The Vladimir Tretchikoff exhibition

  

The haunting effect of Vladimir Tretchikoff's famous originals is the kind that arrests one's consciousness for a considerable amount of time. Even though the room opening up to the late artist's exhibition at Iziko South African Art Gallery displays less of his famous work, at least to the degree of the universally recognised paintings like the Ten Commandments, there's still a striking quality about these paintings, mostly flowers.

However, it is when one walks into successive exhibition rooms that Tretchikoff’s depth emerges, as if planned and almost introductory to those who have not seen his originals. One encounters the serialised canvas in Ten Commandments, when viewing the work in the following room. It’s a series of ten canvases that look simple but quite provocative. The saturation of colour is so acute it reminds one of fire. A variety of other works with various subjects far removed from flowers also adorn the walls alongside the much celebrated series of laws.

Tretchikoff’s depth becomes more pronounced in what I may term the “unmistakable Tretchikoff insignia”, in many of his celebrated works hanging in the third room of the show, which incidentally exhibits the famous Chinese Girl. The display in this room, which is mainly of portraits, is a bit dark and carries what may be the most profound interpretation of the artist’s eye of people and their faces. The depth of colour, especially in the glorious Asian and African portraits he painted, is absolutely enchanting. Many pieces move me it's nearly impossible to single one out that invoked the ultimate awe. But the Melon Boy and the Chinese Girl are among those that refuse to leave my consciousness, despite the latter being such a highly publicised work. Something about the original makes it seem all new to the eye.

 Perhaps I should take this opportunity to touch briefly on the importance of Tretchikoff as an artist and what he did for art; at least from my personal perspective. Despite being heavily criticised for his unorthodox approach of reproducing his work through prints, he actually liberated art and broke the strict convention of viewing fine art as being solely for the elite. Not everyone could or can afford to pay huge amounts of money for original paintings. This reality would inspire Tretchikoff to provide a solution that would not only address the issue of pricing in fine art, but also absorb new audiences.  Perhaps that is why some art patrons may have objected to Tretchikoff’s approach; the man simply broke the notion of exclusivity.

 Love him or hate him, Tretchikoff achieved what many may have dreaded pursuing – he simply ploughed a lonely furrow. And despite what those who were opposed to the artist’s views and work ethic may have lead us to believe, Tretchikoff was not only extremely talented but impressively innovative too.

Deon-Simphiwe Skade

Note:

An exhibition of Vladimir Tretchikoff’s works is currently on view at that Iziko South African Art Gallery. It’s running until 25 September 2011. For more details about this exhibition click here.