The National Gallery

All the art I saw in The National Gallery.

Gallery

The National Gallery — Level 2, 1700-1930: Post-Impressionism

I did not spend much time on 19th century art. I was running out of time, my camera battery was looking shaky, and I’d already gorged myself on mediæval art. But I have a soft spot for Cézanne and Gauguin. And lately one for Toulouse-Lautrec, cos he made a habit of painting queer women.

So we have the beautiful Faa Iheihe by Paul Gauguin, from his time in Tahiti. And paraphrasing The National Gallery here (cos all their works are online, so why I spent so much time photographing and editing, I’ll never know), the title is his translation of the Tahitian “‘fa`ai`ei`e’ which means “to beautify, adorn, embellish”, in the sense of making oneself beautiful for a special occasion” and uses “a horizontal format inspired by Javanese sculptured friezes.”

Henri de Toulouse-Lautrec’s The Two Friends is one of his paintings from his Paris brothel visits. The National Gallery says it “belongs to a series of paintings focusing on the friendships between the women which often, as here, portrayed intimate moments or gestures of companionship or sympathy”, but having seen some other of his paintings and drawings, I think it’s quite explicit this work and many others are of queer women, and he identified with this milieu. There’s a tendency, or rather a compulsion, in art history to refuse to see what’s there, or — being charitable here — to be ignorant of signifiers. The rest of us know when we’re being spoken to. There are works of his with two women that are clearly not queer, that are, as the Gallery says, friendships between women. And there are others, some which are so similar as raise the challenge, “How can you claim this and not that?” which are obviously more. We read the signifiers, we know what we’re seeing, even while art history erases them — and there’s at least one photograph of Henri dressed in the same clothes the women he drew wore, so there’s that to read too.

Lastly, there’s a Degas. He’s the opposite of everything Toulouse-Lautrec lived for, and today would vote to the right of Le Pen, as well as being well suss around all those young, female ballet dancers. I can be a bit of an apologist for Wagner, who I think gets a harsher rap than he earned (largely though not entirely because of his family), but Degas gets far, far less of a thrashing than he deserves. He’s well dodgy. But his art can be sublime. Plus it’s ballett, and I’m a sucker for seeing what I’ve lived for in art.

I didn’t mention the Cézanne. As with Gauguin, I just like Cézanne. I think it’s because they’re all Post-Impressionists, and whereas Impressionism leaves me cold (there were walls of Monet and Manet, plus rooms of 19th century stuff I did not touch) Expressionism reliably does it for me, and I see plenty of what moves me in that in artists like Toulouse-Lautrec, Gauguin, and Cézanne, so enjoy Bathers, cos it’s beautiful. (There were stacks of van Gogh too, including Sunflowers. The crowd though, like getting the Metro at rush hour.)

Gallery

The National Gallery — Level 2, 1700-1930

The last of The National Gallery‘s Level 2 collections, starting with Elisabeth Louise Vigée Le Brun’s Self Portrait in a Straw Hat. I took far too many photos and edited far too many and trying to write about the art at a commensurate level of ill-discipline is — probably for the best — not happening, so I’m just making quick notes on some I liked. This one because it’s a woman artist, and museums do such a weak job of representing us on either side of the canvas, particularly once we get to the 1700s, plus she was talented as her self-portrait evinces, and looks like fun.

Giovanni Domenico Tiepolo’s The Lamentation at the Foot of the Cross reminds me of Master of the Saint Bartholomew’s The Deposition, also brutal and moves the setting back to the Middle East. His father, Giovanni Battista Tiepolo, has The Banquet of Cleopatra nearby. As with many of the Italian artists doing large works, it owes a heavy debt to Veronese, including having a little person in the scene.

William Hogarth’s Marriage A-la-Mode: 4. The Toilette is kinda grotesque and mainly I included it for that, and not in a praiseworthy way.

Giovanni Antonio Canal, or Canaletto as he’s better known, makes a solid appearance. I first saw him in the Gemäldegalerie and sometimes I feel a little ashamed for liking him so much, but I like Fast & Furious, so what do I know? There’s several of his, Venice: The Upper Reaches of the Grand Canal with S. Simeone Piccolo, The Feast Day of Saint Roch, and Campo S. Vidal and Santa Maria della Carità (‘The Stonemason’s Yard’) with a woman working stone in the sun. Following him is Pietro Longhi, who I thought was Canaletto at first — same time and place. Exhibition of a Rhinoceros at Venice for the strange masks, and the Rhino.

