{"id":9566,"title":"Petrified Wood","dimensions":"130 x 200 cm","date_begin":"1979-01-01","material":"acrylic on canvas","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_48","stream_count_app":28,"permalink":"petrified-wood","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jan Cox","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Painting","nl":"Schilderij","fr":"Peinture"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/643/large/Cox_Jan_Perified_wood_1978_photo_M_HKA.jpg?1392211427","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eWorks of Cox from the Seventies are characterised by exhaustive reflections on life and work.\u0026nbsp; In the painful and dramatic beauty of the \u003cem\u003eIliad\u003c/em\u003e cycle, Cox draws on his experiences from the Second World War.\u0026nbsp; Central motifs here are evil, violence and thoughts of revenge.\u0026nbsp; By way of contrast, in 1976 he begins a complimentary series of paintings for which Mozart\u0026#39;s \u0026#39;Masonic\u0026#39; opera \u003cem\u003eThe Magic Flute \u003c/em\u003eacted as impulse.\u0026nbsp; But after \u0026#39;the war of attrition\u0026#39; of his \u003cem\u003eIliad\u003c/em\u003e cycle, Cox was unable to bring this project to final fruition.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn autumn 1976 he embarks on journeys to two far-flung destinations, Chartres and Arizona, and each would in its own way make a lasting impression upon him.\u0026nbsp; In his journal notes, Cox describes how these two monuments engendered a manner or \u0026#39;rebirth\u0026#39;: \u003cem\u003e\u0026quot;I immediately made the connection between the awe I felt at the Grand Canyon with my experience in Chartres.\u0026nbsp; The effect was even more overwhelming, and I could understand how people who believe in God would fall to their knees - but it stirred me in an opposite sense - no matter how man might imagine God, it is utterly inadequate; man knows beauty, but nature is impervious to this opinion.\u0026nbsp; The revelation of absolute chance, with neither reason nor purpose, became my all-encompassing experience.\u0026nbsp; My solitary trek of two days and two nights through the deserts of New Mexico and Arizona completed this unforgettable adventure.\u0026nbsp; It was a different Jan Cox who was resurrected here.\u0026nbsp; A chastened one?\u0026nbsp; Perhaps.\u0026quot;\u003c/em\u003e* (Jan Cox, Dagboeknotities (Journal notes), De Tafelronde, jrg. XXIV/2-3, 1981, p. 11)\u003c/p\u003e\r\n\r\n\u003cp\u003eThe painting \u003cem\u003ePetrified Wood\u003c/em\u003e, wherein we recognize the ancient wood and fossils, is a typical example of Cox\u0026#39;s success in sketching a suggestive visual impression of nature\u0026#39;s wonder.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDe werken van Cox in de jaren zeventig worden gekarakteriseerd door uitputtende reflecties over leven en werk. In de pijnlijke en dramatische schoonheid van de cyclus \u003cem\u003eIlias\u003c/em\u003e verwerkt Cox zijn ervaringen uit de Tweede Wereldoorlog. Daarin staat het kwade, het gewelddadige en de wraakgedachte centraal. In 1976 start hij hiertegenover een complementaire reeks schilderijen waarvoor hij inspiratie vond in Mozarts ma\u0026ccedil;onnieke opera de \u003cem\u003eToverfluit\u003c/em\u003e. Maar na de uitputtingsslag van de \u003cem\u003eIlias\u003c/em\u003e kon hij dit opzet niet voltooien.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de herfst 1976 onderneemt hij reizen naar Chartres en Arizona die op hem een overweldigende indruk zullen nalaten. In zijn dagboeknotities beschrijft Cox hoe hij naar aanleiding van deze twee monumenten een \u0026lsquo;wedergeboorte\u0026rsquo; onderging: \u003cem\u003e\u0026ldquo;Ik verbond mijn \u0026lsquo;awe\u0026rsquo; voor de Grand Canyon meteen met mijn belevenis in Chartres. Het effect was nog overweldigender en ik dacht met begrip aan de mensen die in God geloven en op hun knie\u0026euml;n zouden vallen \u0026ndash; maar het ontroerde mij in tegengestelde zin \u0026ndash; wat ook de mens zich van God kan voorstellen, het is ten enenmale ontoereikend; de mens kent schoonheid maar de natuur trekt zich daar niets van aan. De openbaring van het absolute toeval, zonder reden noch doel, werd mijn allesomvattende ervaring. Mijn eenzame tocht van twee dagen en twee nachten door de woestijnen van New Mexico en Arizona voltooiden deze onvergetelijke belevenis. Het was een andere Jan Cox die hieruit herrees. Een gelouterde?... may be.