Quantcast
Channel: Outsider Environments Europe
Viewing all 525 articles
Browse latest View live

Renewed SPACES website launched

$
0
0


Its mission being Saving and Preserving Arts and Cultural Environments, SPACES is a non-profit organization, founded in 1978 by Seymour Rosen (1935-2006), a US west coast photographer who was one of the first to document and raise interest in creative expressions outside the institutional framework of mainstream art *. 

Fascinated by the "magical world created from what most other people would consider junk", as Rosen said, he spent some fifty years in documenting and photographing environmental and other creations with a folk character, organising expositions, writing, campaigning.

He took part in the committee that in the late fifties succesfully opposed the demolition of Simon Rodia's Watts Towers, as proposed by Los Angeles authorities **.

Seymour Rosen's legacy of documents and pictures is at the core of the SPACES archive, that in the course of the years considerably has grown in size. Directed by Jo Farb Hernandez, the organisation nowadays can be seen as the leading one in documenting and otherwise supporting the field.

Website renewed

With the recent publication of the renewed version of its website, SPACES demonstrates not just its potential of making information on art environments availabe to a large public in a contemporary, interactive way, it also -in accordance with Seymour Rosen's view- expresses its commitment to support an international approach.

I wholeheartedly endorse such an international approach, and I am honored I could cooperate in delivering material on environments in Europe, in favor as I am of approaching these phenomena not just on a national, but also on a european and an international level.

In Europe various initiatives indicate a growing interest in a systematic documentation and study of art environments - for example in Italy the Costruttori di Babele project and the Osservatorio Outsider Art (Palermo University), in Spain the Bric-à-Brac/Revista Sans Soleil, in France the Patrimoines Irréguliers de France, in Finland the Union for Rural Culture and Education. 

A nice task for theEuropean Outsider Art Associationto unite these -and comparable- projects into a european patform?

____________________________________________
Notes
*    When Rosen in 1988 visited France, he has been interviewed by french art writer Laurent Danchin. The text of this interview (in french) is on his Mycelium website.  
**  Rosen's pictures for a 1962 exposition in Los Angeles about the towers are on line

Maxmillian Appeltauer, Malovaný sklep/Decorated cellar

$
0
0

Foto's van Painted cellar (Malovany sklep), Satov
this picture of the Painted cellar (Malovany sklep) 
made available byTripAdvisor

Underground excavated voids may have various functions, such as providing safe shelter or storing food. This underground cellar in the Czech community of Satov, near the border with Austria, probably has been dugged out from the perspective of sociability, since through the years it has been a wine bar.

The site has some reputation, mainly on touristic websites, because of it's decorated interior.

Life and works

Maxmillian Appeltauer (1904-1972), born in Austria, resident of Satov, as a young man, in 1934 began decorating  the interior of this underground cellar on his free sundays, a project he has been doing for over thirty years.

On the sandstone walls he has created a multitude of frescoes in a naive style, depicting landscapes, historical events, various characters from history and fairy tales.

 


these two pictures from Malovany Sklep website

The cellar, lying some 12 meters (39.3 ft) deep, has a main corridor of some 25 meters (82 ft) long, complemented with some five smaller corridors.

Electricity was only provided in 1965, so Appeltauer has been painting all these years in darkness, getting light through candles he applied on his hat.

When in the army during WWII, he was wounded and lost control over one arm, however, after the war Appeltauer, although disabled, has continued his decorative project. 

Czech website Druid Mysteries has the story that some of the frescoes in the course of time have been repainted, in accordance with socio-political developments, like the two gardeners in next picture originally were soldiers 


and, what originally was a painting depicting the Führer, was transformed into a scene of a family welcoming the blessings of socialism.


Singlehandedly decorated caves and dug-out voids are rather rare in Europe. Chesné's Garden Grotto (France) is not dugged out and actually is more a structure, Dumoulin's Grotte (Switzerland) has no decorations, and then there are some collectively frescoe decorated and otherwise embellished caves, like the Jesuit Caves(Netherlands), the cave at Denezé sur Doué(France) and the Wieliczka Saltmines(Poland). But a cave with decorations made by one person, as the one in Satov, as far as I know, is unique.

Actual situation
The site nowadays is mainly a tourist attraction, that can be vsisited in summer. The couple that welcomes visitors and entertains the guided tours, also will take care that the frescoes stay in good condition.

Documentation, more pictures
* So far I couldn't trace a review of the site from an art-historical point of view

Maxmillian Appeltauer
Malovany Sklep
Satov, Czech Republic

update: Ensio Tuppurainen, video 2012

$
0
0


In 2012 finnish photographer and author Erkki Pirtola has made a video of then 88 year old Ensio Tuppurainen, talking about and showing his folk art environment in Vekeranjärvi in Finland.

The finnish spoken video gives a good impression of the variety of creations Tuppurainen has made, both all kinds of installations from recycled material and sculptures, as pamphlets with social and political manifestations

A finnish friend informed me that Tuppurainen has wise and sensitive stories behind each art work and makes remarks like: "I've been a cheap person for society" and "There is one reason behind these works: spiritual. And my will to show".

Take a look at the video (Youtube, 19'29", uploaded 19 dec 2012)

Samúel Jónsson, Chapel, museum and sculpture garden

$
0
0

 unless otherwise stated pictures (sept 2004) courtesy of 
Paul Kornaat, from his website IJsland, land van uitersten 

Already in Iceland this site is considered as located in a remote part in the west of the country, so from a mainland perspective it may rank as the westernmost outsider environment in Europe, and a rather remote one too.

Life and works

Farmer Samúel Jónsson (1884-1969), who lived alone on a farm in the SelárdalurValley, from youngmanhood on had artistic ambitions, he expressed by making paintings. Restricted by the hard labor at the farm, he only could fully devote himself to creative activities once he had become retired.