The National Gallery has all these works online, and Wikipedia has most of the artists, so I’ve been repeatedly wondering why I committed to so many photos and words. I think it’s because this is my experience of a museum or gallery I visit, and blogging serves as a kind of external memory. As well, in editing the photos I spend a long time looking at them all, revisiting my trip, looking at details, reading about the artists. So what was a short afternoon in the Gallery while heading airport-wards becomes days of looking at art as I do the editing and writing. This is for me what visiting a museum or gallery is, what being an audience in these places is, how I experience art. Perhaps too, long periods of unemployment combined with a tendency to get very involved in a task lead me to currently enjoy visual art like this. To be clear: it’s work. It’s not always fun, sometimes it’s to be endured, or I get through by persevering. I don’t know ‘what it’s for’ except for itself.

Gallery

Von der Heydt-Museum Wuppertal

A month after I was in Wuppertal, I finally finish editing all the images from the Von der Heydt-Museum, which I sprinted through on a Friday morning before Gala and Michael’s dress rehearsal, two hours of indiscriminate camera-ing. Michael said, “I’ve lived here two years; never been.” Well it’s a regional museum, so you never know if it’s going to be banging, sad, or somewhere in-between.

Somewhere in-between, with moments or rather bloody good, plus fuck that was well done why don’t more museums do it like that? Lighting was a bit crap, lots of the natural stuff, which is good, but not diffused enough and pointing at heavily varnished old paintings, which is not, and some rooms where the clowns took over the illumination, so I’m wondering if the museum people even look at their own art. They don’t like people photographing though, that’s for sure. Cheap entrance price and utter thieving gouging ten euros to flop out a camera. Kinda stunned at that, like, you’re not the Louvre, you know that, eh?

Not much mediæval stuff, which is always my first stop, but there is a 1563 print of Martin Luther (minus nail holes), plus a stack of Albrecht Dürer copper engravings, which are achingly beautiful. I especially love the bagpipe player and the more disturbing works that didn’t photograph well, so no wild boar with an extra set of legs on its back, nor his mythological stuff. Past the wooden sculptures covering 500 years in a room, and into into another dim room with holy crap!

Francisco Goya’s Los caprichos. Everyone knows him for his Los desastres de la guerra series, but Los capricos was the my inspiration for bitches 婊子 and is by far my favourite work of his. And here’s half a dozen (they probably have the whole series buried somewhere) lined up along a wall.

Then what happens is that “Why don’t more museums do it like that?” thing. Nearby a Rembrandt engraving (the Zweiter Orientalerkopf one) is a 19th century Japanese watercolour, heavy orange sun setting over a turbulent wave, followed by Jan van Bylert’s Singende Hirte. It’s just the beginning. Some rooms later, when we’re deep in 20th century German Expressionism and Neue Sachlichkeit all over the walls, the centre of the room is Japanese and South-East Asian sculpture and works on paper. I’m trying to think if I’ve ever seen artwork from across the globe arranged like that in the same room … same museum? Coming up a blank. It’s rare even to see, say, Buddhist sculpture in the same museum as European art, outside of monster museums like London’s V&A where multiple departments are under one roof, but even there that former stuff is anthropology or The Asian Collection, and somehow implicitly not art — it’s craft or religious iconography, or Other … anything other than proper art coming from proper artists. So to put the two together, two thousand years East and South-East Asian mingled with half that of European; the head of a stone Ghandara Buddha figure from the first to third century next to Adolf Erbslöh’s Blaue Reiter period Schwebebahn; Javanese Wayang kulit shadow puppets and a folding screen by Kano Mitsunobu beside hard 21st century works by Sabine Moritz, Tamara K.E., and Tatjana Valsang; they work together so well and it isn’t an imperative to see the former as art like the latter but it becomes very uncomplicated and unremarkable to do so.

