From Johannes Vermeer’s ‘Girl with a Pearl Earring’ to Banksy and Mickey Mouse, Hamish Blakely’s upcoming iMasterpiece collection sees him experiment with Neoclassicism, Romanticism and Pre-Raphaelite styles to question the impact of social media.
M A S T E R P I E C E H A M I S H B L A K E L Y
M A S T E R P I E C E
Through the lens of the Old Masters, painter Hamish Blakely explores the snare of social media in his provocative new collection of original works, iMasterpiece. His signature focus on the sensuality of the female form sees him fuse classic masterpieces with materialistic symbols and instantly-recognisable cultural icons.
From Johannes Vermeer’s ‘Girl with a Pearl Earring’ to Banksy and Mickey Mouse, the figurative artist marries two different eras to expose a third: social media. An Instagrammer himself, Hamish explores modern society’s dependency on likes and follows whilst asking his audience to view the frivolity of this widespread phenomenon through the weight of old master works. Hamish says: ‘From our days at school, to negotiating office politics and now online, social media - more than ever - demands that we had better be popular and get followers if we want to feel relevant.Who are we trying to impress? It does not seem to matter.This is about quantity not quality. Numbers are what matter, and if your friend or work colleague is outgunning you with a bigger online following then you had better question your place in modern society. How did successful people manage 50 years ago, before they were able to tweet their greatness? How could you ever be attractive without winning selfie pout queen on Instagram? How did Shakespeare expound his literary prowess without an emoji at the bottom of the page? Yet manage, they did. Of course, there are plenty of benefits to using social media; you just have to know why you are using it.The exposure for businesses, charities, causes and just keeping in touch have all been enhanced by the speed and ease of social media, which now make emails and websites appear almost obsolete by comparison.Thankfully, these still have their own attributes before we consign them to the quill and carrier pigeon vault. I have enjoyed some of the advantages of Instagram myself. Still do and am quite happy to continue as long as it does not
divert me from doing what really matters.There’s the rub. People get drawn in, hypnotised and addicted.That cannot be good, especially when you are young, that particular age when appearances and glibness are a match made in heaven for Facebook and Instagram. Setting such store in what thousands of strangers think of you is not an advert for healthy self- esteem.’ While narcissism and self-obsession are cause for continued debate, Hamish does not criticise the selfie craze. His subjects are unabashedly beautiful, their mythical bodies realised in sumptuous tones and masterful brushwork. Hamish further explains: ‘It is not all bad news. Silliness and frivolity are just what the doctor ordered, and being profound all the time would be very tiring. Balance is the answer; substance and shallowness in varying quantities – deep discussion and small talk, both will always have their place. So, as we unveil my latest collection, I champion this spirit of open mindedness, enjoying the marriage of cultures as I shoehorn the absurdity of modern culture in with the majesty of old master works, following that classic tradition in contemporary art – sublimating the banal with significance. ‘It is my great pleasure and privilege, while amassing these new paintings, to study those geniuses such as Waterhouse, Velasquez and Bouguereau and explore how I paint while analysing, in unfettered wonder, the painting giants whom all modern figurative painters owe a debt to. Consciously and unconsciously, they are still teaching us.’
A R T WO R K S
Summer Breeze
‘Evening Mood’ by the incredible French master,William Adolphe Bouguereau provided the springboard for my scantily clad beach girl. Having fun on a summer evening, this goddess of the sea is relaxing with a beach ball as she watches the sun slowly decline in this cheeky image. Sporting Diesel underwear, this beach siren has a wonderful air of nonchalance; she is contained, confident and still mysterious even with her Pepsi ball poised for action if the right person, with the right attitude, wants to play. Bouguereau was one of the most immaculate, talented painters during the Romantic period and it was both a challenge and a privilege to attempt to capture the feel and majesty of his work. There is an undeniably entrancing movement and magic in his paintings that I spent two months trying to emulate. It is not possible to mimic Bouguereau and I did not attempt it.This is my version and it made me appreciate the great talent of this artist even more
Oil on Canvas | 66cm x 86cm
Britannia So Proud
The very first Union Jack piece in the series, this really kick-started the whole collection.To create a piece with all the treatment and finesse of a classical painting, but with some symbol of contemporary life, was the goal for this project.What speaks louder in encapsulating the era of social media and its irresistible hold over its almost 3 billion users worldwide than the ubiquitous selfie? The phenomenon of the selfie has proved to be invincible in its continuing proliferation and evolution through selfie sticks and the unbounded intimacy of its subjects. Privacy seems to be very rarely relevant in these attention-seeking, follower-dependent times. The lady posing for her fans (one would hope that Britannia has many) cannot exclude herself from the new public demand; that is, the same people who want to look up to you also want you knocked off your pedestal.This is the payoff; act like their friend or you may receive a thumbs down or, worse yet, you will be unfollowed! She understands the changing times, and Britannia graciously gives her adoring followers what they want.