Some sources say he began developping the site around 1954, when he was in his early seventies.


This folk art environment consists of a sculpture garden and two builded structures: a chapel and a museum with Jónsson's paintings and other small works.

The story related with the chapel says that Jónsson had made an altar, he wanted to donate to the local church, an offer that was rejected however, because the existing device was useful enough. So to provide a place for the artwork, Jónsson constructed his own chapel (on the picture above the building to the left, with the small tower).

The other building he has constructed, is a museum as in next picture. Here he would expose his paintings and smaller creations, like small replica of famous buildings.


Annex to these buildings there is a sculpture garden. Its chef d´oeuvre is a replica of the Alhambra Lions Fountain, as in the first picture, but there are some other sculptures too, like personalities (the famous Icelandic explorer Leifr Eriksson), seals, seahorses, a duck with ducklings.

Jónsson made these sculptures using concrete, and it has been reported that he went to a nearby beach to collect the sand he needed to mix the raw material.



The site is being cared for

Since Jónsson lived alone on the farm, after he died in 1969, there was no one to take care of the site. Maybe in that period the valley already experienced a decline in population, given that in 2010 the last farmer left the regio that once had some fifteen farms..


the sculptures in a misty atmosphere

Without maintenance, especially the buildings suffered the risk of decay. However, in 1998 an association has been formed to take care of the site. With help of the Department of Agriculture, owner of the lands, a restoration project has been designed, that from 2004 on has been implemented.

The idea is to have the site transformed into an artistic complex, with a visitor centre, exposition facilities, apartments and studios where artists in residence can stay and work.

Documentation, more pictures
* A video of the site by Heim 713 (Youtube, 3'30", uploaded may 2011) (the propped up wall in the video is what has been left of the original farmhouse; the plan is to rebuild it)
.  

Sámuel Jónsson
Chapel, museum, sculpture garden
Brautarholt
Selárdalur Valley, Vestfirôir (Westfjords)
exterior can be visited 
foreign visitors better contact a local 
tourist agency about collective tours 

Antoine Puéo, Maison fleurie/House with flowers

$
0
0


The Midi Lbre, a journal from southern France, on december 17, 2012 had an article* saying that La "Maison Fleurie" vit ses derniers jours" (the flowered house will have its last days). A plan to widen the street where the house is situated, implies that it has to be demolished.

Located in Lézagnan-Corbières, at the Rue Gambetta, a narrow street indeed, not much has been published in writing or on the internet about this decorated house and its author, but it must have been depicted on various postcards.

on the left a small part of the decorated house
picture via Google streetview

The newspaper article has some details, as related by Marie-José Puig (1951), grand-daughter of Antoine Puéo (?-?).

Life and works

She says her grandfather, born in Spain, came to France at a rather young age (maybe around 1900 or so, my guess), to become trained as a mason.

Having become the owner of the house in the rue Gambetta, in the early forties Puéo began reconstructing it, adding additional floors, replacing balusters and decorating the facade with sculptures he made himself, and decorations with mosaics and shells.

Through the years, the house also has been embellished with natural plants and flowers, which induced the name Maison fleurie 

the house rises high above the other houses 
in the narrow street
picture via Google streetview

Marie-José Puig, who for many years has lived in the house and eventually became its owner, in 2001 has sold the property to the municipality.

Documentation
* Link to the Midi Libre newspaper article (in french)
* Weblog by Jean-Michel Chesné with a picture postcard of the facade
---------------------------------------------------
note:
* I am indebted to Michel Leroux who noted the newspaper article and Jean-Michel Chesné who wrote about it on his weblog

Antoine Puéo
Maison Fleurie
Rue Gambetta
Lézignan-Corbières, Languedoc-Roussillon area, FR
to be demolished


Maison fleurie weergeven op een grotere kaart

J.T. Halstead, Ebenezer Cottage

$
0
0


Above picture may not be very clear, but then, it is a reprint from an old english journal, the Examiner, that in its edition of december 30th, 1936 had this picture and a note about a "fairy tale cottage in Lancashire".

According to the caption J.T. Halstead (1866-?) was a mill operative in Rochdale, who, probably when retired, began decorating the exterior of his house with broken pottery, shells, figurines, a plate in memory of his deceased dog and various smaller items (teapots, light bulbs etc).

I have bee looking around for more details about this environment, but the internet so far has offered no further information, except this trailer (0'47") of a 1937 item on British Pathé, showing Halstead at work (for preview only, DVD can be bought).



This is all, so far, more information would be welcome. 

As far as I know, the decorations have not passed the test of time and belong to the realm of history..

J.T. Halstead
Ebenezer Cottage
Braod Lane
Rochdale, greater Manchester, UK

Ioan Stan Patras, Cimitirul vesel/Merry cemetery

$
0
0

pictures courtesy of Norman Carson

The small Romanian community of Sapanta has become famous because of its graveyard, crowded as it is with decorated tombs. From the thirties of the former century on, one of its inhabitants has created hundreds of wooden tomb decorations, transforming the graveyard into kind of a folk art environment. 

Life and works

Born in a Sapanta family that lived there for centuries, Ioan Stan Patras (1908-1977), already as a youg man was active in painting, writing poetry and wood sculpturing. As an adult he was commissioned to sculpture tombstones, tradionally made from oak wood.

For the first time in 1935 he added  texts to the wooden tombstones, describing in the first person and in the locally spoken language the character, the profession or a life event of the deceased. 

Soon he would also add a brightly painted sculpted relief depicting that epitaph. 
. 


Such a way of  dealing with death would fit in the prevalent communal religious view, which considers the soul as immortal and sees death as a joyful passage from earthly misery to a better life afterwards. This is reflected in the willingnes of the inhabitants to order similar decorations in the course of the following years. I came along the information that Patras' approach has been approved, and suggested by the local priest.

