By Matts Leiderstam
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Extra info for See and Seen Seeing Landscape through Artistic Practice
Sample text
I have been asked several times if I’ve ever had the desire to make “a real copy”, or if I plan to execute one in the future. Along with such a question, the person asking seems to want me to be more exacting, that I should imitate the entire preparation process in relation to preparing the canvas, the grid, the development of colours from pigments, all of which could reproduce the technique of the old masters within my copies. My interest, however, was never to be found here, as this would erase my desire and pleasure in seeing, and my pleasure in and for painting.
14-26. , p. 24. 2 MATTS LEIDERSTAM: SEE AND SEEN. shown the painting. By this act of copying, she reveals both his desire and her own. Like Madeleine, I too spend a great deal of time in a museum looking, and like Midge copying paintings, and like both women, I do this for my own desire. I bring my draft copy of Landscape with Rebekah – my after-image – to the original painting in Nationalmuseum. Here I work two to four times a week from early morning to noon – sometimes longer, sometimes less.
94. 86 Oskar Bätschmann, Nicolas Poussin: Dialectics of Painting, Reaktion Books, London, 1990, pp. 28-29. 87 Ibid. 2 MATTS LEIDERSTAM: SEE AND SEEN. 88 When I am looking at the painting standing there in the gallery, I look closer at the figures in relation to their surroundings, the trees, grass and stones. The figures, that is those who play the principal part in the mid-distance, look like Lilliputians. It is as if the landscape and the figures are seen at different distances, through different optical instruments and narrated by different narrators, with different stories in mind.