To see this stuff that’s always less art than art because it’s ‘for a purpose’ or whatever, be seen firstly and even solely as art is unexpected and radical. See the colour and that delicate but relentless Expressionism in the tapestry of Ernst Ludwig Kirchner’s from his time in Switzerland, facing off an equally colourful and delicate Chinese or Japanese Buddha / Luohan from centuries earlier. If nothing else, even if this arrangement does nothing for you, at least these works are being seen. And I’d totally be up for a big museum that does it like this. Imagine being in the Louvre or on Museum Insel in Berlin and not going into separate museums for each arbitrary delineation, but wandering through European mediæval art, and Ghaznavid Islamic art, and Japanese Kamakura art, and Chinese Song and Yuan, and South-East Asian, and the mediæval Americas and Africa and Australia … a global mediæval art exhibition mashed with a 20th century one. Sometimes I think museums are just going through the motions of museum-ing and exhibition-ing — however awesome their collections are — and then I find something like this, not this neo-liberal museum bollocks infestation, but something profoundly Museum: here is art, let’s look at it all together and find out what that looks like, what it causes, how it enriches all the artworks.

Complete divergence here. Back whenever Alte Nationalgalerie had the Impressionismus – Expressionismus. Kunstwende exhibition (almost two years ago), amongst all the sublime brilliance they had this Degas piece. He’s a sleazy tosser, but I have a love for his ballet pieces, like Tänzerinnen im Probensaal, which I cried over. Fucking art. So I’m in Von der Heydt-Museum, and there’s a Degas! And it’s the same one. Didn’t cry this time, I’m hard, me. There was another of his too. Yeah, I know he’s a cliché, but it’s because he started it. All of that was to say, same work, different exhibition, different museum, different wall, different lighting, different companion works, different audience (a lot smaller and quieter for one), all that makes a different artwork. I didn’t even recognise it as the same one. I was talking with Robert Bartholot about this, how to photograph art, and how the work changes as fast as the light moving outside, and I dunno, maybe compare the two. Same, different.

Other special works. Besides Adolph Erbslöh’s Schwebebahn, cos I was in Wuppertal and the Schwebebahn is the best Bahn. How about Bahnhof Gesundbrunnen? My home station. I know that bridge so well even if that station hasn’t looked like that since the ’40s. There was also an Edvard Munch, which I got mad excited about, cos I don’t think I’ve ever seen his stuff on a wall. A whole bunch of 20th century post-war German art, almost all by men until the century flips over, Kuno Gonschior’s massive yellow minimalist / colour field / abstract expressionist piece was definitely a fave. So much I missed and haven’t even mentioned.

Worth going to? If you’re in or near Wuppertal, then yeah, says Frances who lived in Melbourne and went to the NGV maybe once — and didn’t pay attention. It’s difficult to modulate this for people who aren’t like me, who don’t travel hours with an agenda of binging art. If I was in the Ruhrgebiet or Düsseldorf for a bit, then it’d be a no-brainer: go to Wuppertal, see museums, see Pina Bausch. See Pina Bausch, ride the Schwebebahn.

Dasniya Sommer — “Bondage Duell” At Sophiensæle + May Performances & Workshops

Everything Dasniya Sommer in May, in Berlin, Lyon, Bremen, performances, and workshops, and the première of her new performance, next Friday May 18th at Sophiensæale.

Dear Friends, Bondagisti, Theateristi and Dancers,

a bunch of performances in Berlin, Bremen, and Lyon this month, plus Tuesday mornings Shibari Technique in Haus Sommer.

As always, you can read all about this on my blog. In the meantime:

  1. Bondage Duell, with Silke Schönfleisch at Sophiensæle, May 18, 19, 21
  2. Nun on the Moon, at European Lab, Lyon, May 25
  3. Der besuch der verknallten Dame, with Das Helmi, at Theater Bremen, May 28
  4. Tuesday mornings Shibari Technique, in Uferhallen, Berlin-Wedding May 9, 23, 30
  5. Private & Group Lessons
  6. Blog!

Enjoy the arrival of spring’s sun!

Dasniya

1. Bondage Duell, with Silke Schönfleisch, at Sophiensæle

As part of the Every Body Festival in Berlin’s Sophiensæle, I am happy to première in Berlin Bondage Duellwith Silke Schönfleisch.