As far as I understand Patras somehow has patented his way of working, and he evidently has been succesful in positioning his one-man company as monopolist. All together during his life he has made some 700 decorative structures.


Patras used a specific blue color for the background of his decorations,  painting the scene in a folkish, naive style in primary colors. His texts would describe the deceased in a common way as he or she was in the memory of the villagers, all together relating the tragedies and joys of the community.

The decorations and inscriptions are quite interesting to be studied from various points of view: linguistic, artistic and anthropological

After Patras died, in 1977, his work has been continued by his pupil Dumitru Pop, who went to live in Patras' house, near the graveyard, a house that nowadays also can be visited as a museum.

The graveyard has become a touristic site

The graveyard nowadays is on Unesco's world heritage list and it is among Romania's important tourist spots. It is visited by thousands of tourists, who -unlike the locals- pay an entrance fee to see the site.

Some documentation/more pictures
* Bruno Mazzoni, Le iscrizioni parlanti del cimitero di Sapanta, Pisa (Ed Ets), 1999 -334 p
* Ioan Pop-Curseu, Some observations of the anthropological basis of artistic practice: the merry cemetery, Sapanta (Maramures) (available in PDF on the internet)
* Sanda Golopentia, The merry cemetery of Sapanta (available in PDF on the internet)
* Pictures by New York photographer Peter Kayafas on his website (with epitaphs translated into english); also published as a book (2007); a video version (7'58") on Youtube:


Ioan Stan Patras
Cimitirul vesel  
Sapanta, Romania
can be visited by the public

Joyce and Paul Plimmer, Shell decorated house

$
0
0

Picture via Google streetview

Above shell decorated house is in Dartmouth, a city with a long history, and nowadays some 5000 inhabitants, located in the south of England on the west bank of the river Dart's estuary.

Life and works

Decorating the facade and the interior of the property has begun in the seventies of the former century by the Plimmer family who then were its inhabitants. The story is that one day mr Plimmer went to an auction to see if he could buy some furniture and returned home with an antique collection of shells. This may have inspired the couple to start decorating the house with shells.

Since Paul Plimmer had a job as a captain on a yacht and often was away from home, mrs Joyce Plimmer has done most of the creative work, at least at the inside, and she probably was the driver of the project.

picture of an interior decoration,
 made availabe by mrs Plimmer's daughter to 

The facade combines geometric decorations with images of towers and maritime themes, like an anchor and various ships, in the interior the rooms have been abundantly decorated, both walls and some ceilings.

Paul and Joyce Plimmer had three children, and one of the two boys, being interviewed by a journal, relates that he and his brother were commissioned to collect shells on the local beaches.

When in 2012 mrs Joyce Plimmer, who apparently then was living alone in the house, had to be included into a nursing home, the house was put on sale.

Much to the delight of the Plimmer family the new owner, mrs Louise Cotton, a Dartmouth resident who knew and loved the shell decorations from cildhood on, has told the newsapers that she will maintain the decorations and repair these if nescessary. .

Documentation/more pictures
* Newspaper article in Mail Online, january 21, 2013

Joyce and Paul Plimmer 
Shell decorated house
47 Lake Street
Dartmouth, UK
exterior can be seen from the street



Vincent Navratil, Mlejnek z Viru/Mill in Vir

$
0
0

this and the next picture courtesy of  
the Horácké Muzeum (Nové Mesto na Moravé)

Vir is a small community of some 750 inhabitants in the Bohemian-Moravian highlands of the Czech Republic, attractive because of its location in beautiful surroundings and surprising because of a unique artistic installation.

Life and work

To please his children, Vincent Navratil, in the forties of the former century near his house began constructing an installation with movable characters made from wood, depicted two-dimensionally and mainly in side view, showing scenes from daily life, like carpenters and  blacksmiths at work, dancers, people drinking, trapeze artists, and so on.

The machinery could be put in motion by a paddle wheel in the nearby flowing creek, and when water supply was low, Navratil would operate it manually. In wintertime it would be safely stored in a shed.


Having a job as a handyman at the local textile factory, Navratil could easily acquire surplus machinery parts to build up the installation.

Begun modestly, the number of characters in the course of the years would grow, also because Vincent's son Adolf joined his father in making them, and eventually, in the seventies, the installation included some 70 characters.


 above and below pictures (2012) of characters 
(installation in the museum) 
courtesy of Babeta from her weblog Babetina Galerie


Donated to the Horácké Museum

In 1986 Vincent's grandson has donated the installation to the Horácké Museum in Nové Mesto na Moravé, where, after having been renovated, it is on show in the museum's garden, and has become one of its main attractions.

A replica in Vir

The community of Vir, however, has arranged that a replica of the installation has been made, which in 2007 got a place on a spot along the Bystnce stream that boards the village.

The video below (by Hana Procházkóva, Youtube, june 2009, 2'51') shows the replica in action


Vincent Navratil
Mlejnek z Viru
Vir (nr 205e)
replica, free to visit
Nové Mesto na Moravé 
original in Horácké Museum    
Czech Republic
location in Vir


Virsy Mlynek weergeven op een grotere kaart



Stanislav Rolinek, Jeskyné Blanických rytirú/Cave of the Blanik knights

$
0
0

coloured pictures (2012) courtesy 
of Patrik Frýbort (Frypat), from his weblog

The story of autodidact sculptor Stanislav Rolinek is tragic, because he died at such a young age, and it is fascinating because of his dedictation in making creations in the short period given him (1927-1930)

Currently his Cave of the Blanik knights, an art environment in Rudka in the Czech Republic, still can be visited.

