Kerry's Visit to Heath at the Archibald

[Kerry]

A couple of Masterpieces (times 3 = 6):








 

Thank you for posting the breathtakingly beautiful "Charles I, King of England, from Three Angles" of ca. 1636 by Sir Anthony van Dyck. (How could they have chopped off that beautiful head?) It's one of my favourite portraits of all time and I personally consider it to be one of the greatest portraits ever painted IMHO. I love it. It is majesty made manifest. And in its own way, I believe Vincent Fantauzzo's portrait of Heath to be an equally majestic work of great art. Dare I say that generations from now, when the name of Heath Ledger is forgotten, his portrait will survive and will still be admired.

[Ellemeno]

Good find, John!  

Thanks for posting, Kerry.  That link has a place where you can click to buy a 68.5 x 50.5 cm poster of the painting for $25 (Australian, I assume).  I'd be interested to hear if any of you buy it.  I don't think I will, just because while I'm pretty fascinated by it, I don't think I'd put it up.

[Kerry]

Good find, John! 

Thanks for posting, Kerry.  That link has a place where you can click to buy a 68.5 x 50.5 cm poster of the painting for $25 (Australian, I assume).  I'd be interested to hear if any of you buy it.  I don't think I will, just because while I'm pretty fascinated by it, I don't think I'd put it up.

I did see that link to the poster, Elle. I won't be getting the poster myself. Even though I love the painting, I don't have a place to hang it at present. I will be visiting the Archibald again next Wednesday. If there are any postcards of Heath's painting in the gift shop, I will be getting one for myself. If anyone would like me to get a postcard for them and post it to them, send me a PM with your home address and I will gladly do so (subject to availability).

[jmmgallagher]

Kerry, Elle, I'm glad you like the juxtaposition! I really, really love Heath's triple portrait. I'm convinced that Vincent Fantauzzo's references to the Van Dyck are not merely subliminal resonances, but purposeful. The hair, the eyes, the hands (especially the hands!), the Van Dyck beards, Heath's lustrous skin looking like Charles's silks, the tattoos and the lace--so brilliant.

I'll just add one more, to round out three times three for symmetry. Although there are other reasons, I really do believe that Heath will live on in the history (and maybe evolution!) of Art.


Triple Portrait of Cardinal de Richelieu (1585 - 1642)
CHAMPAIGNE, Philippe de (26 May 1602 - 12 August 1674)
probably 1642, Oil on canvas 58.4 x 72.4 cm, The National Gallery, London
Inscribed over the central head: "Celui cy...plus/Resamblant au naturel"; and over the right head: "De ces deux profilz
c[elui]/cy est le meilleur"

(Love the tags! Ah me, cynical spider Richelieu was another type altogether (the hands are hidden!) than the poor, doomed Charles--or vulnerable Heath--)

 

[Kerry]

Kerry's Second Visit to Heath
at the Archibald

It may be necessary to scroll over ------>

I again park in Goulburn Street and walk up the Elizabeth Street hill towards Sydney's Central Business District. Instead of cutting across Hyde Park towards the Art Gallery of New South Wales, however, this time I continue walking north along Elizabeth Street, keeping Hyde Park on my right. I walk past Sydney's Great Synagogue and come to the intersection of King & Elizabeth Streets. This is a view looking westward down King Street. The canopy outside the Theatre Royal can be seen on the right, in between the second and third "Phantom of the Opera" banners

I come to the intersection of Elizabeth Street and Martin Place, located in the very heart of Sydney's Central Business District. Directly ahead of me, Elizabeth Street continues along its circuitous route, ultimately leading to Sydney Harbour. I have a 2 p.m. appointment with my superannuation fund manager in George Street, so will turn left into Martin Place here.

Castlereagh Street

Martin Place with the bell tower of the old General Post Office building (now the Westin Hotel) on the left. It's autumn here in Australia and lots of the trees have lost their leaves.

I stop to admire the statue of Queen Victoria above the main entrance of the old General Post Office building in Martin Place. She has cherubim above her head and sitting at left is Britania in her helmet. There is an unidentified goddess holding a cornucopia of plenty at right. Beneath that is the rampant lion and unicorn of the British Empire.

I meet with my superannuation fund manager and retrace my footsteps up Martin Place towards Macquarie Street and thence to the Art Gallery of New South Wales, where Heath awaits.

It was very crowded when last I visited Heath, but there aren't a lot of people at the gallery today. This time I can walk right up to Heath's face and look him straight in the eyes. He looks fixedly back at me with determination and enormous saddness. On my last visit, I hadn't appreciated how very sad Heath's eyes are in this painting, probably because I wasn't able to get so close to the portrait last time, with all the people milling about (the exhibition had just opened). I view the other portraits in the Archibald but keep coming back to Heath over and over again. I am fixated by the melancholic expression of sad resignation in his beautiful, warm brown eyes. I lean in close. I see the freckles on his nose. His full, moist, sensuous lips. His pretty eyebrows. His soft flowing hair. The tatoos. The "Matilda" tatoo. I experience an overpowering feeling of pathos and remorse and I start to cry. I'm crying, standing right there in the middle of that public gallery. Not noisy sobs, but there are tears.  I feel overcome with grief. A young woman comes and stands near me. She stands quite closely alongside me. I suspect she may have seen my tears and has come over to give me comfort. I get very strong, sympathetic vibes from her.  I return to Heath several times before reluctantly departing the gallery.

As I depart the gallery via the western portico, I look across the Domain, through the trees, to the skyscrapers of the city beyond, with the setting sun illuminating the sky behind them.

With heavy heart, I trudge back to my car. Along the way, I pass by the great statue of Queen Victoria located outside the High Court in Macquarie Street.

[southendmd]

Thank you, Kerry, for the report of your visit.  Very moving indeed. 

I was struck by the contrast between the sad vulnerability in Heath's portrait and the stark determination of Queen Victoria.

Here's another hug for comfort:  {{{Kerry}}}

[Meryl]

((((((Kerry))))))

Thank you for taking us along with you to see Heath.  You're right, his eyes express the sadness of the world. 

Sydney looks like a terrific city.  I hope I get to visit one day.  Now that Heath's portrait has been donated to the museum, maybe I can see it, too. 

[Kerry]

Thank you, Kerry, for the report of your visit.  Very moving indeed. 

I was struck by the contrast between the sad vulnerability in Heath's portrait and the stark determination of Queen Victoria.

Here's another hug for comfort:  {{{Kerry}}}

Thank you, Paul. I really do need that hug right now. I'm still feeling very vulnerable.

[[[Paul]]]

[Kerry]

((((((Kerry))))))

Thank you for taking us along with you to see Heath.  You're right, his eyes express the sadness of the world. 

Sydney looks like a terrific city.  I hope I get to visit one day.  Now that Heath's portrait has been donated to the museum, maybe I can see it, too. 

You will love Sydney, Meryl. It is a beautiful city. And you will love the portrait of Heath, too. I have no doubt that you will get to see it one day.

[[[Meryl]]]

[SunShadow]

Thank you for the detailed tour and heartfelt commentary, Kerry.  I felt like I was there.

Susie