Catharina Van Hemessen was the first female renaissance art painter. Some of her most famous paintings are The Lamentation of Christ and Self-Portrait.
Catharina Van Hemessen was the first female renaissance art painter. Some of her most famous paintings are The Lamentation of Christ and Self-Portrait. . . . , both 1967, and Black and White. . . , both 1969. In both, the soles of the feet are painted in brown, with a bare calf for the upper body. This allusion to the classical figure of the cave in which Christ was burned is also present in several other works, most notably the quilt and appliqué. The quilt shows a pair of ragged legs, the soles of which are painted in white, with a teardrop for the upper leg, and a white hand for the lower leg. This juxtaposition recalls the traditional figure of the artist as a young child with the white hands of a father figure. These works, like many of the others, are based on prints. These images are not as obviously allegorical as the earlier paintings; they have a grave, almost poetic quality. In A Vial, 1969, Van Hemessen has printed a small painting in the style of Caravaggio, a material reference to a tableau vivant. The work, which is also a lithograph, depicts a woman with a blood-red head, a painted hand holding a vial, and two others, a hand and a teardrop, in a tangle of gold thread. The work was produced by an artistic collaboration between Van Hemessen and Antonioni. Van Hemesses work has always been subject to the critical question: who is she and what does her work have to do with Caravaggios? Antonioni is a figure who never stopped questioning the nature of his own identity. Van Hemesses works are similarly archetypal, and it is precisely in the questioning of identities that Antonionis art is as important as his art. Van Hemesses work is an idealist reversal of Caravaggios: both artists refuse to rest content with the self.
This painting is a sequel to the portrait of Mary, 1986, and consists of a close-up of the face of Christ in the hands of a man. This painting seems to be about the death of Christ; the man in it holds a crucifix, which is made of plaster. The painting is an allegory of the Crucifixion. On the other hand, The Painter, 1986, a portrait of a young woman holding a brush, seems to be about the death of art. The woman in this painting is painted in the nude. The painting is a photo-painting of self-portraiture, and it is an allegory of the self-portrait. Van Hemessen is perhaps the only artist whose work we can be certain of seeing. Her work is that of a sublime expression.
The latter shows Van Hemessen in a white dress, which she had slit to reveal her undergarments and bare breasts. The torn dress is her only mark of identification, but her breasts have been removed, and the dress has been nearly replaced by a decapitated one. The paintings are ambiguous, as are the texts, which are drawn from a personal and somewhat subjective journey through her past and present. The paintings, which are somewhat crude in their approach, are accompanied by a text that is difficult to read, and which is also difficult to read: a story of the artist as a transsexual, the passage from childhood to adulthood, and her years of living as an artist. The story is told in a large, cryptic inscription on the gallery wall. It has been written as a love letter. The writing is a rather heavy-handed retort to the art worlds often-burdened but passionate, sometimes-abusive, phrasing. In contrast to the very rough-and-ready paintings of Van Hemessen, which are often as small as three by four inches, the largest paintings are almost two by four feet and feature drawings and writings which are delicate and detailed. The smaller works are less grandiose, and are often depicted with the face of the artist. Van Hemess paintings are often strikingly striking, and are perhaps best experienced in a larger format.
The painting, now located at the center of the world, contains two references to her mother, who died in 1984. In the former, the artist depicts her mother weeping and begging for mercy while the world continues to burn. The former is represented by a woman who appears to be weeping herself into a mug of hot water, while the latter is a woman who is weeping, as if crying herself through a hole in her own brain. The latter painting is a projection of an oversize video camera, a model of the kind used in TV commercials. A woman in a skirt and a white tank top has the face of her mother and a tearful smile. Behind the camera, the artist, whose face has been removed, stands, her legs crossed over her chest, facing the canvas. The hole in her head is visible.The same is true of the self-portrait. The artist, dressed in white, with her hands over her mouth, is portrayed as a woman in her underwear, standing against a dark background. The viewer is confronted with a painting that has been removed, and the artist, in her underwear, stands before a mirror, facing her own self-portrait. She is self-portrait, self-portrait is self-portrait. In this painting, we see the artist in her underwear, a painting with her own head covered. In the overpainting of the image, we see that the other woman is also in her underwear, but she is not clothed, and she is not facing the camera. The painting is an image of self-portraiture. The self-portrait is an image of self-portraiture, and it is a self-portrait in a way that, in its strangeness, makes it a self-portrait.
Catharina Van Hemessen was the first female renaissance art painter. Some of her most famous paintings are The Lamentation of Christ and Self-Portrait. . . . In these works, the artist, seated before a black screen of a canvas, is weeping, smiling, and smiling. Her arms are wrapped in black cloth. She looks as if she is about to be swallowed up by the image. The image is an angelic Madonna and Child. The figure on the canvas is sitting on the floor, her head slightly bowed. A lamp on her head casts a pale, fire-like light over her face. Her head is covered with a black cloth. She is looking at the viewer with the calm, dispassionate gaze of a medieval martyr. The whole scene is imbued with sadness.The paintings are made of canvas, canvas, oil, paper, and colored papers. The artist has painted with her hands and brushes; she lays the canvas down, brushes it, and then paints again. Sometimes she breaks the canvas, letting it fall apart. The paintings are large, irregular canvases. The canvas is stretched over wooden frames. The paintings are covered with paper. The paper is stretched over the canvas. The whole thing looks like a tablecloth. The paint is applied thinly, almost in layers. The paper is folded over the canvas. The paintings look like papers, though the titles say they are paintings. They are not. The paper is drawn and sewn into the painting.The paintings are like illustrations of painters works. The paper is rough, almost rolled, with stains and spots. There are cuts in the paper which suggest a watery or oozing stain. The paintings are made of different kinds of paper, with titles, dates, and tags attached. The tags tell the title of the painting, and show the date of its making. Sometimes the title has been removed, leaving only the date. Sometimes the date is the date of the artists death. It is always the same date. Sometimes the dates and the dates are the same one. Sometimes, too, they are of different lengths of time.