Life and works

Born in Boritov, Czech Republic, Stanislav Rolinek (1902-1931), after having finished school, went to work as an upholsterer in a furniture factory. His father had died when he was one year old and the family could not afford prolonged education, although Stanislav already when young showed artistic talent. He had a poor health and as a young man, in 1924, he had to be treated for tuberculosis.

When young he may have made paintings, but sculpting became his artistic passion, which he manifested in 1927, when he made -using very simple utensils- a sculpture of a girl's head in an abandoned sandstone quarry at the foot of a hill in the outskirts of the community.

Derided by people working in the fields around, and being a timid person, Rolinek decided to make his next sculpture in a secluded place, more up hill. This was a spot on private property, so not to be caught, he often worked at night.

the Hussite group sculpture, left Jan Hus

This sculpture was an ensemble, 4x4x2,5 m (13x13x8.2 ft) depicting Jan Hus (internationally also known as Johannes Hus) and two companions. In 1918 Czechoslovakia had become independent after centuries of Habsburg rule, and Hus was the figurehead of the young nation, which in the 1920's entailed considerable tensions with catholic citizens and the Vatican.

So once news about the Hussite sculpture group began to spread and the creation was written about in local and regional papers, it attained great renown, in any case in relation with nationalist feelings, but without doubt also because of its artistic expressiveness. One of its admirerers, Frantisek Burian, mayor of Kunstat, near Rudka, would become the patron of Stanislav Rolinek.

A statue of the presdent

Burian asked Rolinek to make a sculpture of president Thomas Masaryk, to be situated on a plot of land Burian owned. The idea was that the statue would be ready iin october 1928, to be unveiled at the occcasion of the tenth anniversary of the republic. So, Rolinek had just some eight months to make the statue.

the statue of Masaryk, in the background 
Burian's watch tower

It became a more than man-sized statue, 10,5 m (34.4 ft) high, standing on a 3.5 m (11.5 ft) high pedestal, probably at that time Europe's highest,  and it was ready on time indeed.

A lot of people were present at its inauguration.

After this, Rolinek had to be hospitalized, to be once more treated because of his tuberculosis. When he could return to his hometown, in 1929, at the feet of the Masaryk statue he made a sculpture of a big lion, some 4 meters (13.1 ft) large, looking over its left shoulder, watching  the president as if protecting him.

Probably, Rolinek never had seen a lion in reality,


Burian offered Rolinek to pay a study at the Art Academy in Prague. The young man was admitted indeed (autumn 1929) and followed courses. However, because of his illness he could not continue the academy and in 1930 he returned home, where Burian meanwhile had arranged that a cave of some 100 m length was dugged out in the sandstone rocks near Masaryk's statue.

The cave of the Blanik knights

In this cave Rolinek made an ensemble of some 18 sculptures, depicting the legend of an army of knights, asleep in the interior of the Blanik mountain, who would awake and, commanded by Wenceslas, would come to the help of the czech people when in extreme danger.


Rolinek probably has been supported by some assistants who did preparatory work and maybe also did some sculptures of knights, which has not been documented very well.

In any case Rolinek has made the most important ones, like the 3.5 m (11.4 ft)  high sculpture of St. Wenceslas on a horse, which took him four months to complete (autumn 1930).


It would be interesting to know more about the relationship between Burian and Rolinek. Burian as mayor may have wanted to promote the community and attract tourism and may have had nationalist ideals, while Rolinek, although patriotic, may have had more artistic ambitions. This note is not the place to discuss this in detail, and probably relevant documents are lacking.

Stanislaw Rolinek died July 11, 1931, being 29 years old.

Demolishment of the Masaryk statue

During world war II  the german occupier ordered the demolishment of the Masaryk statue. Burian has tried to save it by having it divided into parts and hiding these, but this plan was betrayed and the sculpture has been demolished. Only the feet are still there.




Actual situation

After Burian died (1943), the site became neglected, but in 1989 a granddaughter took the initative to revitalise it. Currently, the site, that from old has a watch tower, has been expanded with a park and a place where Czech artists can expose their work.


As far as I understand the Hussite sculpture group currently is still extant; it can be visited by making a walk in Rudka's environment.

Documentation
* Andrea Svitáková, Stanislav Rolínek a sacharstviv priodé (doctoral thesis, available in PDF on the internet), Brno, 2010 (an academic study, relating Rolinek's life and discussing his creations)
* Website of the Cave
* Article about the Cave on Frypatuv Blog
* Article on the website of the community of Boritov
* Video (2011) of Czech tv series "Na Ceste"(On the road), about Boskoviic (scenes of the Cave from 10'.08" on)

Stanislav Rolinek
Jeskyné Blanických rytirú
Rudka, Czech Republic
on the road from Kunstadt to Rudka
open daily in summer (except mondays), 
in winter only open in weekends
see website

Rudka weergeven op een grotere kaart

Frantisek Jáích, Eldorado

$
0
0

coloured pictures (may 2008) courtesy of 

Unlike other fairy tale gardens in Europe, this one in the Czech Republic, named Eldorado,  has not grown out into a mega amusement park, full with roller coasters and snackbars, but it still has the atmosphere of the fifties, when its creation was started

Life and works

Frantisek Jáích (1899-1987), who lived in the small community of Hyncice in the north-eastern area of the Czech Republic, in 1957 decided to create kind of a fairy tale garden around his house, just to please himself and possible visitors.

He made scenes of famous fairy tales, like Hansel and Gretel and the witch, Snowwhite and the seven dwarfs, 

still from a Czech tv video (see documentation)

but he also made sculptures of smaller animals, like reptiles, birds, bears and chamois on the rocks as in next picture. 


A special feature of the garden has become its collection of huge sculptures of dino's and


other (prehistoric) large animals, constructed -as far as I understand- by applying concrete to an iron frame.


