The observed world of Amos Langdown

‍The observed world of Amos Langdown

Gameli Hamelo

Amos Langdown loved practicing and teaching art, which he pursued passionately and, one might argue, equally, during his lifetime. 

The figurative artist was born in 1930 in Plettenberg Bay, a seaside town in the Western Cape province in South Africa and died on 1 February 2006. Langdown’s paintings are best-known for their portrayal of groups of people going about their everyday lives. For example, ‘Clinic Bench’ (1970) shows three generations of women, the third carrying a baby, all seated on a bench, and in front of them, what looks like a tree. While it seems simple, the oil on board painting speaks of rest. The characters depicted enjoy a moment’s respite, perhaps after a difficult journey. As indicated by the title, they are most likely waiting to see a health professional.

Painted with oils on card, ‘Women Doing Laundry’ (date unconfirmed) depicts a woman ironing clothes while a second woman carries a pile of folded laundry, likely headed to a wardrobe after they have been ironed. ‘Lester’s Uithaal Langdown’ (1985) shows four people by the sea with their backs to the viewer. They appear to be either washing or sourcing something from the sea.

These paintings reflect the people, communities, and events in Cape Town and the observed world of Langdown. They showcase his quiet, attentive compassion in various media, with oil painting being his preferred choice. His use of oil lends a softness to the often harsh conditions he depicts. 

These works, by extension, speak to the importance of family and its place in African societies, where support for individuals extends beyond blood relations. For example, children being cared for by neighbours, in the absence of parents or guardians, or everyday forms of work being undertaken communally. The South African word ‘ubuntu’ brings to the fore the need for humanity, harmony, and compassion for one another and also speaks to that theme. 

Langdown’s detailed woodcut ‘Man With a Tin’ (1964) shows an individual who appears to be scraping the bottom of a tin, perhaps offering commentary on people's living conditions—the artist’s homeland, South Africa, has very high levels of unemployment and there is disparity in access to necessities and resources. 

Langdown’s woodcuts and the referenced paintings are said to be inspired by German Expressionists, who embedded their emotions in their work. We see this here, in the balance of light and dark, and the vigorously cut and exploited grains of wood. The material conveys a more severe or rough representation of the themes in Langdown’s work.  

The artist is known to have drawn inspiration from the late French artist Honoré-Victorin Daumier, whose works generally commented on social and political life in France. Langdown is once quoted as saying. 'As I dip my brush into paint, I dip into my soul and he who cannot appreciate this, does not have a soul.’

Langdown was interested in the arts from a young age, and also had a passion for teaching art. He went on to train as a teacher at the Zonnebloem College in Cape Town. He taught art for several years, including at a primary school in Oudtshoorn in the Western Cape, Dower Training College in Gqeberha (formerly Port Elizabeth), and as a teacher and school inspector at the Hewat Training College in Cape Town. 

In 1961, he held a solo exhibition in Cape Town which earned him a grant to further his studies abroad, broadening his skill set. Between 1993 and 1994, he studied at the Rijks Academy in Amsterdam, where he is believed to have learned the painting techniques that would become essential to his practice. 

He later earned a Bachelor's from the University of Pretoria. In his early years, the artist was mentored by the late German-South African artist Katrine Harries. She is credited with playing a pivotal role in founding the teaching of printmaking at the University Of Cape Town’s Michaelis School of Fine Art, where he also studied part-time. Harries was also known for her work as an illustrator and lecturer, as well as her oil paintings and charcoal drawings. Understandably, her influence shows up in the composition of Langdown’s works.

Before his passing in 2006, his work was shown in prestigious exhibitions and institutions, including the Venice Biennale and Smithsonian Institute, and is in various private and public collections worldwide. Langdown was also a poet and illustrated published writings by Alba Bouwer, Pieter Grobbelaar, and P.J. Philander. 

As a passionate and affectionate artist, Langdown is symbolic of following through with your passions and delivering important, moving messages with a compassionate tone.  

Cover artwork: Amos Langdown, Women Doing Laundry, date unconfirmed. Oil on card, 58,5 x 43,5cm.