stronger image...

At this stage I usually stop. However, sometimes going one extra step further makes such a difference. One ends up with even stronger colours and as a result looses any recognisable detail heading towards abstraction.

Now, I remember Wassily Kandinsky and his large oils. Recently, I visited the Centre Pompidou in Paris and reminded myself of his massive works; so strong, abstract and absolutely beautiful...

And so I applied artistic filter to the image to give it a painting-like texture (as visible here or better on the bigger intro image on top).

Years ago, I tried to paint in style of Wassily Kandinsky and must admit, utterly failed. To abstract a figurative scene is not easy. All the 'I can do it too' is a nonsense. There is much more skill and understanding involved.



In 'Painting with Green Centre' it appears exactly what the title says. However, apart from its green centre, I pick up the blocks of strong colours divided by streaks of black or white that add both lightness and at the same time make a base. It grounds it well.

The colour palette is visually pleasing creating harmonious experience.

What an interesting connection of art and a digitally manipulated image. This is when 20th Century meets 21st. Now I can try and explore if a digital approach can take me closer to the genius of Wassily Kandinsky and his alike.

Have a great week, enjoy the sun that is finally here and see you next time. K-)

If the mountain will not come to Muhammad...

This beauty is the oldest found figurative ceramic artefact in the world dating some 29, 000 to 25, 000 BC. It was found, together with other objects, in and around the village of Dolní Věstonice, south of Brno, Czech Republic hence the name 'Věstonická Venuše'.

Of course l Iearnt about her when I was at school and remember how proud I felt to be Czech. Unfortunately, I never managed to see her with my own eyes when living there. This is why I feel more than privileged to finally see her now, some twenty five years later.

The British Museum holds 'Ice Age Art: Arrival of the Modern Mind' exhibition that explores the art of Ice Age. One section is dedicated purely to the female body, to nudes. When some are little ceramic sculptures, very often it was bones that were used as a material to carve and engrave into. To see small pictures of animals, humans and even less figurative ornaments carved into sections of bones, those that reminded me of decor on wooden chests of 'only' a few centuries ago, is impressive. This is when I can make the connection to what we perceive as art or craft. After visiting this exhibition I can fully appreciate the achievements of human mind.

Have you ever thought of any archeological artefact in terms of art? I actually never did. For me, it was more educational and historical mixed with astonishment of what 'they' could do. This exhibition explained certain points to me. For example, Věstonická Venuše or other female figures were often depicted as nudes. Can you imagine how cold it must have felt to pose? Though I can imagine that the 'artist' would work from memory. However, what is so amazing is the precision and detail with which this beauty is sculptured.

This is a body of a female in a later stage of her life, resembling marks of bearing children (probably many of them). I believe that this was desirable at that age, this was what was considered as beauty. That just makes you think about what we consider beautiful nowadays; skinny and toned. No, no. Věstonická Venuše and her alike are the true beauties. One can even recognise the folds under her belly (bearing marks) or the fat sections at the back. Such woman was celebrated. This appreciation resonates with what artists question nowadays. It almost feels that questions of 'polished' and/or 'raw' beauty have been on human minds all the time.

I was hoping to show you more images. Unfortunately, one cannot take photographs at exhibitions and the shop did not have what I was after. Therefore, it is more written than visual post today. Today is about realisation of art in any time, any age. Also, for me the 'mountain came to Muhammad' and that I value. What a highlight of this week. K-)

(Image of Věstonická Venuše has been downloaded from the internet.)

South West Coast

Believe it or not, we had a little sun last week (well less sun that one would hope for and it felt cold nonetheless). To remind you, last week we visited The Helicopter Museum in Weston-super-Mare, about which I posted last week, and since we had travelled that far from London we simply had to go further, to the coast. And that was when I captured this patch of sun on the coast.

Excitingly, we found ourselves walking on the 'bottom' of the sea, on ripples imprinted in the sand. I just loved the texture.

With the sun trying to get through, the atmosphere that was created by its rays felt rather medical...

Shining on this peninsula, we had to explore more...

When walking gradually up, we went past this geological creation. Suddenly,  I remembered learning about setting layers that were hardening to create cliff formations like this. Of course this took millions of years but the visuals are incredible, stunning.

It was getting late in the afternoon and since we were strangers there, it felt as if we were being watched - spookily by a black crow...

To add to this feeling, we discovered a church on top that looked abandoned at first. One could not be blamed for thinking that it was a ruin of a castle...

With the sun breaking through the cloudy sky, the strange spooky feeling was complete...

...until the moment when one looked in different directions and saw some civilisation...

Looking towards the coast line, red roofs and small boats were beautifully on display...

...and when one turned around a charming village appeared in a pocket among hilly nature.


With this post I am completing our Weston-super-Mare delightful visit. As proved, every place has its charms. Of course you cannot beat the coast, no matter what the weather. For us, the day was more overcast but it did not matter. As long as one wraps up, every visit is worths it.

Have a wonderful Sunday, that looks promising at least here in London, and see you next time... K-)

Veselé Velikonoce/Happy Easter