After Frantisek Jáích died, in 1987, his son Bedrich Thurz has continued taking care of the garden and has taken up further enlargements, in all ways respecting the atmosphere of the site as it has been from origin.

Currently the garden can be visited by the public without paying any admission. It has a small parking place and a kiosk to buy drinks and souvenirs.

Documentation
* Link to the webpage of a Czech TV program with a video of the garden
* More pictures on this Marquel webpage

thanks to Pavel Konecny, who informed me about this site

Frantisek Jáích 
Eldorado
Hyncici, Czech Republic
open to the public, no admission fee,
donations welcome
streetview


Maximillien Siffait, Folies Siffait/Siffait Follies

$
0
0

File:Folies Siffait.jpg

Owning a house on the banks of the river Loire in France may mean you can enjoy magnificent views of the river. And if your property has high rocks in its backyard, it is understandable to create a viewpoint uphill, to enjoy an even more splendid view. 

But why create a multitude of terraces, supported by high walls, connected by stairs and paths, and equiped with various smaller constructs, as the owner of this location did.... The local archives have no answer, but Siffait, who made these constructs, may have had that Babylonian drive that characterises so many of the autodidact builders featured in this documentary blog.

Indeed, this site, embellished with creative constructs by its nonprofessional owner, can be seen as an outsider environment, like those, who focus upon its curious architecture, might denote it as a folly.

Life and works. 

Born in Abbeville, in northern France, Maximilien Siffait (ca.1780-1861), as a young man served Napoleon in his Italian and Egyptian campaigns, and then got a job at the french customs, where he quickly made career, to become chief tax-collector.

In 1815, on a business trip in the area of the Atlantic coast, he became charmed by the beauty of the basin of the river Loire near Nantes and decided to settle there with his wife whom he had married in 1806. 

The couple bought the Gérardière manor with associated grounds, located along the Loire,  in the small community of Le Cellier.

this picture and the next two courtesy 
of Rita & Pieter Boogaart

Rather soon, probably around 1817 *, Siffait began the construction project. Since he left Le Cellier in 1830, he at most had fourteen years to realize the walls, terraces, balustrades, towers, stairs, pathes (some leading nowhere) , trompe-l'oeil's and additional structures, such as kiosks, chapels, a grotto and an amphitheatre.


The archives of the community have no documents with regard to the way the constructs have been realized.


Siffait may have employed assistants too help him, what is probable, not only because of the size of the works, but also because, having been elected mayor in 1922, he may have wanted to realize employment for the impoverished population of the region


Stone material undoubtedly was available on the spot, but how Siffait financed payment of eventual employees?..... it hasn't been documented.


Next map gives an impression of the size of the site:

File:Plan Siffait.png

Siffait's private life had some tragic moments. The couple had three children, one of these, a daughter, died when very young, in 1819 his wife died, and in 1830 his other daughter also died, 18 years old. 

In 1830 his mayorship ended and  the same year Siffait left the community, going to live somewhere else.

Site transformed into a park

Siffait's son Oswald, in 1836 went to live in the Gérardière manor. Married in 1838, in 1840 he began transforming the site into a park by planting a varied collection of trees. 

Around the same time the railway connection between Angers and Nantes along the Loire was projected and despite local protests against its trace on the river's right bank, this route was realised, separating the property from the river. 

In later years the family moved to Nantes, and although the manor remained in their possession, from around 1870 on, the site fell into oblivion.

Restoration 

In the eighties of the former century interest in the site revived, also because of activities of the Nantes school of architecture. In 1986 the community of Le Cellier acquired the property (in 2007 the department became its owner). Plans for restoration have been developped and protective measures have been taken.

Documentation

___________
note
* with regard to the date Siffait begun his constructs I am following the article on the Le Cellier website, where it is said Siffait was active in making constructs between 1817 and 1829; other sources say Siffait began around 1826

Maximilien Siffait
Folies Siffait
Saint Méen
44850 Le Cellier, F
large parts of the site have been fenced 
because of possible dangerous situations;
some safe parts may be visitable
organised public visits at the occasion of 
the Heritage days, third weekend of september



Folies Siffait weergeven op een grotere kaart

Frantiska Blechova, Pohádková zahrádka/Fairytale garden

$
0
0

this and the next picture by unknown 
photographer on website geocaching 

Biskupice is a village of less than 300 inhabitants in the Olomouc area in the Czech Republic.

One of its former inhabitants, mrs Frantiska Blechova (1911-1996), is known because she has made an outsider environment by transforming the garden in front of her house into a fairytale garden.

Made from concrete some forty sculptures populate the garden, where one can see musicians, gnomes, princes and princesses, all kinds of common people and all kinds of animals. such as giraffes, zebras, lions, frogs, elephants, all items being colorfully painted and provided with hats and/or attributes suited to the depicted personality..

Mrs Blechova used to dress some of the sculptures with appropriate clothing, depending upon the season.


I have been looking around on the internet for more biographical details and didn't find much, just the information that mrs Blechova began creating the sculptures "later in life" and that she also may have been making (naive) paintings. .

I do not know if the house has a new owner, the property having been put on sale after mrs Blechova died. Since a geocaching website reports that even early 2013 the "cache" (= the sculpture garden) was found, I suppose the sculptures nowadays (2013) are still present in situ. 

The Znojemsky tyden reports that the mayor of Biskupice has said that if nescessary the sculptures could be stored in an empty building owned by the municipality.

More information about the actual situation is welcome.

More pictures
* Picasaweb has a page with a large collection of pictures (from 2008 and 2009), provided by Bub (sept 2008) and Sekyt (dec 2009)

Frantiska Blechova
Fairytale garden
Biskupice, Czech Republic
if still present visible from the road


Biskupice sculpture garden weergeven op een grotere kaart

Tauno Vuorenniemi, Sculpture park at the museum

$
0
0


The Yksitynen Maatalous Museum (Private Agricultural Museum) in Putaja, Finland, has an outside area which has been transformed into a sculpture park, featuring some thirty sculptures made by autodidact sculptor Tauno Vuorenniemi. 

