Urban inspiration in Ceylon
Architect Ismeth Raheen will deliver this month’s National Trust lecture on “Two urban topographers, illustrators and artists in mid-nineteenth century Ceylon – Hippolyte Silvaf and J.L.K. Van Dort” on Thursday, September 25 at the HNB Auditorium, 22nd Floor, HNB Towers, 479 T.B. Jayah Mawatha, Colombo 10 at 6.30 p.m.
Writes Ismeth Raheem:
‘Topography’ is a term the definition of which as described by art historians has been disputed for centuries. It came into prominence around the 18th Century by artists and draughtsmen primarily to provide a visual record of a particular area rather than as a form of self-expression.
The technique of delineating strategically important landmarks was deployed by military draughtsmen to sketch views, plans and surveys of the areas where troops were occupying or aiming to conquer enemy territory. Topographic views are often seen as secondary to ‘fine art’ or ‘landscape’ views as a result of their being just mere visual records. Often professional artists and military personnel who were specially trained at an art school or academy in topographical drawing executed these tasks.
But in contrast to their British counterparts the two Sri Lankan artists under review – Hippolyte Silvaf [1801-1879], and John Kalenberg Van Dort [1831-1896] were self-taught and had little or no training at a school of art, or visited Europe to hone their skills.
These two Sri Lankan artists who resided in the crowded suburb of Pettah, Colombo, often turned to the street and urban surroundings for inspiration.
The by-lanes and streets of this densely populated suburb were settled by peoples of varying religions and communities and often provided these artists with interesting subject matter. Although both Silvaf and Van Dort also documented architecture this was of secondary interest to them and often used as backdrops in their paintings.
This lecture reviews the range of their output during their individual careers that spanned the 19th Century and their unique style and adaptability to the various mediums they employed. The lecture will scrutinise the influences on their work by contemporary artists and painters of Europe.
One such intriguing painting of Van Dort’s titled the “Vacant Chair”[1870]- was similar in approach to the motif such as those painted by Luke Fields [1843-1927], Vincent van Gogh [1853-1890] and Paul Gauguin [1848-1903] and titled the “Empty Chair”. Was the Sri Lankan painter aware of the works of such famed contemporary artists in Europe?