RED TREES & Other Pictures NICOLAAS MARITZ
RED TREES & Other Pictures Nicolaas Maritz MARITZ MUSEUM D A R L I N G Nemesia*Press_online 2018
INTRODUCTION
CONTENTS
GICLEE PRINTS 2018 / PLATES GICLEE PRINTS / INFO MARITZ MUSEUM Online sketchbooks, albums and catalogues list
WEBSITE
RED TREES AND OTHER PICTURES August – October 2018
INTRODUCTION
DIGITAL DRAWINGS: When you say ‘drawing’, most people are immediately familiar with the concept. When you mention ‘prints’ however, the thing gets murkier. Art people always appear to be so very knowledgeable in this regard, (don’t they always), but for the rest of us and rich people, well, it’s as confusing as the plot of a movie by Salvador Dali. To add the relatively new concept ‘digital’ to either of the above categories and one positively has to go en point. I try to avoid the notion of digital painting altogether, because from a painter’s point of view, this seems entirely impossible, both conceptually and practically. I am fortunate to have been drawing since childhood. It is possibly the only way that I can make sense of the world, and the things that happen to me. It is less about what I see than about what I experience or feel, (yes I’m a very rare and sensitive plant…).
What nicer thing to have happened than that computers came along and made both drawing and printing instantly more accessible. And so contemporary! As for ‘contemporary’ (as in CONTEMPORARY ART!), I have been battling with the baffling realization that anachronisms only exist as contemporary phenomena. So new media are possibly not so new after all! Despite all the transformative super-hero visual effects offered by current computer graphics software, I always opt for the simplest, most direct applications. The idea that a computer drawing can resemble a real pencil or crayon drawing, or a handmade lino print, is rather entertaining. Like a good illusionist magic trick. But in the spirit of saving trees, (we’ve been warned!), and in a similar spirit of not adding further to the utter glut of contemporary art, (I’m warning you!), the majority of the works in these catalogues exist on the internet alone. Yet, despite my feeblish reservations about too much ART, I have, in an adult moment of greater economic pragmatism, had a selection of these drawings printed out as giclėe prints. It would be nice to know what you think of them! Nicolaas Maritz Darling / August 2018
GICLÉE PRINTS / 2018
18. Slangbult Farm, 2016 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 460 x 510mm Framed print size: 655 x 700mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
15. Pink Adder Country, 2014 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 585 x 571mm Framed print size: 780 x 762mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
9. Black Sun Snake, 2013 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 20 (+ 4 artists’ proofs) Printed area: 310 x 459mm Framed print size: 500 x 650mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
8. Double Bustard View, 2015 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+ 2 artists’ proofs) Printed area: 354 x 639mm Framed print size: 552 x 628mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
7. Two Moon Farm, 2014 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 25 (+ 2 artists’ proofs) Printed area: 560 x 459mm Framed print size: 752 x 640mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
19. Two Moon Fountain, 2014 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 433 x 482mm Framed print size: 629 x 675mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
23. Dandelion Garden, 2015 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
22. Pink Fish on a Yellow Plate, 2016 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 20 (+2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
2. Red Trees and Black Bustard, 2014 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 25 (+ 4 artists’ proofs) Printed area: 635 x 660mm Framed print size: 831 x 852mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
1. Red Thorn Trees with Two Moons, 2014 (From the PRINTS catalogue: https://issuu.com/nicolaasmaritz/docs/prints) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 25 (+ 4 artists’ proofs) Printed area: 635 x 660mm Framed print size: 831 x 852mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
20. Karoobult Farmyard View 1, 2015 (From the DRAWINGS sketchbook: https://issuu.com/nicolaasmaritz/docs/drawings_2018) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