A 178cm tall ballerina and a 114cm small female government official on a tricycle appear on the scene. An uneven fight. The weapons: rope, muscular bodies and a thirst for adrenaline. Using classical dance means and Japanese bondage techniques, Bondage Duell examines physical and social patterns of bonding, empowerment and constraint. A place where cruelty and freedom, fun and curiosity lie closely together.

Dance: Silke Schönfleisch
Choreography & Dance: Dasniya Sommer,

Dates: Thursday 18th, Friday 19th May at 21:00; Sunday 21st May at 19:00
Location: Sophiensæale Kantine
Tickets: 13€ / 8€ (Online tickets)
Kombi-tickets: 18€ / 12€
More info: Sophiensæle

A production by haus sommer in coproduction with Grenzenlos Kultur Theaterfestival and SOPHIENSÆLE. Photo © Holger Rudolph

2. Nun on the Moon, at European Lab, Lyon

I will be speaker/performer at European Lab 2017 in Lyon in the Nuit Immersive, by Tracks and organised by Adami and European Lab.

Featuring the interactive contributions of a selection of unique and pioneering artists, the Nuit Immersive will be a night like no other. No seats or popcorn-holders, no stages or “fourth walls”, the Nuit Immersive will instead plunge you the public into the heart of the creative process and invite you to move around and explore this interactive performance as best you see fit. Advanced warning: here, the sign clearly states “PLEASE DO TOUCH”!

Date: Thursday, 25th May, starts at 21:30
Location: Les Subsistances • Le Hangar
Tickets: 8€ (Online tickets)
More info: European Lab

3. Der besuch der verknallten Dame, Das Helmi & Theater HORA at Theater Bremen

Once more with Das Helmi and Zürich’s Theater HORA, in Theater Bremen’s Festival Mittenmang.

Date: Sunday, May 28th, at 18:30
Location: Kleinen Haus, Theater Bremen
Tickets: 9€ – 20€ (Online tickets)
More info: Theater Bremen, Das Helmi, Theater HORA

4. Tuesday Mornings Shibari Technique in May

The workshop focusses on traditional Shibari technique, basic and intermediate level. Inspired by my teachers Osada Steve, Kamijoo Saki, Arisue Go, Tamandua Ropë. We start with the basics and security principles. Learning initial knots and floor work patterns with a partner. When these principles are set, we approach complex figures and suspension technique step by step.

Dates: Tuesdays, May 9th, 23rd, 30th, 2017 (No class on the 16th!)
Time: 10am-12pm
Level: Intermediate
Costs: 20 Euro per person
10 class card 160 €
@ Uferhallen Kulturwerkstatt – Wedding. Uferstrasse 8, 13357 Berlin. Entrance B
More info: Shibari Technique Morning Classes

Please call when you are in the court yard, in case you don’t find it, or the door is locked: + 49 174 393 70 49.

5. Private & Group Lessons

Of course it’s always possible to arrange another time for private and group workshops, sessions, choreographing ropes for performances, and other long-planned or spontaneous ideas. Drop me a line!

6. Blog!

Recent adventures make their way to my blog, perfect for a spring weekend afternoon of reading and pictures.

Bamboo Shibari, Dasniya tying Florian
Bamboo Shibari, Dasniya tying Florian

Victoria & Albert Museum

All the Victoria & Albert Museum. Well, all the mediæval stuff. That I could find. Plus some renaissance stuff, and a couple of other nice pieces. Masses of art from a Sunday afternoon with the awesome Jennifer Evans for company. Shared hangover also. In the sun in the courtyard garden. Romping the halls and galleries.

I saw: half of Level 0; less than a third of Level 1; a bit under half of Level 2; not much more than a quarter of Level 3; nothing of Levels 4 and 5; dunno if Level 6 even exists. All that in five hours until I got kicked out. I get booted from museums at closing time like most people get booted from bars, pubs, and clubs.

I missed: The brilliant Würzburg St. Maurice wooden statue because … I dunno. Was the room closed? Did I think there was nothing in the next room? Like many museums, incompleteness is a reason to return, to the city and the museum.

Best thing: It’s free! Blimey! So was the National Gallery. What kind of witchcraft is that where museums are free? Other best thing: It’s organised by material as well as chronologically. Which is frankly awesome. Another best thing: It was packed. And I mean packed. They must get millions of visitors a year. Yay, art! (Good estimate based on a single day, Frances: 3.5 million in 2015.)

