Cecil Skotnes

Female figure , Carved and incised painted panel

Written and researched by Emile Maurice and Jo-Anne Duggan

“As chronicler of the South African situation, I could not think in European terms. My approach had to originate here, otherwise my art would be a lie of little importance”
Cecil Skotnes was born in a poor art at the University of the Witwa- der his guidance the facility came Edoardo Villa and later, Ezrom
neighbourhood of East London. His tersrand from 1947 to 1950. to be identified as an art centre and Legae, sought to work at the inter-
father was an ordained Lutheran developed into a significant training section of traditional (or classical)
minister and missionary, and both After completing his BA Fine Arts ground for a generation of black African and European art.
he and his mother were active degree, Skotnes married Thelma artists. In the early 1960s the art
members of the Salvation Army. It Carter in 1951. Their son John is a centre moved to Eloff Street and Having lived in Johannesburg since
was from his parents that Skotnes goldsmith and sculptor and daugh- subsequently, as apartheid policies 1946, Skotnes made Cape Town
absorbed his concern for the ter, Pippa, a Professor of Fine Art at became entrenched, to Soweto. his home in 1978. Here he resumed
welfare of others. the University of Cape Town. painting after decades as a print-
In 1963 Skotnes helped to establish maker, and continued to engage
Skotnes fought against fascism in In 1952 Skotnes was appointed the Amadlozi group (the name was with younger and less privileged
World War II in Italy with South Af- as cultural officer at a recreational chosen by him and means “spirit of artists, establishing the ceramics
rican troops, after which he stayed centre in Polly Street, Johannes- our ancestors”). This group, which section at the Nyanga Art Centre
on to study painting in Florence. On burg, which offered adult education also included Guiseppe Cattaneo, and teaching at the Community Arts
returning to South Africa, he studied programmes for black people. Un- Cecily Sash, Sidney Kumalo, Project in the 1980s.
 Cecil Skotnes, fragment of a once larger incised and painted wooden panel on the theme of the death of Shaka. Undated

Analysis of the artist’s work, key stylistic influences

Skotnes’ early woodcuts were (1973), which was accompanied present embroiled in a classical era. to build family bonds and express by German Expressionism and
abstract landscapes in a horizontal by an epic poem by poet, writer revolutionary situation and that the Alongside the famous public his love towards his wife and kin. Cubism) with a distinctly African
format. In Europe, landscapes and academic Stephen Gray. stimulation arising from the situa- persona, there was also the more identity, a seed first planted in his
were traditionally rendered through When the portfolio of 43 prints tion should affect all elements of private Skotnes, represented in What links Skotnes’ more private days with the Amadlozi group in
painting. What Skotnes sought – most of which deal with mo- the creative society and in particu- works that are intimately entangled works, his African-inspired land- the 1960s.
through making landscapes in print ments of action, like ‘Shaka kills lar the artist…and if the times have with his personal life. This was the scapes, which draw on everything
form was, however, not simply to the mamba’ – and poem were little influence on the artist’s work, cornerstone of his last exhibition from thorn bushes to primeval As he once said when speaking
engage local places and spaces, launched as an exhibition at the especially such momentous times, before death claimed him – CECIL rocks and sun-baked earth, and of his search for an African idiom
but to distinguish his work as an Goodman Gallery in Johannesburg he should seek a new profession.” SKOTNES: A PRIVATE VIEW: his more politically orientated in art,
African artist from that which was in 1973, the show was a sell-out. Images from the archive of Cecil works from the 1980s is a strong
produced in Europe. Skotnes took his words seri- and Thelma Skotnes (2008), at engagement with life and the en- “As chronicler of the South African
One of Skotnes’ primary concerns In 1976, a few months after the ously, as some of his works from Iziko South African National Gal- vironment. Ultimately, though, his situation, I could not think in
was to tell a story through serial- Soweto uprising, Skotnes wrote the 1980s allude to the political lery, Cape Town, and the Standard place in South African art history European terms. My approach had
ised imagery, and the first of his an article for the Rand Daily Mail turbulence of the times, as seen, Bank Gallery, Johannesburg. What rests on his quest for a hybrid art, to originate here, otherwise my art
famous narrative print portfolios (3 November 1976) in which he for example, in Township Martyr the show reflected, amongst other combining European modern- would be a lie of little importance”.
was The Assassination of Shaka commented: “South Africa is at (1986) and other prints from this things, was how Skotnes used art ism (he was strongly influenced