The technical demands of this painting are always a huge aspect of creating a coherent, atmospheric image that can work without the full story behind it. The narrative is there but, as an artist, you want it to work without being reliant on a full explanation, leaving the fuller analysis a bonus, to help and enrich the painting for the viewer. If you are familiar with the Columbia Pictures woman holding the torch aloft, you will get an idea of how this informed the appearance of my Britannia. I could only speculate how her hair was styled at the back but you could see her hair was either short or pulled into an updo. I simply imagined how I wanted it to look and painted it. The lighting and how it highlights the surface of her shoulders, knee, and Union Jack all has a rhythm. Even if a subject is still, there can still be movement.
Oil on Canvas | 112cm x 86cm
Her Favourite Things
Using ‘The Delphic Oracle’ by the beautiful Neo-Classicist painter, JohnWilliam Godward, I have appropriated this mystical damsel and created an image of fun and mischief.The marble seat and her be- jewelled headband are clearly identifiable symbols of the romantic era in painting, so there was some drama in turning this once demure woman into the bubble gum-blowing, sensuous beauty I have created. The position itself really drew me in as I loved the very proud position of her torso.The gentle, almost autumnal backlighting framed her contours just beautifully and I simply made her frame a bit more athletic as I enjoyed the relationship of her shoulders and her hips.They both emphasise her small waist and make her look strong. As well as the bubble gum, this woman also loves her bonbons and expensive perfume.Why not? We are all made up of different things, she is a woman of differing and definite tastes so she also wears a skull and flower tattoos that provide her with the right amount of attitude. On close inspection, you will note the many surfaces in this painting. The pink, yellow and apple sweets in that lovely glass bowl.You have Chanel, Bulgari and Dolce & Gabbana perfumes, they sparkle and add warmth, and the softness of her cascading hair and the delicacy of her tattoos make things interesting for the eye. She is a woman of the modern age and we live in a bubble gum world.The superficiality of social media has turned many of us into frivolous time wasters…but that can also be fun!
Oil on Canvas | 87cm x 102cm
Sweet Venus
The platform for this piece is the wonderful ‘Rokeby Venus’ by DiegoVelázquez (1599-1660), a Spanish painter of the contemporary Baroque period. Commenting on our social media craze of ‘look at me’ narcissism, my Venus is far more self- conscious and camera hungry. She bares her tattooed body with grace but also a yearning for attention and admiration. She is a modern Venus, prey to the vanity of Instagram and selfie culture which has her unabashedly posing with a Coke can and a pair of Christian Louboutins.The cherub is also adorned with a Dolce & Gabbana arm clasp so she is not alone in her advertising of designer labels. The colours and mood of this piece are very carefully considered.While this is a stark image of self-pride
and vanity, there is no reason to treat it with disdain. Instead, she is celebrated; surrounded by warm hues and textures that all balance against one another from the rich red of the curtains and the sumptuous, burnt orange of the cushion, to the cooler Louis Vuitton embossed bed linen and pastel shades of the graffiti. She looks quite French to me, especially with her beautifully coiled updo. She is her own muse and welcomes the modern world with all of its consumer insanity. I wanted this painting to express a heady mixture of superficiality and old master weight.
Oil on Canvas | 101cm x 86cm
‘I am fortunate that my painting style lends itself to the rendering of the classical masterworks in this collection.There is a softness and density to my paintwork that seemed to suit the feel of some of these beautiful, old works of art.’
Hamish Blakely
Cover Girl
The title ‘Cover Girl’ explains the appropriation of Vermeer’s ‘Girl with a Pearl Earring’.The assimilation and recycling of iconic art in popular culture is seen frequently in the world of cinema and advertising. In this instance, the viewer can decide to whom the term cover girl applies as there are two universally familiar women sharing the spotlight. It could be both as they are both female icons in their own right. The classical splendour of Vermeer’s girl is, I feel, accentuated rather than diminished by our 1930s cartoon siren. Although Vermeer’s sitter is softly represented in contrast to the sharp lines of Betty Boop, she emerges easily in front of the caricatures. The girl with the pearl in my painting is actually wearing gold Chanel earrings with diamonds, to bring her into modern times.