How many photos did you take, Frances? A shade over 300, including captions. And how many have you blogged? This is the bit that always embarrasses me when I’ve finished editing them all: 111. The number’s kinda like an objective remark on my tendency towards excessive fun. I mean it’s not like I’m banging heroin anymore, is it? Museums it is, then.

  1. Victoria & Albert Museum — Level 0
    • Medieval & Renaissance 300-1500
  2. Victoria & Albert Museum — Level 1
    • Medieval & Renaissance 1350-1600
    • Cast Courts: The Weston Cast Court
    • Sculpture 1300-1600
    • Raphael
  3. Victoria & Albert Museum — Level 2 & 3
    • Medieval & Renaissance 300-1600
    • Rosalind & Arthur Gilbert Collection
    • Sacred Silver & Stained Glass
  4. Victoria & Albert Museum: Margot Fonteyn’s Swan Lake Tutu
  5. V&A

Gallery

Victoria & Albert Museum — Level 1

Speaking of massive altarpieces, here we go. Level 1 of Victoria & Albert Museum, the ground floor entrance, lofty, airy ceilings and art stretching up to them. It’s a bit like the Bode Museum for scale of art and architecture. Unlike the Bode, it’s packed. People are promenading like it’s life’s greatest accomplishment to wander around mediæval art. Which it is.

I’m first taken by The Troyes Altarpiece. We’re getting into very Late Mediæval / Early Renaissance here, and it’s not the most virtuoso altarpiece I’ve seen, it’s in limestone so the finesse possible in wood isn’t here, but it has a solidity and depth, like exaggerated perspective between the foreground and background figures. It’s not even especially large compared to The Brixen Altarpiece, which is so huge it’s impossible to look up at without seeing converging lines. Because photographs turn everything, no matter how big or small, into objects of the same dimension and all scale is lost, my head is about level with the heads of the four saints in the predella of The Brixen Altarpiece.

There were also several works I couldn’t or didn’t photograph, either because they were under glass, or I was too hasty. The Brixen Altarpiece was only one of many similarly gigantic altarpieces; The St Margaret Altarpiece was another. An especially fine Northern Germanic piece of a saint I rarely see, and certainly never with her life and torture so disturbingly depicted. This was made around the same time as The Brixen Altarpiece, yet shows the style that continued to develop north of the Alps, distinct from the Renaissance in Italy.

And then there’s Andrea della Robbia’s The Adoration of the Kings, also around the same time and from Italy, in tin-glazed terracotta, and very much committed to Renaissance and even anticipating the Baroque. I think this is one of the V&A’s more famous pieces, and it’s gorgeous in real life. It exemplifies the character of the V&A collections. They’re concerned with materiality; the works on display emphasise the diversity of choice of materials, of techniques, of aesthetics, making the museum as much a place of science and technology as art.

Last piece in these rooms, Perino del Vaga’s The Raising of Lazarus I mention because I realised I’m attracted to works like this fresco, or some of the preparatory sketches or unfinished works (I’m thinking of Pieter Brueghel’s De Aanbiddung der Wijzen here) where there’s a softness and visible exploratory process.

From there, I went into the Cast Courts, where I knew I had no hope; the V&A had been playing with me up to then. It wasn’t quite Louvre scale of tiny people in epic architecture, but for sure reminded me of it. So I got lost trying to find the sculpture corridors, completely missed the St. Mauritius sculpture in the last room (I still have no idea if I was inattentive or if it wasn’t open), turned around, got lost in acres of the Asian collection (Persian miniatures are my thing and I almost put the brakes on the rest of my mediævaling for this and the Islamic collection), found the Raphael rooms—he’s really not my thing, I think people like him because they confuse their fascination with a kind of seductive, transfixing blandness for the sublime, a lot like how people do over the Mona Lisa—the altarpiece was impressive the way the megalith is in 2001—also not Raphael but the ‘Master of the Centenar’ (possible German painter Andrès Marçal de Sas)—sometimes I wish museums put multi-level viewing platforms (with binoculars) in front of these towering pieces, but that’s just because I love smearing my nose right up against the art. Then I’m off up the stairs to Levels 2 and 3.

