Images of an island home
runs to February 19 I remember a well-worn cliche being drummed into me at college that art is very much a product of the society in which it was created -- or at least one view of that particular society.
And like a lot of cliches it's pretty true. Just take a look at the nostalgic romanticism of the Pre-Raphaelites -- harking back to simpler times in an age of confusion and dramatic change: the voluptuous extravagance of Boucher and Fragonard, court painters to Louis XIV.
Compare and contrast David's portraits of Napolean Boneparte -- all God-like and aloof as befits the saviour of a nation in turmoil -- to the casual Royal portraits of cozy old England which were being painted across the channel at the same time.
So what view of the Azores does this window offer? Well what have we got. A lump of volcanic rock several hundred miles adrift in the Atlantic, discovered and inhabited a couple of centuries ago, a deeply religious society which is now developing into a tourist destination.
Sounds familiar? Well although there are some striking similarities between the Portugese group of islands and our own Island home, both socially and culturally, artistically it would seem we are worlds apart.
If we take a look back at Bermuda's own artistic heritage over the past 100 years or so what do we get? A couple of well-established, respected Americans who came over to paint pretty landscapes while on holiday and that's about your lot.
By contrast the work of Azorian painters, while perhaps being an example of that old college cliche, have a far more international flavour.
The small selection of earlier works is both breathtaking and illustrative of such international modern movements such as Surrealism and the Art Deco style.
Furthermore, although apparently as gorgeous as our own environment, Azorian artists -- at least the ones here -- seem to have little interest in landscape painting, grappling instead with human emotion, isolationism and man's relationship with God.
Perhaps it's geographical location; perhaps it's the need to travel or maybe it's both. Whatever, the Azorian art is certainly not insular.
As a result we have fine examples of Art Deco sculpture from Canto da Maya (who studied in Spain and France) in such exquisitely carved bronzes as `Blessed be the Fruit of Thy Womb'.
Antonio Dacosta's dream-like `The Moneylender' mirrors the work of Italian surrealists while his haunting `In Praise Of' series is nightmarish and disturbing.
Travel is the theme of one of the Azores' most celebrated paintings -- `The Emigrants'. Painted in 1929 by the father of Azorian modern art, Domingo Rebelo, the scene depicts an Azorian couple about to leave their homeland.
Surrounded by the people and things they love but must leave behind the work is full of melancholy.
By contrast, `The Returnees', painted nearly 60 years later by Tomaz Vieira and based compositionally on Rebelo's piece, illustrates returning travellers weighed down with all the trappings of their overseas adventures.
Although this supposedly illustrates "a modern reality where there are symbols of the assimilation of the Azoreans into the countries to which they have emigrated'' (at least according to the Curatorial Committee) to me it is more of a cheap joke -- and a pretty tired one at that.
Exhibit draws distinction between two Island cultures Although this exhibition is of twentieth century art, the vast majority has been submitted by contemporary and emerging young artists with most of the exhibits having been executed in the past 20 years.
This is where the show disappoints -- not in the quality of the contemporary collection -- but I was expecting and hoping -- for more of a retrospective look at the past 100 years of painting and sculpture which would illustrate how Azorian society has evolved.
Nevertheless the body of more recent work in a wide range of media is both experimental and challenging, sinister and humorous.
Containing more than 100 pieces this exhibition provides a fascinating window into a world like our own in so many ways but also so very different.
Gareth Finighan REVIEW REV ARTISTS ART