\u0026rdquo;\u003c/em\u003e* (Jan Cox, Dagboeknotities, De Tafelronde, jrg. XXIV/2-3, 1981, p.11)\u003c/p\u003e\r\n\r\n\u003cp\u003eHet schilderij \u003cem\u003ePetrified Wood\u003c/em\u003e, waarin we versteend hout en fossielen herkennen, is zo\u0026rsquo;n typisch voorbeeld waar Cox op rake wijze een suggestieve beeldimpressie van het natuurwonder weet te schetsen.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eLes \u0026oelig;uvres de Cox des ann\u0026eacute;es\u0026nbsp;70 sont marqu\u0026eacute;es par des r\u0026eacute;flexions \u0026eacute;puisantes sur la vie et le travail. Dans la beaut\u0026eacute; douloureuse et hautement dramatique du cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, Cox int\u0026egrave;gre ses exp\u0026eacute;riences de la Seconde Guerre mondiale ax\u0026eacute;es autour du mal, de la violence et de la notion de vengeance. En 1976, il entame comme pendant une s\u0026eacute;rie compl\u0026eacute;mentaire de tableaux pour laquelle il s\u0026rsquo;inspire de l\u0026rsquo;op\u0026eacute;ra ma\u0026ccedil;onnique de Mozart, \u003cem\u003eLa Fl\u0026ucirc;te enchant\u0026eacute;e\u003c/em\u003e. Mais apr\u0026egrave;s la guerre d\u0026rsquo;usure qu\u0026rsquo;a constitu\u0026eacute;e le cycle de l\u0026rsquo;\u003cem\u003eIliade\u003c/em\u003e, il n\u0026rsquo;a pas pu achever ce projet.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026Agrave; l\u0026rsquo;automne de 1976, il entreprend un voyage \u0026agrave; Chartres et ensuite en Arizona qui lui laissera des impressions bouleversantes. Dans les notes de son journal intime, Cox d\u0026eacute;crit la mani\u0026egrave;re dont il a v\u0026eacute;cu ces deux d\u0026eacute;couvertes comme une \u0026laquo;\u0026nbsp;renaissance\u0026nbsp;\u0026raquo;\u0026nbsp;: \u0026laquo;\u0026nbsp;J\u0026rsquo;ai d\u0026rsquo;embl\u0026eacute;e reli\u0026eacute; ma stup\u0026eacute;faction face au Grand Canyon \u0026agrave; mon exp\u0026eacute;rience \u0026agrave; Chartres. L\u0026rsquo;effet \u0026eacute;tait encore plus bouleversant et j\u0026rsquo;ai pens\u0026eacute; avec compr\u0026eacute;hension aux personnes qui croient en Dieu et qui se seraient agenouill\u0026eacute;es \u003cem\u003e\u0026ndash;\u003c/em\u003e sauf que mon \u0026eacute;motion allait en sens inverse\u0026nbsp;: quelle que soit la repr\u0026eacute;sentation que l\u0026rsquo;\u0026ecirc;tre humain se fait de Dieu, elle est absolument inad\u0026eacute;quate\u0026nbsp;; l\u0026rsquo;\u0026ecirc;tre humain conna\u0026icirc;t la beaut\u0026eacute;, mais la nature n\u0026rsquo;en a rien \u0026agrave; faire. Mon exp\u0026eacute;rience int\u0026eacute;grale fut la r\u0026eacute;v\u0026eacute;lation du hasard absolu, d\u0026eacute;pourvu de tout motif ou objectif. Ma randonn\u0026eacute;e solitaire de deux jours et deux nuits \u0026agrave; travers les d\u0026eacute;serts du Nouveau-Mexique et de l\u0026rsquo;Arizona ont parachev\u0026eacute; cette exp\u0026eacute;rience inoubliable. Elles ont donn\u0026eacute; naissance \u0026agrave; un autre Jan Cox. Purifi\u0026eacute;\u0026nbsp;? Peut-\u0026ecirc;tre\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLe tableau \u003cem\u003ePetrified \u003c/em\u003eWood, dans lequel on reconna\u0026icirc;t du bois p\u0026eacute;trifi\u0026eacute; et des fossiles, est un exemple caract\u0026eacute;ristique de la facult\u0026eacute; de Cox \u0026agrave; esquisser avec justesse une impression visuelle, \u0026eacute;vocatrice de la merveille de la nature.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\u0026nbsp;\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cdiv id=\"ftn1\"\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e Jan Cox, \u0026ldquo;Dagboeknotities\u0026ldquo; [notes extraites du journal intime], \u003cem\u003eDe Tafelronde\u003c/em\u003e, XXIV/2-3, 1981, p.\u0026nbsp;11\u003c/p\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1795,"name":"Jan Cox","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}