Gallery

Victoria & Albert Museum — Level 0

Enter via the Tube. Any city where you get off the subway and there’s a direct entrance into a museum is a proper city. The Victoria & Albert Museum, or V&A was on my, ‘probably worth a quick perv’ list, but I had no idea what I was in for. Six massive floors of art, pilfered from around the world? Oh, yes! I turned up on a very sunny Sunday with Jenn, both squinting with a bit of a hangover. She works in the British Library, in the Asian and African Reading Rooms, full of stuff from the Dunhuang Buddhist caves — something for my next visit to London. We spent at least an hour not budging from the lawn of the courtyard before going down into mediæval land.

The rooms of the Medieval & Renaissance 300 – 1500 collection is quietly spectacular. What distinguishes V&A from other museums I’ve visited is how they understand the inseparable history of art and design. In Berlin’s Staatliche Museen you get paintings in the Gemäldegalerie, sculpture in Bode Museum, and arbitrary divisions putting a bunch of pieces that are too 3-dimensional to be painting but not enough to be sculpture in one or the other. By looking at the materiality of the works (and I’m thinking of Caroline Walker Bynum’s Christian Materiality: An Essay on Religion in Late Medieval Europe here) there’s not such a need to force arbitrary categories (though I’m aware the National Gallery is also full of altarpieces as paintings), and we get works in ivory, metal, wood, glass, stone, and any combination of these that seemed appropriate to the artist. Further, there’s a seamless flow from Early to High Middle Ages, where frequently I see Early split off into more archæological contexts, and High as art proper.

Many of the early works — from around 400 to 1100 — are small pieces in walrus ivory, with stone becoming more prevalent in the 1100s, and highly competent techniques in all materials developing in the following couple of hundred years. One of my favourite shifts happens with International Gothic, where the flat, verticality of bodies suddenly burst into movement, things flourish and flow everywhere as if caught in a fresh breeze, and the public begins to appear in the picture: individuals, groups, crowds arrive to fill the vision and comment on the main action. And I can’t choose between this or the styles they supersede. Or rather seem to swing between. When I look at The Deposition from the Cross (image 3) or Fragment from a Deposition (image 9), both from the mid-late-1100s, and compare them with The Symmachi Panel (image 1), Front Cover of the Lorsch Gospels (image 2), and Panel with the Adoration of the Kings (image 15) from 400, 800, and early-mid-1100 respectively, all from variously Germany, England, Italy, Spain, I see a shifting back and forth between ideas of representation that don’t strictly propose progressive development or evolution — at least maybe until the Late Middle Ages.

I mention those pieces also because I find them beautiful and even strange, like the popping eyes of Panel with the Adoration of the Kings, or the intricate opulence of the Tabernacle (images 4-8), which looks like it should unfurl with mechanical glory. One of my favourites is the small Portable Altarpiece (images 27 and 28) by the Master of the Louis XII Triptych, in painted enamel on copper, which the V&A describe at length. My photos are more faithful to the original, but still don’t do service to the sublime colours, shadows, movement. I also love the Tapestry (images 29-31), because it depicts a woman “in fashionable dress undertaking a spiritual journey … she finally enters a convent” and I imagine it’s the story of Hildegard of Bingen or Mechthild of Magdeburg. As well, it’s an entire work of art devoted to a woman’s life and story, which is something I love mediæval art for.

Master Bertram’s Triptych with Scenes from the Apocalypse (images 32-37) is frankly scary bonkers. The V&A have an excellent article on the decision whether to clean the altarpiece — in fact their entire journal archive is worth losing a week or two in. I’m not sure why Jesus has a green-black face, but that’s what he has. There’s so much to see in this triptych, it’s worth opening the images and scrolling around their vastness.

As usual there were plenty of pieces I didn’t or couldn’t photograph (even really good lighting and presentation doesn’t mean a photographable work will result), plus this was only one half of one floor and I had no idea how overwhelmed I was going to get. Up the stairs and into Level 1 for more mediæval awesomeness.

