PAOLO VERONESE

At his workshop in Venice, Veronese and a large team of apprentice artists made variation after variation of this scene. Details change, figures are added and removed and small adjustments in the compositional structure are varied. The mood too changes across the versions. Some are bright and reverent, marking the occasion as Christ fulfilling his position and starting his journey towards the kingdom of heaven, while others and darker and more ominous, as Christ gets baptised in the River Jordan he takes on, in that moment, the sins of all men shared in the water and thus condemns himself to the fate of his crucifixion. Yet for all the changes, each of which brings a new idea and dimension to the image, there is continuity too. The dove, representing the Holy Spirit, that shines powerfully above is consistent, and the poses of John and Christ, confident and trepidatious respectfully, reappear through many versions. Veronese found remarkable depth and new layers with each retelling of this scene, and in a world before reproduction, repetition brought with it revelation.

PABLO PICASSO

Emerging out of years of melancholy, in which sadness so imbued every aspect of his life that his paintings existed in shades of sombre blue, Picasso’s so-called ‘Blue Period’ finally waned into what became known as his ‘Rose Period. Here, the paintings were characterised by roses and pinks, with subject matters of joy and playfulness and a pervading sense of optimism that shone through the canvas. When this work was painted, Picasso was, for the first time, financially well-off and he felt settled in his life, with a new relationship and a residence in Spain. It was perhaps his stability in his present, that made him begin to look so explicitly backwards. The titular girl of this work is posed as the ancient goddess Venus, arranging her hair, while the boy holding the water jug is directly in reference to classical Greek statues. There is the African influences that defines so much of his work in the woman’s face, but much of the painting’s power comes in how familiar it is, as if the scene exists in the western psyche, portrayed in various guises across thousands of years.

GEORGES MATTHIEU

One must create fast. This was a tenet that Georges Matthieu stood by, believing in the primacy of speed to avoid any interference from the conscious mind. He worked with the goal to remove the context of existence, the knowledge gained and ideas informed by a life lived within a system from artworks. Nothing in the process of creation should be premeditated, no shapes should be painted that can be conceived of in memory nor should any visuals within the work have pre-existing references and ultimately, the artist must find a way to create in total, ecstatic isolation. If one could follow these principles, they could participate in the movement that Matthieu created known as lyrical abstraction and, in doing so, participate in the final transition away from a style of art that has been fermenting since the ancient times. Every movement, Matthieu believed, was simply an extension or interpolation of that ancient art of our ancestors, and it was only by breaking free from this context that we as a society could begin to think anew.