Pencil and pastel on toned paper.
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. 🙂
One of the great things about blogging is that you come into contact with others who share (sometimes unlikely-seeming) obsessions. Over the past two months, I’ve heard from a couple of fellow Poirot fans who are mad about Poirot’s flat and the various props and pieces used therein.
The first fellow, an avid prop collector by the name of David, pointed out something I hadn’t yet realized: there is a Picasso print in Poirot’s first flat called “The Piano (Velasquez)”… and the painting itself was from 1957! An anachronism! 😀
The second gentleman I was chatting with is furnishing an entire flat in Art Deco style, and he sent me some really awesome photos of pieces of furniture he’s found. Some are very like the pieces in the series! Amazing!!!!!!!