Kaminbehang — Grassi Museum für Angewandte Kunst

@medievalpoc said, “This has gotta be in the top ten ugliest arts I’ve ever seen and I love it.” Robert and I thought it was pretty freaky also. When we visited the Grassi Museum für Angewandte Kunst last Thursday it was unchallenged as the most wtf? of anything we saw. It’s deeply entrancing with its sheer strangeness.

So, with all the attention Der Kaminbehang got, I started to poke a little deeper. Turns out the Grassmuseum appreciates its weirdness, devoting an entire Digital Kinderkatalog (digital children’s catalogue) to the work. I can totally see kids going bonkers over it.

I’m not sure the Kaminbehang.pdf answers all questions being asked, but anyway, I slapped up a quick and rough translation. I also did a number on the text above each figure. I think it’s in Frühneuhochdeutsch, but there’s some words that are either Süddeutsch, imports from other Germanic languages, or possibly (in the case of the Roma figure) not German at all.

A couple of notes: These translations are on the literal side, not trying to dress them up beyond getting the meaning across. For the Kaminbehang, all characters are in uppercase, which can lend vastly different translations based on whether a word is noun or verb (e.g. herkommen/Herkommen). I presume this would be easier to differentiate for a German speaker, but even Robert had trouble teasing out the meaning. Words are separated with small stars. But not always. There are no umlauts, ‘V’ is used for ‘U’; ‘I’ is used for both ‘I’ and ‘J’ and sometimes ‘L’; some of the letters are so worn it took a while to work out what was what; there are both standard-ish Early New High German spellings (from what I can tell — not my thing at all), plus variations that seem according to how much space there was. I’m giving the original text (as close as I could work it out) plus a flat translation to English. I also did a translation to Standard German, but not including it.

First, the text above each figure, in original Frühneuhochdeutsch followed by my (literal) English translation:

Der weise Mor bin ich vorogen
alle ins Vien bin ich durch Zogen
mit meinem Pfeile und Bogen in meiner Hant

The white Moor I am before others’ eyes
all in my veins can I be seen through to
with my arrow and bow in my hand

So bin ich der Unger geant 1571
an meiner Kleidung wol bekant
durch deutsch und welsch Lant

So am I the Hungarian named 1571 (date of manufacture)
by my clothing well-known
through German and foreign lands

So bin ich der Zegeuner vor Hant
den deutschen nihi bkat als voe Jaren
da sie an uns kein Gelt deten sparenn

So am I the Gypsy before hand
the Germans are not generous as years before
since they no longer spare money on us

Ein Welscher bin ich bei zimlichen Jaren
und bin von Welschen genomenn
trag Kleidung nach unserm Herkomen

A Welsh am I for quite a few years
and am from foreign lands come
I wear clothing according to our tradition

So bin ich von schwartzen More genom
kein Kleidung drag ich in meinem Lant
von der sonnen Hitz die mich vorbrant

So am I known as the black Moor
no clothes do I wear in my country
from the sun’s heat am I burnt

Ich bin Frantzose wol bekant
meinem Herrn dem diene ich
bei meiner Kleidung bleibe ich

I am French, well known
my Lord do I serve
by remaining in my apparel

Einen langen Spies fur ich vor mich
ein Schweitzer und trever Helt
meine Kleidung mir also wol gefelt

A long spear for me before myself
a Swiss and loyal hero
my clothing pleases me indeed

So bin ich der Turck gezelt
kombt ein Christen meine Hant
er mus mir lasen ein teur speant

So am I the Turk tented (i.e. enveloped in a tent-like cloak)
a Christian comes to my hand
to leave he must make an expensive donation

So bin ich der hohe Deutsche genan
aller Nation Kleidung gefelt mir wol
weis doch nicht wie ich machen sol
mir doch ein bas dan die ander gefelt
damit ich ein Ansehen hab als ein Helt
so will ich hin zum Werckman gan
und im die Sache selber zeigen an

So am I the High German named
all nations’ clothing pleases me greatly
but I have no idea how I should wear them
first one then another enjoyed
thus I have the reputation of a hero
I will go to the artisan
and in these items display myself

And then the text from the Kaminbehang.pdf. This is intended for children or school groups, not sure what age range, but presuming pre-teens. It includes each of the figures, but their text does not correspond entirely or at all to the actual text on the Kaminbehang. It does provide additional information to its history, as well as elaborating on the figures, for example describing the first figure as Albino. I’ve also translated the figures’ nationalities or ethic groups literally. Some, like Moor or Gypsy or Turk are pejorative, either within their use context here or generally. German — the language as well as the thinking, people, country — still has ‘issues’ with both words used as well as concepts behind them. Let’s just say it’s late-’70s here.