21. Karoobult Farmyard View 2, 2015 (From the DRAWINGS sketchbook: https://issuu.com/nicolaasmaritz/docs/drawings_2018) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
14. West Coast Floral Moons, 2015 (From the DRAWINGS sketchbook: https://issuu.com/nicolaasmaritz/docs/drawings_2018) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 560 x 508mm Framed print size: 760 x 700mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
16. Swartland Floral Moons, 2015 (From the DRAWINGS sketchbook: https://issuu.com/nicolaasmaritz/docs/drawings_2018) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 15 (+2 artists’ proofs) Printed area: 560 x 585mm Framed print size: 759 x 776mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
17. Darling Wild Night Flowers, 2015 (From the DRAWINGS sketchbook: https://issuu.com/nicolaasmaritz/docs/drawings_2018) Medium: Giclee digital print, 2018 Signed Artist’s Proof no.1 Edition: 20 (+2 artists’ proofs) Printed area: 560 x 634mm Framed print size: 759 x 828mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
3. Digital Gardening No.1, 2018 (From DIGITAL GARDENING album:https://issuu.com/nicolaasmaritz/docs/ digital_gardening_2018_album ) Medium: Giclee digital print Signed Artist’s Proof no.1 / Edition: 15 (+ 2 artists’ proofs) Printed area: 300 x 550mm / Framed print size: 498 x 741mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
4. Digital Gardening No.1, 2018 (From DIGITAL GARDENING album:https://issuu.com/nicolaasmaritz/docs/ digital_gardening_2018_album ) Medium: Giclee digital print Signed Artist’s Proof no.1 / Edition: 15 (+ 2 artists’ proofs) Printed area: 300 x 550mm / Framed print size: 498 x 741mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
5. Digital Gardening No.1, 2018 (From DIGITAL GARDENING album:https://issuu.com/nicolaasmaritz/docs/ digital_gardening_2018_album ) Medium: Giclee digital print Signed Artist’s Proof no.1 / Edition: 15 (+ 2 artists’ proofs) Printed area: 300 x 550mm / Framed print size: 498 x 741mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
6. Digital Gardening No.1, 2018 (From DIGITAL GARDENING album:https://issuu.com/nicolaasmaritz/docs/ digital_gardening_2018_album ) Medium: Giclee digital print Signed Artist’s Proof no.1 / Edition: 15 (+ 2 artists’ proofs) Printed area: 300 x 550mm / Framed print size: 498 x 741mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
12. Kalahari Rain Pod Print No.3, 2018 (From the KALAHARI RAIN PODS album: https://issuu.com/nicolaasmaritz/docs/ kalahari_rain_pods_booklet) Medium: Giclee digital print Signed Artist’s Proof no.1 Edition: 15 (+ 2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
13. Kalahari Rain Pod Print No.4, 2018 (From the KALAHARI RAIN PODS album: https://issuu.com/nicolaasmaritz/docs/ kalahari_rain_pods_booklet) Medium: Giclee digital print Signed Artist’s Proof no.1 Edition: 15 (+ 2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
10. Kalahari Rain Pod Print No.1, 2018 (From the KALAHARI RAIN PODS album: https://issuu.com/nicolaasmaritz/docs/ kalahari_rain_pods_booklet) Medium: Giclee digital print Signed Artist’s Proof no.1 Edition: 15 (+ 2 artists’ proofs) Printed area: 302 x 482mm Framed print size: 500 x 674mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
11. Kalahari Rain Pod Print No.2, 2018 (From the KALAHARI RAIN PODS album: https://issuu.com/nicolaasmaritz/docs/ kalahari_rain_pods_booklet) Medium: Giclee digital print Signed Artist’s Proof no.1 Edition: 15 (+ 2 artists’ proofs) Printed area: 305 x 409mm Framed print size: 500 x 600mm Paper: True Fibre Matt, Smooth surface – 200 g/m2, Made from Alpha Cellulose. Printed by Orms, Cape Town
Giclėe prints Giclée (/ʒiːˈkleɪ/ zhee-KLAY) A neologism coined in 1991by printmaker Jack Duganne for fine art digital prints made on inkjet printers.The name originally applied to fine art prints created on Iris printers in a process invented in the late 1980s but has since come to mean any inkjet print. It is often used by artists, galleries, and print shops to suggest high quality printing. The word giclée was first adopted by Duganne, a printmaker working at Nash Editions. He wanted a name for the new type of print they were producing on the Iris printer, a large-format, highresolution industrial pre-press proofing inkjet printer they had adapted for fine-art printing. He was specifically looking for a word that would not have the negative connotations of "inkjet" or "computer generated". It is based on the French word gicleur, the French technical term for an inkjet nozzle. The French verb form gicler meant to spray, spout, or squirt. Duganne settled on the noun giclée, meaning "the thing that got sprayed" , but also amusingly, in French slang, ejaculation, a connotation Duganne was seemingly unaware of. Besides its original association with Iris prints, the word giclée has come to be associated with other types of inkjet printing including processes that use fade-resistant, archival inks (pigment-based), and archival substrates primarily produced on Canon, Epson, HP and other large-format printers. These printers use the CMYK color process but may have multiple cartridges for variations of each color based on the CcMmYK color model (such as light magenta and light cyan inks in addition to regular magenta and cyan); this increases the apparent
