Art Historians in Focus: Kit Betley
By Lucia Hawkes
Kit Betley
Third year, single honours art history
Modules: 'Gauguin and Primitivism' and 'Architecture and its Image: from Brunelleschi to Palladio'
K: [Laughing] Hello. Testing 1, 2, 3.
L: Right, first things first…why did you choose to study Art History?
K: Because my teacher at school was so inspiring. I originally wanted to study Fine Art, but I fell out of love with it. But, my Art History teacher at school was an inspiration; he was more of mentor than a teacher and in the end, became a friend. So I felt like I’d be doing him a disservice if I didn’t choose to study Art History.
L: Lovely answer. Okay, name one of your favourite artists…
K: I have lots of favourite artists, but if I had to choose…it would be John Singer Sargent. My Grandad used to take me round the Imperial War Museum, and I would always stop in front of Gassed - just the way in which Sargent captures every possible emotion in that painting. They’re all blinded by the mustard gas, walking in a chain and holding on to each other’s shoulders. Someone must have told on the guys that there was a step in front of him and you see him over-exaggerating a step forward. It just makes you realise how futile life is and how destructive the war was. I also like his technique; I like the way he paints, it’s free and fine, but unique.
L: Next question - if you could have dinner with any artist, who would you choose and why?
K: Hmm…that’s a good one. [After a long pause] I think I’d like to have dinner with Malevich and just ask what the hell he thought he was doing. You hear about all of these academic treatises claiming how much of a genius he was and he was so calculated, but I’d just like to hear it from the man himself.
L: Interesting. Okay, where do you expect your Art History degree to take you?
K: I didn’t take it because I knew it would get me a job. My parents always told me to study something you’re interested in. When I study Art History I’m always enthused; it makes those long library hours a little bit easier.
L: And what would be your ideal job…presuming you’d eventually like to get one?
K: Working in an auction house or having my own art dealership. I like the idea of having a job where every day there’s something different in front of me. For example, to be able to look at a masterpiece which might never be seen in the public eye – to handle and touch an object that could be worth millions of pounds… not that I’m doing it for the money, but just the idea of being so close to the art.
L: Okay – now I have some pictures to show you. One of them is an image of Ron Mueck’s sculpture Mask II completed in 2011, and the other is Louise Bourgeois’ Janus Fleuri from 1968. I want your initial response to each of them…
K: [Looking at Mueck’s sculpture intently] …That head is incredible. I just love the way he’s sort of giving the impression that the head’s absorbed in to the mattress that he’s lying on.
L: How does it make you feel?
K: I’m not sure it makes me feel anything. It doesn’t provoke an emotional response in me…it provokes intrigue; is he sleeping, is he passed out, is he dead? If he’s asleep, what is he dreaming about? But, there’s no feeling when I look at that.
L: What about the Louise Bourgeois?
K: Well…I suppose it’s made to evoke disgust isn’t it. It’s incredibly sexual. You can see it’s suspended, so that would be pretty grim as it rotates.
L: I’ll tell you what it makes me feel…it makes me feel pained.
K: Yeah I’m not surprised. Also, it’s just so impersonal. These sexual things put together…they’re just purely sexual and grotesque.
L: We’re going to look at one more okay? It’s one I really like. Hope we have enough time.
K: It’s okay, I don’t have anywhere to be.
L: Classic art historian. Okay, I want you to look at this without knowing any information about it and just tell me how it makes you feel. [The image is Emil Filla’s Night of Love from 1908]
K: Okay…it reminds me of Paul Nash. He did a painting of the trenches and it was very much like that. I think that’s a cat at the front.
L: Does it make you feel negative when you look at it?
K: Yeah, it’s definitely a negative painting. The black and red…darkness. The only light is coming from the moon. It’s unnerving I suppose. There’s no definition in the landscape, everything seems lost…I’m not quite sure what it’s in reference to.
L: Well, it’s actually called Night of Love…
K: [Surprised] Night of Love?
L: Does that change your response?
K: Well the red becomes passion…maybe instead of looking at is as a lost and unfamiliar environment, you should look at it as unexplored and potential, as opposed to the negative connotations I originally gleamed from it.
L: I agree. Okay…final question. If you could own any piece of art, what would you own and why?
K: [Pauses] Bacchus and Ariadne by Titian.
L: Why?
K: Because it’s the first piece of art I saw and thought…wow, that’s incredible.
K: Hmm…that’s a good one. [After a long pause] I think I’d like to have dinner with Malevich and just ask what the hell he thought he was doing. You hear about all of these academic treatises claiming how much of a genius he was and he was so calculated, but I’d just like to hear it from the man himself.