The fireplace hanging

The fireplace curtain on display probably originates from southern Germany and was manufactured in 1571. It is 40cm high and 284cm wide. Previously it was used to decorate a fireplace in summer, when it was too warm for heating. It belonged to the old art collection of the Leipzig Town Hall (Leipziger Rathaus), the so-called Leipzig Council Treasure (Leipziger Ratsschatz). This work of art which we will look at in more detail together dates back to the Renaissance era.

It is meticulously made of precious materials such as silk, velvet and linen. Gilded metal wires along with real gold and silver thread were also used in the process. The figures’ weapons are comprised of metal or carved from wood.

It consists of nine alternating yellow, white, and black fields, on each of which a male figure is identifiable. The embroidered figures were stuffed with linen and paper, and are semi-sculptural in shape — that is, they lie like bisected puppets on the cloth.

Shown are different nations in their country’s traditional clothing. As early as the 16th century, people in Germany were interested in knowing how other peoples lived. In addition the artist was making fun of the vanity of the people of the time.

What is important is:

  • The individual figures are representations of how foreign peoples and cultures were imagined in the 16th century.
  • The European peoples are depicted as very rich and progressive; the Africans however, as a wild and impoverished people.
  • Today we are fortunate to know much more about other nations and the similarities or differences between our lives. Have you ever thought about this?

The White Moor
“Although I am an African, I have a fair complexion. They call me Albino. Not only in the 16th century were there often people like me on the west coast of Africa. I am depicted half-naked, like a wild hunter, clothed only with a hat and loincloth. In my left hand I carry a bow, and in the right an arrow.

The Hungarian
“My clothes are a long, colourful coat, a scarf around my neck, white trousers and short boots. In my hand I have a war hammer.”

The Gypsy
”I wear a pointed cap, a striped cloak, short trousers, and shoes. With my hands I open my cloak a little — can you see my naked belly?”

The Italian
“I prefer to dress myself very elegantly — according to the latest fashion, all in black with a flat hat and long hose. To this attire also belongs a long dagger, which I hold in my hand.”

The Black Moor
“I am also an African and on my naked body wear nothing but armlets and a torc. In my hands I have two arrows. The white blemishes do not mean I am wearing a leopard skin, rather the black fabric is worn out in these places. Now the light linen base shines through.”

The Frenchman
”Like the Italian, I am very fashionably dressed. On my head sits a beret. In addition, I wear a ruffle at my neck, slit trousers, and dainty shoes. My bright hose are especially striking. My left hand rests on the hilt of a sword.”

The Swiss
“With a long, forked beard, I have been depicted in the colourful garb of a mercenary. This includes a beret, doublet, funny knickerbockers, decorated hose, and elegant flat shoes. Sword, dagger, and a long spear are my weapons.”

The Turk
“I wear a moustache and a cap, a wide collar over my coat, long hose and ankle boots. In my left hand I hold a small, naked baby by one leg. The scimitar is my weapon.”

The German.
“I am still naked, but over one arm I carry many items of colourful clothing. But for which of the different fashions should I decide upon? Best for me to go to a tailor and avail myself of him for advice. After all, I will not get warm by looking at the clothing!”

Reading … Book of the Year 2016 (Non-Fiction): Kathryn Babayan, Afsaneh Najmabadi (Eds.) — Islamicate Sexualities: Translations Across Temporal Geographies of Desire

My non-fiction Book of the Year for 2016: Kathryn Babayan’s and Afsaneh Najmabadi’s (Eds.) Islamicate Sexualities: Translations Across Temporal Geographies of Desire.

And my full list of what I read in the last year: Reading … A 9th Anniversary.

Kathryn Babayan, Afsaneh Najmabadi (Eds.) — Islamicate Sexualities: Translations Across Temporal Geographies of Desire
Kathryn Babayan, Afsaneh Najmabadi (Eds.) — Islamicate Sexualities: Translations Across Temporal Geographies of Desire