Here’s a new little painting in black and white, on 6″ square canvas board.
Sometimes it can be difficult to get a clear view of some of the artwork in the series, particularly if your aim is to identify them. But fear not– David Hart has been at it again. 🙂 This time he’s managed to track down an image in Miss Lemon’s office. Here’s a relatively good view of the picture from the episode How Does Your Garden Grow? …
The verdict? It’s a painting called “Sussex Landscape” by English Modernist, Paul Nash.
We couldn’t find much additional info about the picture, but in the interests of finding some sort of Poirot connection, it may be worth mentioning that Nash was best known as a war artist and spent a good deal of his energy and passion into documenting the horrors he saw in Belgium during WWI.
Great job, David, on spotting this!!
I did promise a giveaway this week, so here we go… winner gets this brand new painting I promised. 🙂
To enter, reply on this blog post or on my related Tweet with one of your favorite random Poirot quotes. The more obscure, the better! Let’s see if we can share and bring out some that aren’t heard as often. 🙂 Winner will be drawn randomly next Friday, the 21. (Also, how in the world is it already June 14???????)
I’ve been meaning to do another art giveaway for ages, but life keeps getting in the way. In fact it’s been a month or so since I’ve posted here at all– January has been hectic with Candlewick Theatre, as we’ve been rushing to get Thorton Wilder’s play “The Matchmaker” together in less than a month. As well as showing at Morden’s Kenmor Theatre, it was our Valentine’s dinner theatre production this year, wrapping up on February 10. We’re all exhausted! (Here’s me in my character of Flora Van Huysen:)
BUT ANYWAY, you’re here for the Poirot giveaway. 🙂 Comment on this blog post and you’ll be entered to win this little 8″x10″ acrylic sketch on canvas board of Poirot, Hastings, and Japp! Image is taken from the episode The Affair at the Victory Ball. I will be drawing a winner one week from now, February 21. Good luck and happy Valentine’s Day!!!
Sometimes I think the art department for Agatha Christie’s Poirot must have been having so much fun… Did you know that multiple paintings in the series were basically tweaked renditions of Tamara de Lempicka’s works?
Lempicka was a celebrated Polish Art Deco artist. Her distinctive style shows influence of Cubism as well as Ingres-style portraiture. I had, some months ago, painted a tiny (reversed) copy of one of her works– a girl with gloves– for the cover of one of my miniature books.
In the Poirot episode One, Two, Buckle My Shoe, the board room of Alistair Blunt shows a portrait of himself and his wife Rebecca, done exactly in the style of Lempicka. This is historically fitting, since Lempicka painted a number of “celebrity” portraits for the wealthy and aristocratic in the ’20s and ’30s.
In fact, that painting above isn’t only in the style of Lempicka– it is basically a conglomeration of different Lempicka paintings: a portrait of Mrs Boucard and one Mr Tadeusz de Lempicki. You can see below how the face of the man has been changed to look like Alistair Blunt (Peter Blythe). 🙂
There is a similarly-styled portrait, a la Lempicka, in the episode The Underdog— a painting which hides the safe of Sir Reuben Astwell, the murdered man.
Again, it is based almost completely off of a legit Lempicka painting, Dr. Boucard.
The “remake” includes the test tube of liquid, which in Lempicka’s original has (presumably) some medical aspect, but which seems to have been cleverly re-imagined as relating to “Astwell Chemicals.” Like the Alistair Blunt portrait, the face is reconfigured to look like Sir Reuben (Denis Lill).
Interesting, no? 🙂
Remember that anachronistic Picasso print from Poirot’s first flat, from 1957? Well, I’ve just noticed that a bit later in the series, it was replaced with a different print. Here’s a shot from The Plymouth Express where you can see it over Hastings’ shoulder. It’s a mother and child painting.
Also, I’ve identified the picture. It is, in fact, another Picasso (Mother and Infant), one from 1922, in the artist’s much earlier neoclassical phase. Kudos to the art department for this fitting remedy. 🙂 The picture is part of the Continental influence of Poirot’s decor as well as blending in nicely with his many Japanese prints, which are similarly heavy on the linear outlining (and also very influential in turn-of-the-last-century European art). Japanese prints can be seen in various places in both of Poirot’s flats.
And if you haven’t noticed already, Poirot has a more cubist-style Picasso print (mixed media) hanging over his mantle. Violin is from around 1912.
Poirot seems so fond of Picasso that I thought I’d try tracking down that second print that’s behind Poirot’s shoulder in the Plymouth Express shot. Sure enough, that is a sketch called A Thousand Travelling Acrobats— a Picasso drawing from 1905.
Acrylic on 8″ x 10″ canvas board. I like to do the book titles as “vertical-axis” ambigrams (mirror-reflection style) for two reasons. First, the style better fulfills Poirot’s sense of symmetry than a rotational ambigram would do. Second, I’m thinking of them in terms of a book cover or a fixed display, and it’s sort of handy in that case to get the visual effect without having to physically rotate the thing.
I’m pleased with the legibility of this particular one… and also the elephant. 🙂