resolution and color gamut and allows smoother gradient transitions. A wide variety of substrates are available, including various textures and finishes such as matte photo paper, watercolor paper, cotton canvas, or artist textured vinyl. The first choice for fine art reproductions, giclÊe now refers to individually produced, high-resolution, highquality fine art digital prints made on a specialized inkjet printer. The result: an image of exceptional quality, offering brighter colours, crisper details and longlasting colour. GiclÊe printing is an archival process, using both archival media and inks, which means that such a print is guaranteed to last between 80–100 years, with the exception of exposure to direct sunlight, bad storage conditions, and improper care when handling.
(Information courtesy of Wikipedia and Orms)
Museums come in all shapes and sizes. From large trophy buildings to small shacks, and from collections of great cultural or monetary value, to sundry assortments of seemingly less important items. What they all have in common is the gathering and agglomeration of material culture, be it artistic, scientific, or only eccentric. They become repositories of important material moments, and touchstones for public, (be they ever so grand or fatal), and private, (be they ever so brave or pathetic), narratives. The big museums are of course fabulous. The Louvre and the Prado, the Tate Modern and the Hermitage, to name but a few. But their museum experiences can be a little bit like shopping at the largest Wall Mart; inevitably enervating.
MARITZ MUSEUM
The museums I appreciate the most, are on a more modest scale, something I can relate to on a personal level. Internationally, the Bloomsbury house, Charleston, the Soane Museum in London, Monet’s Giverney, and the Noguchi Sculpture Museum in New York, are all on the smallish side, but their particular museum experience is larger than the sum of their parts. In this respect less seems to be very much more.
In South Africa, the Irma Stern Museum in Cape Town, Helen Martin’s (Iris Pienaar?) Owl House in Nieu Bethesda, No. 7 Castle Hill in Port Elizabeth, and the Walter Battiss house in Somerset East, are museums on a more or less domestic scale, not so triumphal and intimidating. I like it that way. There is a moment in a collectors’ life when they start selling off some of their collections, to make room for different or bigger or better things. Similarly, in the life of a grouping of objects in a specific space, there comes a tipping point, when the experience changes from a feeling of the temporary and fleeting, to a realization of something more permanent and fixed. This seems to be when it leaves its day to day domestic or business existence, and somehow morphs into ‘museum’. I became aware of this moment when visitors to my annual studio exhibitions started asking directions to the museum shop. I realized that they had a knee-jerk yen for post cards, key rings and other souvenirs; the usual museum visitor behavior. Who knows, a shop may yet follow here. But there is a crucial difference between what is public, and what is private. The Maritz Museum is a private museum. It is not about grand-standing. It is not a trophy building. It has no great value. The collection, if one can call it that, is a hodge-podge of idiosyncratic oddments. Nothing is arranged in any scientific order, but underlying the installation is an individual mind at work. To analyze is futile. To enjoy is possibly everything.
Online sketchbooks, albums and catalogues
https://issuu.com/nicolaasmaritz/docs/nicolaas_maritz_digital_sketchbook_
https://issuu.com/nicolaasmaritz/docs/kalahari_rain_pods_booklet
https://issuu.com/nicolaasmaritz/docs/digital_gardening_2018_album
https://issuu.com/nicolaasmaritz/docs/drawings_2018
https://issuu.com/nicolaasmaritz/docs/prints
https://sites.google.com/view/nicolaasmaritzgallery