The difference is seen further by the spherical drop pearl rather than Vermeer’s teardrop cut.The viewer will also see the Betty Boop leaning out of the right of the frame is also displaying a pearl rather than the customary yellow hoops she usually sports. Again, with all of these works that look at the Old Masters, it is my privilege to attempt any re-creation of these mythical paintings. I am constantly aware that I will produce only an imitation possessing a superficial understanding and grasp of the majesty of the original. Any idea that an artist can achieve more is a delusion. It is an honour simply to try to reproduce a ‘feel’ of the original.
Oil on Canvas | 76cm x 87cm
St Narcissus
We live in a very class conscious society, especially here in the UK. Among those fellow human beings who feel that life is just a battle in which there are winners and losers, existence can become reduced to a self- seeking game which requires the continuous demotion of others. It is an exercise in which the fragile self-esteem must be raised to a level that ensures his or her rank is re- confirmed above the ‘’lesser’ beings.This is evident in the many people who like to posture and puff their chests to establish their self-proclaimed superiority. It is a true blessing that not everyone shares this ruthless outlook and we have gentler souls to offset the ego driven hard heads that like to win at all costs. Did someone say Trump? ‘St Narcissus’ looks at those characters who live their lives lording it over others.We have all met them.They like to dominate, control and all share a secret fear of being inadequate. They have a lot to prove.Winning people
over is everything to them. Amusingly, they also usually make sore losers, sulking even if they lose a game of scrabble. My painting celebrates the incomparable silliness that makes people behave like this. You will note the little Banksy clown firing his pistols. He personifies people I have met, comical in their egomania. I have taken the well-known, high renaissance image of St Michael defeating Satan and switched roles. St Narcissus, in his designer label, muscle hugging top is bullying the laid out, Primark wearing underdog. He is so indulgent in his need for superiority that he is taking selfies as he stamps on the chest of his modestly dressed opponent.The stick obviously replaces St Michael’s sword. He is the perfect narcissist; grandiose and superficial, his survival depends on seeing others as less - less successful, less powerful, less popular because he is better, more, superior, etc. In
fact, the relationship of both their hands reaching out suggests that they could be touching one another, but keep missing. This suggests the sometimes wafer thin line between having integrity and getting it wrong. It also implies that they could be alter egos, the same person, one with the ego in overdrive, the other surrendering the tyranny of his ego so that a better life can follow. Defeat and victory depend on what is being won. If one’s victories come at the expense of others, they can only be regarded as failures. Why didn’t Yoda say this to Darth Vader? Ultimately this is a painting about the futility of wanting power over others and the trappings of so called success. It is an ongoing condition with people and a subject that was a joy to paint! On a technical point, it is wonderful trying to capture the quality of these classic, biblical paintings while adding a contemporary flavour.
Oil on Canvas | 87cm x 113cm
Ooh, Mr Choo
The cropped image from JohnWaterhouse’s ‘Nymphs Finding the Head of Orpheus’ was the inspiration behind this new, light hearted piece. I really liked the face and robes which seemed to me, to be from a very particular period - the appearance that women appeared to have in so many Academic paintings from the Romantic era. Anything incongruous seems to add intrigue to a painting, and this woman window shopping was a joy to paint as it was such a strange marriage of cultures and eras. From a technical
perspective, I enjoyed the assortment of different textures; the soft blending of her face, arm and hair to the impasto surface of the Jimmy Choos.The gold writing of VivienneWestwood and the lustre of the green leather of her shoes were all reasons to make a painting.The sale sign also just looks so frivolous compared to the mystery of the Pre-Raphaelite beauty.
Oil on Canvas | 66cm x 87cm
Britannia Bares All
The majestic pose for this piece demanded painting.The flame- haired goddess tilts back to give her followers the best view she can manage in a gesture of unashamed pride. It is a powerful, dramatic statement that also has a good dash of sensuality with a real classical treatment but a contemporary feel. It is a powerful comment on the lengths some members of our society will go to, to gain attention and followers in the ‘look at me’ culture they are immersed in. It carries a warning that social media showboating creates only an illusion of popularity.There is no intimacy or substance in these online transactions, just the dubious pleasure of having one’s ego fed and later starved to be fed again, in a cycle of need and satisfaction that will never be a substitute for real self-worth. The light background complements the dark backdrop of the other two ‘flag pieces’.These three Union Jack pieces form of a sort of triptych and develop the idea and character in this theme. I wanted the technical aspects of this painting and the whole quality of the piece to be imposing, as if it could hang in a museum.The warm flesh tones, anatomy, her expression and the movement and weight of the flag itself make this a dramatic statement.