L: Interesting. Okay, where do you expect your Art History degree to take you?
K: I didn’t take it because I knew it would get me a job. My parents always told me to study something you’re interested in. When I study Art History I’m always enthused; it makes those long library hours a little bit easier.
L: And what would be your ideal job…presuming you’d eventually like to get one?
K: Working in an auction house or having my own art dealership. I like the idea of having a job where every day there’s something different in front of me. For example, to be able to look at a masterpiece which might never be seen in the public eye – to handle and touch an object that could be worth millions of pounds… not that I’m doing it for the money, but just the idea of being so close to the art.
L: Okay – now I have some pictures to show you. One of them is an image of Ron Mueck’s sculpture Mask II completed in 2011, and the other is Louise Bourgeois’ Janus Fleuri from 1968. I want your initial response to each of them…
K: [Looking at Mueck’s sculpture intently] …That head is incredible. I just love the way he’s sort of giving the impression that the head’s absorbed in to the mattress that he’s lying on.
L: How does it make you feel?
K: I’m not sure it makes me feel anything. It doesn’t provoke an emotional response in me…it provokes intrigue; is he sleeping, is he passed out, is he dead? If he’s asleep, what is he dreaming about? But, there’s no feeling when I look at that.
L: What about the Louise Bourgeois?
K: Well…I suppose it’s made to evoke disgust isn’t it. It’s incredibly sexual. You can see it’s suspended, so that would be pretty grim as it rotates.
L: I’ll tell you what it makes me feel…it makes me feel pained.
K: Yeah I’m not surprised. Also, it’s just so impersonal. These sexual things put together…they’re just purely sexual and grotesque.
L: We’re going to look at one more okay? It’s one I really like. Hope we have enough time.
K: It’s okay, I don’t have anywhere to be.
L: Classic art historian. Okay, I want you to look at this without knowing any information about it and just tell me how it makes you feel. [The image is Emil Filla’s Night of Love from 1908]
K: Okay…it reminds me of Paul Nash. He did a painting of the trenches and it was very much like that. I think that’s a cat at the front.
L: Does it make you feel negative when you look at it?
K: Yeah, it’s definitely a negative painting. The black and red…darkness. The only light is coming from the moon. It’s unnerving I suppose. There’s no definition in the landscape, everything seems lost…I’m not quite sure what it’s in reference to.
L: Well, it’s actually called Night of Love…
K: [Surprised] Night of Love?
L: Does that change your response?
K: Well the red becomes passion…maybe instead of looking at is as a lost and unfamiliar environment, you should look at it as unexplored and potential, as opposed to the negative connotations I originally gleamed from it.
L: I agree. Okay…final question. If you could own any piece of art, what would you own and why?
K: [Pauses] Bacchus and Ariadne by Titian.
L: Why?
K: Because it’s the first piece of art I saw and thought…wow, that’s incredible.
L: How does it make you feel?
K: I’m not sure it makes me feel anything. It doesn’t provoke an emotional response in me…it provokes intrigue; is he sleeping, is he passed out, is he dead? If he’s asleep, what is he dreaming about? But, there’s no feeling when I look at that.
L: What about the Louise Bourgeois?
K: Well…I suppose it’s made to evoke disgust isn’t it. It’s incredibly sexual. You can see it’s suspended, so that would be pretty grim as it rotates.
L: I’ll tell you what it makes me feel…it makes me feel pained.
K: Yeah I’m not surprised. Also, it’s just so impersonal. These sexual things put together…they’re just purely sexual and grotesque.
L: We’re going to look at one more okay? It’s one I really like. Hope we have enough time.
K: It’s okay, I don’t have anywhere to be.
L: Classic art historian. Okay, I want you to look at this without knowing any information about it and just tell me how it makes you feel.
K: Okay…it reminds me of Paul Nash. He did a painting of the trenches and it was very much like that. I think that’s a cat at the front.
L: Does it make you feel negative when you look at it?
K: Yeah, it’s definitely a negative painting. The black and red…darkness. The only light is coming from the moon. It’s unnerving I suppose. There’s no definition in the landscape, everything seems lost…I’m not quite sure what it’s in reference to.
L: Well, it’s actually called Night of Love…
K: [Surprised] Night of Love?
L: Does that change your response?
K: Well the red becomes passion…maybe instead of looking at is as a lost and unfamiliar environment, you should look at it as unexplored and potential, as opposed to the negative connotations I originally gleamed from it.
L: I agree. Okay…final question. If you could own any piece of art, what would you own and why?
K: [Pauses] Bacchus and Ariadne by Titian.
L: Why?
K: Because it’s the first piece of art I saw and thought…wow, that’s incredible.