Fontenay Abbey — Blog — Jeannine Cook

Burgundy as a State of Mind / September 26, 2015 by Jeannine Cook

As I return to my less art-oriented daily life after my artist residency at La Porte Peinte in Noyers sur Serein, Burgundy, I realise that the time I have spent there, this year and last year, has subtle results. Something I would almost define as a state of mind.

There has been a curious combination of magical, positive elements to achieve such a state. The set-up at La Porte Peinte, first of all, was felicitious in the extreme for me: I thoroughly enjoy being with Michelle and Oreste Binzak who own and run LPP. They are delicious citizens of the world and ensure that artists are made most welcome and comfortable. My room, which I also used as my studio for drawing, was perched high above the Place de l'Hôtel de Ville, the main square in the village, and provided a marvellous sight of what was going on and taking the pulse of the village. My view of timber-framed medieval houses around the square reminded me of those long-distant times during which monks were diligently using leadpoint to prepare their illuminated manuscripts in nearby abbeys whilst other agriculturalist monks were furthering the cultivation of vines and making wines already famous beyond Burgundy.

Burgundy Drawings / September 5, 2015 by Jeannine Cook

Ammonites de Bourgogne, silverpoint, watercolour, Jeannine Cook — Ammonites de Bourgogne, silverpoint, watercolour, Jeannine Cook

Poster for talk and exhibition at Noyers Museum

It is done – I have managed to produce 15 drawings for the exhibition at the Musée de Noyers! What a relief! I deliver them next Monday and the exhibition will run concurrently with the show I have hanging at the gallery at La Porte Peinte.

Preparing for an exhibition under deadlines is never a favourite occupation for any artist. However, some people do work best like that. I am not sure that I do – the results of the effort will be for others to judge!

What has been both interesting but also more complex has been the need to weave together a body of work that pertains to the ideas I put forward originally, namely the birth of metalpoint drawing in the scriptora of monasteries, where monks used lead to delineate the illuminations and trace lines for the script of their illuminated manuscripts. Combined with that history, I wanted to celebrate the tiny fossilized oyster shells found in the Kimmelridgian layers of soil found especially in the Chablis area and which contribute to the special terroir of those wines. I had picked up samples of these heavy stones when I first arrived in Burgundy last year, and they have led me on a fascinating odyssey.

Burgundia I, silverpoint, watercolour, Jeannine Cook — Burgundia I, silverpoint, watercolour, Jeannine Cook

Tying the metalpoint’s history together with the fossil-laden stones was thanks to those industrious monks who in medieval times also helped to spread the cultivation of wine, as they founded the great monasteries in Burgundy. Vezelay, Fontenay, Pontigny: they are all centers of such a rich heritage.

Vigne de Chablis, silverpoint, 24 carat gold foil, watercolour, Jeannine Cook

Even the wonderful and mighty plane trees, such as one sees at Fontenay that was planted in 1780 by the Cistercian monks, ten years before they had to leave their monastery, was part of that long-standing monastic heritage that enriches us all.

Plane Tree Bark, silverpoint, copperpoint, sterling silver foil, watercolour, Jeannine Cook — Plane Tree Bark, silverpoint, copperpoint, sterling silver foil, watercolour, Jeannine Cook

The other aspect that I tried to incorporate into these drawings is the close links between Burgundy and ocre, one of the key pigments in man’s artistic endeavours since the earliest marks man-made on cave walls from Australia to Africa to Europe. Burgundy was famous for its yellow ocre deposits and only ceased to produce ocre pigments in the 20th century. By heating yellow ocre, red ocre is produced; the two pigments find their way into every drawing and painting imaginable down the ages. I used the two colours as tinted grounds for some of the drawings I did for this project. Since early times, some artists used tinted grounds for their metalpoint drawings, so again, I was following a long-standing tradition.

Shell Silhouettes, silverpoint, watercolour on yellow ocre-tinted ground, Jeannine Cook — Shell Silhouettes, silverpoint, watercolour on yellow ocre-tinted ground, Jeannine Cook

Oyster Dance, silverpoint, watercolour on red ocre-tinted ground, Jeannine Cook — Oyster Dance, silverpoint, watercolour on red ocre-tinted ground, Jeannine Cook

From the Vine, silverpoint, 24 carat gold foil, yellow ocre-tinted ground, Jeannine Cook

I loved finding out all sorts of things about history and aspects of beautiful Burgundy for this project. It has been such fun - the drawings have been the perfect vehicle and excuse for all sorts of new insights and investigations. It is marvellous when art and fresh knowledge can go hand in hand.