(Left to Right) Shaka kills the mamba, 1973. Woodcut. According to poet Stephen Gray, such was the demand by collectors when the print portfolio, The Assassination of Shaka, was launched at the Good-
man Gallery, Johannesburg, in 1973, that “frenzied buying and reselling occurred on the spot”. Lithograph “Shaka’s Regiment in Horn Formation” Signed & Dated 73.
Shaka the king,1973. Woodcut. Famous author Kurt Vonnegut, writing to Stephen Gray, had this to say about the The Assassination of Shaka portfolio: “The Assassination of Shaka is the best present I
have received. You and Mr. Skotnes took control of my head and made me feel big things very foreign to me. It is the most successful collaboration between a poet and an artist that has ever come to my
attention. It is better than the collaboration between William Blake and William Blake.” Mhlangane Stabs Shaka Woodcut. Pippa Skotnes, the artist’s daughter, has said of her father, “Watching him make
prints was a process which seemed to me to be deeply rooted in some kind of magic.”

Skotnes’s trademark style

Skotnes began to develop his trademark incised and painted inspiration – Christianity, political upheaval, confrontation, history,
wood panels, a format that developed from his printmaking, in the heroes (Shaka and Wolraad Woltemade, for example), good and
1950s. Although he never forsook painting, the woodblock was evil, anguish and pain, and also focused on still-lifes and portraits
to remain his preferred medium for a number of decades. These – all of which is held together by his trademark abstraction with
panels, sometimes adapted to make doors and pelmets, and were often spiritual overtones, highly structured composition, powerful
also used in public commissions, as in his 1820 Settler panels design sense and bold archetypal figures. As with all great artists,
(1984-86) for the Settler Monument in Grahamstown. his art is stamped by a very particular character, or signature,
embedded in the fabric of the work, and his work is instantly
Skotnes made works about the landscape – nature was a major recognisable.
 GALLERY

1820 Settler Panels Commission (1984-86)

In 1984 Skotnes was commis- in Europe and South Africa. This
sioned by the 1820 Foundation in is followed by the next six panels
Grahamstown to make a work to making up The Frontier, where
mark the arrival of English settlers the focus is on new beginnings
in South Africa. His brief was to for all, both black and white – an
symbolically convey the British- allusion to spring. The third sec-
speaking experience in South tion, Towards a New Society, a
Africa, from the time of the settlers’ symbolic summer, is concerned
arrival to their involvement in the with harmony and equal rights.
creation of an equal opportunity The final section is dedicated to
society. the arts and creativity – the means
through which people can attain
Skotnes’ work is allegorical and the ideals of unity and freedom.
uses the notion of the seasons
to convey the idea of decay and The panels were nearly de-
regeneration. The theme is played stroyed when a fire erupted at the
out in the four sections of the work, Monument on 13 August 1994.
each comprising six panels in a Fortunately they were only dam-
vertical format. The first section, aged by smoke and were restored
a reference to autumn and winter, by Skotnes himself.
deals with wars prior to 1820, both

From the portfolio, The White Monday Disaster, 1975. Woodcut. Follow-
ing the print portfolio, The Assassination of Shaka (1973), Skotnes’ next
collaboration with poet Stephen Gray, the White Monday Disaster, also
took the form of what the artist called a ‘block book’. By this, according to Figures in an alien landscape, 1981. Acrylic on board. Landscape was a
Gray, “he meant a work in which the content was to be conveyed through major theme in Skotnes’ work over the decades.
the prints and words simultaneously”. Comprising 13 prints and 13 stan-
Mural for St. Charles Lwanga Church, Mbekweni, Paarl, Western Cape. zas in ballad form, this work commemorates the heroic efforts of Wolraad
Woltemade, who, on horseback, rescued some of the shipwrecked from
the Jonge Thomas, when it sank in Table Bay in 1773. Like The Assas-
sination of Shaka, this work was also launched at the Goodman Gallery
– “to the usual satisfactory sell-out,” says Gray.