The sculptures depict rural life as it was in former days. 

Life and works

Born in 1935 in Suodenniemi, Finland, Tauno Vuorenniemi in 1969 settled himself in Sweden, where he had a company in refinishing vehicles. 

Having had artistic aspirations all his life, occasionaly making small sculptures from clay and/or fiberglass, Vuorenniemi actually could give shape to his talent when in 1995, in his early sixties, he got more free time, being no longer able to do his job because of an accident.

Being used to work with fiberglass, he began making lifesized sculptures from this material, for the first time depicting a deer, modeled on a picture in a book he got from the local library. 

Looking at his creations, I suppose that for Vuorienniemi himself it may have been very rewarding to experience the way he could express his hidden talent.


It so happened that Vuorenniemi had a nephew, Arto Vuorenniemi, who in Putaja, Finland, run a private museum where he exposed all kinds of agricultural and earthmoving machinery.  Arto and Tauno developed a plan to transform an outside area of the museum into an environment with sculptures that would evoke the ambience of rural life in former days, before farming became industrialized.

With the help of a finnish organisation active in (cultural) development of rural areas in Finland, that has financed the materials, it was possible to realise this plan indeed, and after living for some 35 years in Sweden, Vuorenniemi re-established himself in 2004 in Finland, going to live in Putaja.. 


All together the environment has some 31 lifesized sculptures, depicting scenes such as a farmer with a horse-drawn plow, a peasant woman who is milking, a woman feeding chicken......and so on.....


The sculptures have been done in a very realistic style, with a lot of attention to the finishing of the details. 

Vuorenniemi hasn't painted his creations, although the fiberglass may be mixed or finished with yellow colored sand, while some grey sand may be used to accentuate details.

Some creations by Vuorenniemi (not meant for the sculpture park) have been bought by private collectors. 

Nowadays in his late seventies, the artist no longer makes lifesized sculptures, maybe he will occasionaly do some smaller ones.. 

Documentation

Tauno Vuorenniemi
Sculpture park 
Putaja, FI
open to the public (part of local agricultural  museum)


Putaja sculpture park weergeven op een grotere kaart

Nicolai Tarasyuk, Успаміны Бацькаўшчыны/Memories of the Fatherland.

$
0
0

Успаміны Бацькаўшчыны (Memories of the Fatherland)
unless otherwise stated pictures are screenshots from videos mentioned in the documentation

Situated both in Poland and in Belarus, intersected by a national frontier, the Bialowieze Forest is the last remnant of the big forest that once covered the European Plain, stretching from the Pyrenees Mountains in the west to the Ural Mountains in the east.

At the outer edge of the part of the forest situated in Belarus, in belarusian named Belovezhskaya Pushcha, one can come along a farm  with a folk art museum, named Успаміны Бацькаўшчыны (Memories of the Fatherland).



Life and works

Born in 1932 in a family living in a farm at the outskirts of the forest, in the community of Pruzhany, Nicolai Tarasyuk* already at a young age began working at the farm. World War II has restricted his childhood education, and brought traumatic events to the area, such as compulsory eviction of (Polish) citizens, being put in camps or being forced to migrate to eastern parts of Russia.

This fate has not affected the Tarasyuk family, and Nicolai all his life has been living on the farm. He married in 1953, had a son who died early, and two daughters. 


He has got fame as a folk artist, making sculptures from wood, in general creating small items of some 20 to 30 cm (8 - 12 inches), depicting all kinds of people in all kinds of situations, evocating various social and professional activities by grouping persons together in anecdotical situations.

 
Making sculptures for over forty years, Tarasyuk has created thousands of "wooden people", colorful and naturalistic painted, equipped with appropiate attributes, grouped into a huge amount of small-scale scenes.


In 1994 Tarasyuk decided to build an annex to the farm and transform this into a museum, named Memories of the Fatherland. It houses some 300 items.



Meanwhile, the collection has grown and grown, and nowadays the garden around farm and museum also is dotted with Taryuk's small scale creations.


A wonderful folk art environment.....


Tarasyuk's wife died in 2006 and since he lives alone on the farm. The outlying area around is depopulating: when Tarsyuk's neighbour, a farmer too, died in 2007, his farm stayed unhabited and the property is gradually detoriating.

In 2012, to celebrate his eightieth birthday, Tarasyuk was honored with an exposition in the Museum of Modern Art in Minsk, the capital of Belarus (Paradise Lost, august 7-18, 2013. Already in 1987 he had earned a gold medal in Moscow at the Folk Art Festival.

As far as I understand it has been arranged that the collection of wooden people in time will be transferred to a regional museum.

Documentation
* Website Spadscyna Belaryci (Belarus Heritage), with biography and pictures
* Video "Wooden people" by Viktor Asliuk, Belarusfilm, 2012, 27'44" (video added to Youtube febr 2013)


* Video, made in 2008, 27:'45", (a TV-film?), added to Youtube july 2012



* Video (12'30", Youtube, added jan 2011)



______________

Nicolai Tasaryuk
Успаміны Бацькаўшчыны (Memories of the Fatherland)
Pruzhany (Brest regio), Belarus

François Portrat, Arbres de lumière/Trees of light

$
0
0

pictures from an old postcard

The decorated garden presented in this post no longer exists and its author has got somewhat into oblivion.

In any case, the internet doesn't have much information about the site and the man who created it, which is unfortunate, because -given the few pictures available- this art environment in my opinion has been one of great stature.