Oil on Canvas | 97cm x 122cm
Seaside Libertines
Adopting William Bouguereau’s ‘The Bathers’ (1884) as my inspiration, this new piece shows two beautiful women flaunting it as nature intended while they relax in a quiet spot on the beach.The bottles of Coke and 7UP provide the flavour of contemporary culture, as do the bikinis, sunglasses and elegant footwear. I was drawn to the two bathers primarily because of the composition. I love the two different heights; one sitting and the other standing.The flattened pyramid of the rock feature behind them also creates a very pleasing shape and it breaks up the backdrop. This piece had to have space, hence the 97 x 138 cm dimensions. I wanted it to have an imposing presence
when it is displayed with the other pieces. Details such as the different states of their undress show two different personalities, although they are united in a sense of independence and their lack of inhibition. Sensual and strong is always a feature when I paint women and this painting, I believe, exemplifies this. It is an ambitious piece designed to capture the feel and quality of the classic painters of that Romantic period and make the most of the way I paint.
Oil on Canvas | 97cm x 138cm
Love Crazy
Taken from the sublime Hugues Merle painting ‘Mary Magdalene in the Cave’ (1868), it is a painting that exemplifies the subtlety and skill that I admire in the old masters.The skin tones, the details of the garment and hands are just breath-taking. Of course, there are artists of today who attain this level of proficiency but there is a quality, a softness and deftness that I find particular to the classical masters of yesteryear. If I have succeeded in reproducing some of this feeling in my love struck heroine, then I am very pleased indeed. I have taken her gaze down from the original and altered her features but the overall attitude is very similar. In my painting she is hopelessly in love, in a state of near rapture as she reclines in a haze of lovesick dreaminess. I think most of us can identify with this feeling.The classic rendering of our starry-eyed subject sits well with contemporary elements that surround her, from the deep red heart to the graffiti that all look like examples of tattoo art. I think all these elements blend to make a compelling and pleasing image that, on the one hand, pays homage to Monsieur Merle and on the other, make a fresh and engaging painting.
Oil on Canvas | 87cm x 77cm
I Need A Hero (Homage to Stan Lee)
There is a mystical painting by Luis Ricardo Falero called ‘La Sorciere’ painted in 1882 which got me thinking about a dreaming damsel. I love the pose of her body in his painting with that elegant twist and her arm falling backward as she clasps what looks like an opium pipe of some description. I have taken this beautiful figure and suggested that in her reverie, she is calling out for a hero. At the time of painting this piece, the world learned of Stan Lee’s passing.To personally celebrate the Marvel creator I had to have his Bruce Banner alter ego looming out of the mist in response to the woman’s summoning. When the idea of the Hulk came to mind, I started looking at other reference. I was pointed towards Goya’ ‘The Colossus’. One of his most
famous paintings, my green giant needed to possess a similar presence.This explains the vaporous atmosphere from which he emerges. It also reflects Falero’s painting and the woman’s dreamlike state. The Hulk is the modern element in this otherwise classical piece. I could have added other items of contemporary culture but I felt this painting did not need it. It is all about her and him.The Hulk is all the modern culture you need in this painting.
Oil on Canvas | 122cm x 97cm
Eye on the Prize
Frank Cadogan Cowper was the inspiration for this narcissistic beauty. In fact, the original painting was so apt, being entitled ‘Vanity’, that I had to do my own version with the subject taking a sneaky glance at her smartphone while enjoying a Starbuck’s frappuccino. The table she rests her arms on is adorned with illustrious designer labels and the backdrop reflects the nature of social media culture, seeming even more frivolous compared to the opulence of her costume and the rich gold of the tablecloth.The pearls, sleeves and head cushion all provided me with opportunities to explore texture and detail, which help prevent a painting from being static and flat. There is movement so that the story behind the image is well supported.This piece, as with all the works in this collection should stand on its own merit, without a comprehensive explanation although it is always valuable to have a clear viewpoint.
Oil on Canvas | 66cm x 66cm
The Valpinçon Playlist
Inspired by Jean Auguste Dominique Ingres’ iconic ‘The Valpinçon Bather’ painting (1808), which is a tour de force in shading and hue, I considered the exquisite simplicity of this piece alone reason enough to create my own version.The original is so sensitive and so intimate, I did not want my version loaded with graffiti, as with ‘St Narcissus’ and ‘Sweet Venus’. The inclusion of Mickey Mouse was a very last minute decision and seemed to be a good counterpoint to the gentle dignity of the subject.The fact that he is whistling also reflects the model, listening to iTunes through her Bose headphones. The organic tattoo on her lower back is, again, understated, but brings this image unmistakably into modern times. I was quite pleased that it appears as if
she is looking at the Disney rodent while he whistles, as though they are sharing this incongruous moment of levity. Any deeper narrative could be sought from asking the question, who is she and what is she listening to? This secret playlist is just that, unknown, and we can only imagine. I like to think that she is lost in her own world, enjoying tracks that would have seemed unimaginable in the times in which she is living.