Cat, 1960. Woodcut. Pippa Skotnes recalls: “The image I remember most
clearly from my early childhood (he made this for me for my third Christ- Figures in an alien landscape : Cecil Skotnes, Figures in an alien land-
mas) was a large cat, roughly cut in wood and printed by hand with the scape, 1981. Acrylic on board. Landscape was a major theme in Skotnes’
back of a spoon on fine rice paper, which hung on my bedroom wall…” work over the decades.

For Thelma: For Thelma, Christmas, 1992. Conte on paper. Skotnes’ last
exhibition, CECIL SKOTNES: A PRIVATE VIEW: Images from the archive
of Cecil and Thelma Skotnes (2008), was a fitting and beautiful tribute
to an artist who occupies a central place in South African art history, and
something of a capping of a glorious career. Among the works on show
Untitled, 1980. Woodcut. Some of Skotnes’ work from the 1980s reflects was For Thelma, Christmas 1992 – an exquisite drawing, made as a
the political turbulence of the times. In this work, made to illustrate one of present for the artist’s wife. It carries the inscription, “My darling a very
Nadine Gordimer’s stories, a figure raises a clenched fist, symbol of the beautiful Christmas and wonderful things in 1993. Love me”.
Icon for my dead uncle II, 1998. Oil on wood anti-apartheid struggle.
 Cecil Skotnes’s Art life and legacy Important dates in the life of Cecil Skotnes The world in 1952

Cecil Skotnes in his studio, 1967. Photograph courtesy Pippa Skotnes Cecil Skotnes in his studio, 2008. Photograph by Paul Weinberg March in support of the ANC’s Defiance Campaign, 1952. Times Media Collection, Museum Africa

Early life and inspirations South Africa

1926 Born in East London
adjustment and embellishment, 1944- 45 Serves in South African Forces in the WW II Italian Campaign In 1952, the year Skotnes started work at Polly Street: white South Afri-
Skotnes knew that he wanted to cans celebrate the tercentenary of Jan van Riebeek’s arrival at the Cape,
become an artist while still at Twist be exhibited as artworks in their 1950 Graduates with a BA Fine Arts degree from Wits
own right. 1951 Marries Thelma, nee Carter while their black, ‘coloured’ and Indian countrymen prepare for the launch
Street Primary School in Johan- of the Defiance Campaign Against Unjust Laws – a mass protest against
nesburg. But it was an experience 1952 Appointed as Cultural Officer, and starts work at Polly Street
Legacy 1957 First one-man exhibition, at the Pretoria Art Centre apartheid’s discriminatory acts and regulations;
during World War II that finally
convinced him. As a young gunner 1959- 61 Represents South Africa at the Sao Paulo Bienal, the Venice
Skotnes was a pioneer of print- Biennale, and in the Yugoslavia International Graphic Exhibition; Alan Paton’s Cry the Beloved Country is released on film;
with South African forces in Italy, Irma Stern and Walter Battiss, amongst others, represent
making in South Africa, one of our exhibits at galleries in North and South America
finest exponents of the medium, 1963 Succeeds Walter Battiss as President of the South African Council South African at the Venice Biennale;
and a protagonist of modernism. of Artists; founder member of the Amadlozi group, with Cattaneo,
He is also acknowledged for his Kumalo, Sash and Villa Miriam Makeba tours South Africa with the Manhattan Brothers
contribution to making the medium 1965 First one-man exhibitions in London
the popular art form that it is today, 1966 Designs Republic Festival Commemorative stamp series Africa
particularly through his teaching 1969 Work reproduced under “World Painting”, Encyclopedia Britannica
at the Polly Street Art Centre and 1971 Works included in exhibitions in Belgium, the Netherlands, West In Kenya, the Kikuyu rise up
he was among the troops sent against the British – the Mau
to liberate Florence. “Italy then”, the Community Arts Project, Cape Germany, Spain, Brazil, and Italy
Town, where he inspired, and 1972 Retrospective exhibition at the Pretoria Art Museum Mau Rebellion
he said, “was a fantastic time
for people like me, experts gave developed the skills of, aspirant 1973 Creates The Assassination of Shaka portfolio, with poetry by
black artists. The Skotnes legacy, Stephen Gray Kwame Nkrume is elected
lectures to the soldiers, and there Prime Minister of the Gold
were remarkable moments, like the therefore, is not only about his 1974 Creates a woodcut for the Nobel Prize portfolio in honour of
exceptional works, but also about Chief Albert Luthuli Coast and leads his country to
unveiling of the great David, which independence, achieved in
had been hidden in the war years. his outstanding contribution as an 1976 Awarded Medal of Honour by the Suid-Afriakaanse Akademie vie
educator to the evolution of black Wetenskap en Kuns 1957 – the first sub-Saharan
There it stood in its primeval great- country to accomplish this
ness, and if I had any doubts as art in South Africa. 1978 Moves from Johannesburg to Cape Town
to what career I was going to have 1980 + Works on a number of significant commissions and exhibits widely
Recognition 1996 Celebrates his 70th birthday with a major retrospective at the Chief Albert Luthuli is elected
it fell aside, and from that point President of the African
on I lived on the basis of being a South African National Gallery; awarded honorary doctorates by
Skotnes occupies a pivotal place Rhodes University and the University of the Witwatersrand National Congress – and
professional artist”. becomes South Africa’s first
in South African art history and has 2003 Awarded the Order of Ikhamanga in Gold
been honoured for his work and 2009 Passes away in Cape Town Nobel Prize winner in 1960
Artistic breakthrough Chief Albert Luthuli by Cecil Skotnes
contribution to cultural develop-
ment. He was the recipient of the International
Skotnes started his career as a
painter but turned to printmaking Chamber of Mines Gold Medal
in 1965 and the South African Dwight Eisenhower is elected
in 1954, when he met Egon Guen- President of the USA
ther, a goldsmith and collector Breweries Gold Medal in 1968,
of traditional African art who had amongst other awards. In addi-
tion, three honorary doctorates Queen Elizabeth II begins her
immigrated to South Africa from reign over the United Kingdom
Germany. It was Guenther who were bestowed on him – from
the Universities of Cape Town, and its colonies, including
convinced him to abandon painting South Africa;
and to develop a new artistic path Rhodes and Witwatersrand – and
by making prints. a National Order, the Order of
Ikhamanga in Gold (2003), for Argentinean First Lady, Eva
It was also Guenther who drew Peron, dies of cancer
Skotnes’ attention to the beauty “exceptional achievement in, and With friends: In the early 1960s, Skotnes helped to establish the Amadlozi
and possibilities of the blocks from the deracialisation of, the arts, and group. Here he is seen with some members of the group: Left to right:
for outstanding contribution to the Albert Schweitzer wins the
which he made his prints. These, Skotnes, Guiseppe Cattaneo, Edoardo Villa and the art dealer Egon
development of black artists”. Nobel Peace Prize
he suggested, could, after some Guenther.
Gary Cooper wins an Oscar for
his role in High Noon;