Life and works

Born in the Morvan area in a family of farmers, François Portrat (1884-1976), after studying in Paris and getting married, had a drugstore in the small community of Arnay-le-Duc. 

Divorced, in 1928 he left with his two daughters for Nice, maybe once more running a shop. Later he would  move to the Paris regio.

After WWII, in his early sixties, and probably being retired, Portrat settled in Champjean, a hameau (hamlet) belonging to the community of Brannay, north west of Sens in the northern part of Burgundy.


In 1947, when Portrat was 63, he began decorating house and garden, in this way giving expression to an artistic drive he  may have had since childhood, but didn't realize earlier.

As far as I understand, he first completely decorated the house, and then began embellishing the garden, making sculptures from concrete, depicting famous french personalities like the emperor Napoleon, politcians like Pompidou and Gerard d'Estaing, and celebreties like Brigitte Bardot.


The garden also has been embellished with various structures and hundreds of medaillons, attached to the trees or added to tree or totem like mosaic decorated constructs.

These medaillons could  have photographs of people or other representations, contained in frames decorated with mosaic from broken plates and pieces of plate glass.


The garden with its large number of sparkling elements, will have made a shining impression.

Bernard Lassus, the french writer about imaginary gardens and art environments, has characterised the site as a garden with "arbres de lumière" (trees of light)*. Since I have not found a particular name for Portrat's site, I have used this description in the title of this post.


Site demolished

Portrat died in march 1976, two years before Paris had the exposition Les singuliers de l'artin the Musée de l'art moderne de la ville de Paris, the first exposition in France that introduced makers of art environments to the general public, with Portrat among those exhibited.

Some years after Portrat's death the site has been demolished.

Parts of the art environment have been saved and have been added to the collections of the Lausanne Art Brut Museum, Switzerland and the Fabuloserie Collection in Dicy, France.

Documentation
* Bernard Chevassu, François Portrat, in Cahiers de la Collection d'Art Brut, nr 11, Lausanne 1982 (a text out of my reach)
* Brief overview on the website of the Musée de la Création France

_____________
note
* Bernard Lassus has made this remark in an interview (1998) with Thierry Paquot

François Portrat
Jardin décoré ("Arbres de lumière")
Champjean, Brannay, FR
site demolished some years after 1976



Gilles Ehrmann, Les inspirés et leurs demeures/The inspired and their abodes Exposition Brest 2013

$
0
0

screenprint of the webpage of the Artothèque

France's westernmost city, Brest, this spring (2013) has a manifestation entitled l'Art Brut à l'Ouest (Art Brut in the West).

Besides various lectures, film screenings and theater performances, there will be expositions featuring the creative constructs of Abbé Fouré and Per Jain.

And there will also be an exposition entitled Gilles Ehrmann, Les inspirés et leur demeures, 1962-1982. 

The art library of the Musée des beaux arts presents photographies by french photographer Gilles Ehrmann, from the collection of FRAC (Fonds Regional d'Art Contemporaine) Bretagne, showing pictures he made of art brut artists and environments.


This is a good opportunity to pay attention in this blog to the photographer, whose photobook, published in 1962, has marked french developments in the fifties around art brut artists and environments

Gilles Ehrmann

Born in Metz, Gilles Ehrmann (1928-2005), after WWII studied decorative arts in Paris, started a theater group and ventured making a movie, to subsequently turn to photography, working with a big high-quality camara, making portraits of Picasso and other french artists.

Through his relationship with artistic circles, including the surrrealists, he may have been put on the track of people who were or had been active in making art brut creations, a topic of interest that in the fifties in France only just began to develop.

In any case in 1956 Ehrmann decided to travel the country to portray these people and/or their creations, like the Palais Idéal of facteur Cheval, the Rochers Sculptés by Abbé Fouré or the Maison Picassiette by Raymond Isidore.

This adventure resulted in the book published in 1962 entitled Les inspirés et leurs demeures (The inspired and their abodes), with portraits of Gaston Chaissac, Fréderic Séron, Hyppolite Masse and Joseph Marmin and images of the Palais Idéal (Cheval), the Rochers Sculptés (Fouré) and the Bomarzo gardens in Italy.

Although fellow photographers such as Robert Doisneau in the fifties also made pictures of art brut artists and their constructs (naming them bâtisseurs chimériques, fanciful builders), Ehrmann's 1962 publication, with an introduction by André Breton, can be seen as the first coherent presentation in book form that introduced the general public in France to a phenomenon that before that time was rather unknown.

The book has become a collectors item, occasionaly available antiquarian.

In 1958 Ehrmann became connected to the french illustrated monthly Réalités, a magazine that -like other magazines- in the fifties and sixties, was important in informing the general public about social and cultural developments before this role partially was taken up by television.

Documentation/pictures
* Article in Wikipedia (in french)
Centre Pompidou website documenting Ehrmann's work, with titles and pictures

Les inspirés et leurs demeures
Artothèque du Musée des Beaux Arts
24 rue Traverse
Brest FR


Musée des beaux arts weergeven op een grotere kaart

New weblog about art environments and irregular art in Tuscia, Italy

$
0
0


Begun in august 2010 with a new website, followed in november 2011 by a book and also manifesting itself by various expositions, the Italian Costruttori di Babele research project is proceding steadily.

In april 2013 a new weblog, BabeleViterbo, dealing with arte irregolare e percorsi babelici nella Tuscia (irregular art and babylonian pathways in Tuscia), authored by Mario Ciciolli and Gabriele Mina,  has been released.

With the Casa Museo Pietro Moschini as a center point, the blog will report about irregular art and art environments in Tuscia..

On May 11, 2013 this museum has been officially inaugurated and that weekend there have been a number of other events as well, as shown in the following poster. (Pictures of the festivities in Picasa webalbums)


The new weblog already has introductions to Bonaria Manca, Santa Bassaneli, Domenico Brizi, Vinzenzo Lucchesi and, of course, Pietro Moschini.

