Culture

Leo Gestel painting in shades of blue and yellow showing shafts of sunlight illuminating a Dutch landscape.

In the Studio | The Work of Leo Gestel

Leo Gestel painting of woman reading, circa 1910
Leo Gestel, ‘Atelierhoek,” 1910 (signed, titled and dated). Oil on canvas, 52 x 43 cm

Leo Gestel (1881-1941) was a Dutch painter. This lovely work is ‘Atelierhoek’ or ‘The Studio Corner,’ winter 1910. Sold at auction in 2016 for 55,500 Euros, the original is reportedly held in a private collection. Wish it was in mine!

Described as a leading artist of Dutch modernism alongside Piet Mondrian and Jan Sluijters, Gestel’s work exemplifies the new art styles emerging in early twentieth century Europe, from cubism to expressionism to neoimpressionism. The above painting strikes me as mainly neoimpressionist, while retaining some cubist elements.

I like the reader’s contemplative pose: absorbed in her books, she has little concern for her observer.

There appears to be little scholarship on Gestel available in English, and only a few biographical details are available online. Gestel’s father Willem was reportedly also an artist. As a young man Leo was introduced to Avant-Garde artists and exhibited in Paris and Berlin. In 1914 as the First World War broke out, Gestel sketched chaotic border scenes of Belgians fleeing the widening conflict, and sold lithographs of these sketches to raise money for the Committee for Refugees. A fire in 1929 destroyed much of Gestel’s work; he died in 1941, reportedly from a longstanding stomach-related complaint.

The Cultural Heritage Agency of the Netherlands reportedly has custody of many of Gestel’s surviving sketches, notebooks and papers: fortunate are those who are able to access these materials readily!

Another Gestel work I like a great deal and sometimes use as an online profile picture is ‘Lisette at Toilette’ or ‘Woman at Make-up Table, 1911, painted in a similar style although in far brighter tones. Note the image hanging on the wall, which is likely a cameo of another of Gestel’s paintings.

Painting by Leo Gestel titled 'Woman at Make-up Table,' 1911.
Leo Gestel, ‘Lisette a Toilette’ or ‘Woman at Make-up Table, 1911.

There’s also this beauty, reflecting the influence of luminism in his work. Reportedly Gestel became interested in the play of light upon landscapes. ‘Herfst’ (or ‘Autumn,’ 1909) is an excellent example of his work in this area (and cannot help but remind me, as a Canadian, of some of Lawren Harris’ work). This painting is held by the Museum Kranenburgh in Bergen, where Gestel lived and worked for a period.

painting by Dutch artist Leo Gestel titled 'Autum,' showing light breaching clouds upon an autumnal landscape
Leo Gestel, ‘Herfst’ or ‘Autumn’ (1909). Oil on canvas, 53.5 x 61 cm. Museum Kranenburgh, Bergen, Netherlands

Here’s Gestel himself, photographed later in life and in a youthful self-portrait (1913).

A note about this post: my initial plan was simply to share the first image, which so well evokes the contemplative mode suited to the beginning of the year. Unfortunately the quality of information available on the open internet has declined so precipitously (and in fact has been in steady decline for the last decade, as any researcher can confirm) that I had to dig quite deeply to find accurate information about the painting. The upside was that I learned more about Gestel (until today he was little more than a name), and encountered much more of his surviving work. I am sharing some of this information here as part of a commitment to ensuring decent quality information continues to be available on what remains of the open internet.

There are a number of print exhibition catalogues and/or retrospectives on Gestel’s work, available in Dutch. If you know of any material available in translation, I would be grateful to hear from you!

In the Studio | The Work of Leo Gestel Read More »

What Remains

Archaeological site investigating ancestral Menominee agriculture in northern Michigan.
Madeleine McLeester image.

A few days ago, via Connecticut Public Radio, I learned of recent archaeological research finding evidence of large-scale precolonial Indigenous agriculture in northern Michigan. The research findings, published recently in Science, discuss an ancestral Menominee agricultural site consisting of at least 95 hectares of raised, ridged fields planted mainly in maize, beans and squash maintained, likely for centuries, between about 1000 CE and 1600 CE. The study authors report further evidence, in the form of burial mounds, ritual earthworks and village sites, indicating that the fields were intricately connected to the broader Menominee cultural landscape.

These research findings are important for a variety of reasons. First, the Menominee fields (only partially surveyed to date) may be the largest surviving precolonial Indigenous agricultural site in eastern North America–a crucial find given (a) that pre-contact Indigenous communities were long believed to have maintained settlement sites only for short periods, and (b) that more than 90% of pre-contact Indigenous landscapes have been obliterated from the landscape by settler-era farming and development over the last 400 years. Second, their scale, sophistication and long duration underscore the reality that pre-contact Indigenous cultures modified landscapes in extensive and prolonged ways—via deforestation as well as through extensive earthworks and the movement of soils (e.g., floodplain soils brought to the fields, and evidence of compost used as soil amendments)—to serve agricultural and cultural aims. Third, the cultivation of maize on a large scale near the northern extent of its range invites a reexamination of historical crop practices and precolonial population distributions.

I love these research findings because, in the way that innovative research often does, they deftly upend received notions—in this case, about Indigenous impacts on the land. Far from flitting through the woods, leaving few traces (as “empty continent” claimants still insist) —or, alternately, living in Edenic harmony with nature—Indigenous North Americans were active agents of environmental change and extensive modifiers of landscapes. The archaeological evidence, bolstering Menominee narratives, indicates a long history of sophisticated cultural practices, specialised resource activities, and extensive trade networks.

It is also worth noting that the extensive patchwork of linear mounds also rebuts a ridiculous but often repeated claim that Indigenous structures (& epistemologies) were all curved, in contrast to colonists’ supposedly straight lines. I note this because more intelligent framing of the differences — and similarities — between Indigenous and settler ways of knowing & doing are needed both to add to cultural understanding and to advance projects of reconciliation, not to mention appreciating the complexity of North American landscape history.

I also love these research findings because, for the first time in longer than I can recall, they make me excited about contemporary scholarship. In the last three decades the so-called cultural turn has brought important insights to the social sciences and humanities—but it has also, in recent years, led them to become increasingly pedantic, orthodox, and ossified. Increasingly often, evidence is harnessed to serve a foreordained premise about what (and who) is ‘good’ or ‘bad,’ determined along ideological lines. In this rubric, far too much scholarship has, contradictorily in this supposed age of interdisciplinarity, become doctrinaire.

To me, good scholarship should open up subjects to further investigation, not close off questions. By challenging received notions about how pre-contact Indigenous communities used the land, McLeester et al make room for further exploration of Indigenous land uses, economies and cultural practices. Two areas of follow-up relevant to this particular research program include learning more about the reportedly non- or less-hierarchical nature of ancestral Menominee communities, their trade networks, and village sites (strongly implied, it seems to me, by the use of domestic compost in the fields) the teams have yet to uncover. That the team will likely continue to combine field archaeology methods with oral histories from contemporary Menominee knowledge-keepers makes this a project to keep watching.

What Remains Read More »