Che Guevara chronicles his motor

cycle trip around South America in
The Motorcycle Diaries;

Samuel Becket pens Waiting for

Godot

Earnest Hemingway’s Old man

and the Sea is published;

Jackson Pollock paints Blue Poles

No 11;

A Skotnes record was set by Stefan Weltz in association with Sotherby’s (SWELCO) in Cape Town March 2009 Francis Bacon paints Study for
for his wood panel “Birds” (R616 000, est R350 000-R450 000) the Head of a Screaming Pope;

References: Henri Matisse makes his great

F. Harmsen (ed.). 1996. Cecil Skotnes. Published privately in conjunction with the 1996 Skotnes retrospective at the South African National Gallery. cutout, Blue Nude
Unknown. 2003. Recipients of the National Order Awards, 2003. [Online]. Available: www.info.gov.za/aboutgovt/orders/2003/skotnes.pdf [2009, April 30].
Iziko South African National Gallery. 2000. Cecil Skotnes – Curriculum Vitae. [Online]. Available: www.iziko.org.za/sang/exhib/2000_pre/skotnes/cs_cv.htm [2009, April 29]. Written by Emile Maurice and Jo-Anne Duggan
Artthrob News. 2009. The Passing of Cecil Skotnes. [Online]. Available: www.artthrob.co.za/09apr/news/skotnes.html [2009, April 30]. Design Gabriel Clark-Brown
Williamson, S. 2006. Artthrob Artbio: Cecil Skotnes. [Online]. Available: www.artthrob.co.za/06july/artbio.html [2009, April 30]. Commissioned for: The South African Art Times, May 2009
Front Page Image: Female figure , Carved and incised painted panel: Christopher Moller Art. www.christophermollerart.co.za Concept: Global Art Information