Pietro Moschini, Casa-Museo with sculptures and sculpted walls

$
0
0

pictures courtesy of Guido Votano 

"Tuscania è un paese di artisti" (Tuscania is a city of artists), as the website of the city says, referring to is history as a center of art from Etruscan times up to the present day. 

Announcing the opening in may (2013) of a new museum, the Casa-Museo Pietro Moschini, the city's website offers its readers a brief overview of arte irregolare, referring to Bonaria Manca, inhabitant of the city, and Pietro Moschini, who all his life has lived there. 

Life and works

Born in Tuscania, Pietro Moschini (1923-2011), after having had some elementary schooling, went to work as a shepherd and a farmhand. 

Following an artistic impulse, in 1952 he made his first sculpture. During the rest of his life, he has been active in sculpting, which has resulted in hundreds of works, collected partly in his house in Tuscania, partly in a summerhouse out of town. 



He would work in wood and stone, not only making isolated works, but also creating ensembles sculpted in high-relief on walls, in this way transforming his house into an art environment. 

During most of his life, Moschini's work has gone unnoticed. 




However, it so happened that around 2011 Pavel Konecny, a collector of outsider art living in the Czech Republic, came along pictures on the internet of Moschini's creations, made by tourists who rather coincidentally had met the artist and had published photo's of the sculptures on Flickr. 

Through through Konecny came into contact with Mario Ciccioli, an artist living in Tuscania, who informed him that Moschini very recently was deceased. Konecny travelled to Italy and together with Ciccioli talked with Moschini's daughter, Rosaria Falasca-Moschini, who was the inheritor and wanted to have the collection saved for the future as much as possible. 

This resulted in a plan to transform Moschini's house in Tuscania into a small museum, a plan that with the support of various parties involved, has been be realised indeed. 



The opening of the Casa-Museo Pietro Moschini on May 11, 2013 has been embedded in a small festival around arte irregolare, withvarious activities, including an exposition of paintings from Bonaria Manca's house.

Documentation/more pictures 
* photo-book A Man of Many Faces (with an introduction to Mochini's life and work) by Pavel Konecny (see my post of may 30, 2013)
* weblog Babeleviterbo with a post about Moschini
* website Cafe Boheme with an interview with Pavel Konecny
* article in SPACES website

Casa-Museo Pietro Moschini  
Tuscania (Viterbo), IT
via della Scrofa
opening hours not yet available

Israele, l' Eremita di Capo Gallo/The hermit of Capo Gallo

$
0
0

the semaphore in Capo Gallo

Facing the Mediterranean, Capo Gallo is a natural area, since 2001 a natural reserve, north of Palermo, on the Italian island Sicily. Because of the proximity of the sea, the area has marine facilities, such as a lighthouse and an elevated building as in above picture, that once was a military lookout and semaphore. 

Life and works

More than a decade ago this building became the home of a hermit who is known as Israele, the name he has adopted.  

this picture and the next two: 
screenprints from the video (2008) by Guiseppe Tucci

Not much is known about his life. He was born in the early fifties of the former century, had a job as a mason, worked in Palermo and was a deeply religious man.

He has told a reporter who visited him, that in 1985 he had a dream that changed his life, convinced as he became by that dream that he had to be a prophet with the mission to save people's souls. 

After that dream he continued his job, adressing his colleagues with religious insights, and then, in 1997 he left wife and children, to restart his life as a hermit, first going to live in a cave in the seaside rocks in the Capo Gallo natural area, later squatting the no longer used and abandoned semaphore building in the same area.

Isaele in the course of the years has decorated this building in such a way, that it has become kind of a sanctuary.


The road uphill to this sanctuary has been signposted by Israele with small decorations, painted or made from pebbles, and mostly depicting a heart, suggesting this path is a Via Santa. 


The interior of the building is lavishly decorated. The walls have been geometrically divided into compartments, each of which is decorated with a large item, such as a portrait or a mosaic representation, surrounded by smaller items like stars, crosses or other signs.   

pictures of the interior: screenshots from 
the video by Ester Affronti (sept 2012)

To make his decorations Israele uses small pebbles, he collects on the beaches. He makes great use of the hexagram and other religious symbols.


It is noteworthy that there are no religious texts and inscriptions on the walls, except one above a clock reading ALLELUIAMEN. The appearance of the interior is rather quite, orderly and understated, which constitues a major difference with environments in the USA that include religious expressions, or one of the few european sites with such expressions. 

Outside, however, there is an inscripted text about the End of Times, the return of Gods kingdom, which will be accompanied by great destructions. (The full text is in OEE texts


Israele is a shy person. A visitor, who met him in 2010, has described him as a good looking man with dark, greying hair and a bushy greying beard, adding:  "He's articulate, and enthusiastic when talking about God" (Kate Ludlov's blog, 2010, see documentation).. 

Israele, however, is not eager at all to meet visitors, rather avoids them and he doesn't appear in the video's below. One may wonder if he agreed that the videos were recorded.


Documentation
* Article in LiveSicilia, august 20, 2010 (in Italian)
* Article by Gabriele Lombardo in Seven Radio, december 18, 2012, also on his blog Sveglaiti, April gli Occhi (febr 2013) (in Italian)
* Article by Eva di Stefano in Raw Vision, nr 78 (spring 2013)
* Video by Guiseppe Tucci (Youtube, 3'13", uploaded 2008)


* Video by Esther Affronti (Youtube, 10'48", uploaded sept 2012)


Israele
l'Eremita di Capo Gallo
Palermo, Sicily, IT
not open to the public
Viewing all 525 articles
Browse latest View live


Latest Images