Oil on Canvas | 66cm x 66cm
Shine
Using Jean-Léon Gérôme’s provocative ‘A Roman Slave Market’ (c.1884), I have taken the sensuous figure of the objectified woman and placed her in London’s West End.The array of neon signs clarifies which part of London we are in and the environment in which she finds herself.This collection, looking at social media vanity, could not be better supported by this image of exhibitionism. Her erotic beauty is undeniable but her body language understandably suggests oppression in the original painting as men barter for her services. However, I found this interpretation a significant point to re-address. In my painting, the viewer is asked to re-evaluate this prejudice. Do we really know what this woman is feeling? Her arms thrown up could simply be part of a dance as she enthralls her spectators. In this modern setting, could it be condescending to presume she is a victim? I paint her, not as someone who needs rescuing, but as a woman who has the courage to know both herself, her body, and as someone who has the resourcefulness to know there is another way to put food on the table.
People love to judge. Burlesque is a nostalgic art form, call it stripping and it is something else, yet Instagram is flooded with girls eagerly objectifying themselves to attract followers without the justification of earning money, just the enticement of provoking anybody to be their fans in the nebulous world of cyberspace. However you prefer to name it, exotic dancing, pole dancing or burlesque, the woman in my painting is a priestess, a beautiful siren who knows exactly what she is doing and why she is doing it. There is a classical look to her which presents a rich contrast with the brashness of her Soho surroundings and there is also a lightness to this painting, a humour which offsets the deeper themes - the ‘Bada Bing’ sign and Mickey Mouse with his tongue hanging out.Yes, much like the many signs that surround her, she shines!
Oil on Canvas | 92cm x 82cm
Back by Popular Demand
This is the third Union Jack piece completing the trio of my Britannia goddesses for this show. In each of these flag images I have expressed something individual so that all three pieces stand on their own two feet.This is the third Union Jack piece completing the trio of my Britannia Goddesses for this show. In each of these flag images I have expressed something individual so that all three pieces stand on their own two feet.The smartphones in all three pieces have reverse cameras. Samsung has such models and was my preference because I did not want the illumination of a front facing screen to distract the viewer’s eye from the subject. I may well change this in the future but I wanted these pieces to look as classic as possible with any elements of contemporary culture depicted with as much subtlety as possible.
The feminine athleticism of her back and shoulders conveyed such grace and strength that they acted as a tremendous counterpoint to the folds and silken mounds of the Union Jack.There is a sense of serenity despite her natural affinity with the camera lens. She is anonymous in this work, whereas she is more identifiable in the other two Britannia pieces. This means we may not know her as well as we think we do.With her back to us we can only speculate as to what she is communicating.They say the camera never lies, but it can misrepresent in the blink of a shutter. Perhaps our grand Britannia knows the deeper truth but she is happy to play the game.
Oil on Canvas | 122cm x 97cm
Biography
Born: Canterbury Lives and works:Warwickshire Education: Kingston University London Awards: Benson and Hedges Gold Award for Illustration Whether it was sketching his favourite comic book superheroes or drawing caricatures of his school teachers, a childhood affinity for art paved the way for a successful career for Hamish Blakely. During his time as a professional illustrator, his clients included The Body Shop and British Telecom. He was also chosen to paint two front covers for the world- renowned author of Schindler’s List,Thomas Keneally. Inspired by the beauty of the female form, his artworks hint at deeper, primal forces. Using a rich colour palette, Hamish paints with finesse while creating a tactile surface achieved with layer upon layer of heavily-applied pigment. Like many great
artists, he has a muse – and it is none other than his wife, Gail! Hamish says:“We men folk have a lot to learn, and I have learned a great deal from her since we met. My art celebrates that mystifying blend of feminine beauty and strength.While loyal to that enduring genre of the celebrated nude and venerated goddess in art, I also explore the majesty of a woman’s presence.” The artist has explored themes of empowerment, narcissism and even ‘smartphone mania’. Subjects have included angels, courtesans and celebrities, but his loyalty remains to the intrinsic power of women. He adds:“There is something primal and mystical about creating the illusion of a convincing vision on a once bare stretch of canvas.”
M A S T E R P I E C E H A M I S H B L A K E L Y
The images contained within this literature are an artistic representation of the collection. To best experience our art, we recommend you contact your local gallery to arrange a viewing. © Washington Green 2019. The content of this leaflet is subject to copyright and no part can be reproduced without prior permission. www.washingtongreen.co.uk
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