Railing Against It: Art About Going and Not Going. Caravaggio’s: ‘Supper at Emmaus’, 1601

May 18, 2012
Art Seen, Looking at Art, National Gallery, Pictorial Space, Railing Against It, the Picture Plane
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The Paradox of Apparent Movement

Stuck, unable to go anywhere, waiting for a train, I was thinking about our acceptance that a painted image contains movement. Why, when looking at that static image do we: happily predict what will happen next; what has happened before and what, from analysis of that movement, is the mental state, ideological position and historical context of all involved? Do we like looking at paintings because there is a comforting pleasure in knowing, or working out, what will happen next? Or perhaps when looking at a landscape painting, knowing that nothing will happen next, that we are in a comforting world of ‘not going anywhere’?  

“My cousin right, she wants to go to Tenerife to swim with Dolphins”

“Oh, I don’t fancy that, they’re big fish. No, I couldn’t do that. I want to go to Australia”

“What, and swim with Aboriginals?”

The Story in the Object

Viewers in the National Gallery, London, seem more interested in the story of the object, than the story in the object; is that because these stories have been lost? Look, for example at Caravaggio’s ‘Supper at Emmaus’, 1601, the earlier one in the National.

Caravaggio: ‘The Supper at Emmaus’, 1601. 141 x 196 cm, oil on canvas. National Gallery, London

At the centre of a shallow rectangular pictorial space, a young man gestures meaningfully with his right hand and waves his left over a loaf of bread. To his left an older man symmetrically stretches out his arms. Above the young man to his right, another man stands, casting a circular shadow over that younger seated one. Nearest to us, in the left foreground, a man with a hole in the elbow of his jacket pushes his arms down onto the arms of his chair, as if to lift his body upwards.

Good Lord, it’s You!

The original sixteenth century viewers of this painting would have recognised the story, and known that it is about sudden recognition. It is in the bringing together of the gestures: with the immediate story; with the past that led these figures up to this point; with the subsequent future affecting us all, that this painting extends the movement beyond what we immediately see. That bringing together, or conjunction, leads us back to the dusty road en route to Emmaus and the inn where the painted action happens. On that road the older, seated men had met the younger, discussed the recent crucifixion of Christ in Jerusalem, and the disappearance of his body from the tomb and the appearance of angels saying that he was alive. They persuade the, as yet unknown, younger man to eat with them.

“30. And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them.

31. And their eyes were opened, and they knew him….

35. And they told what things were done in the way, and how he was known of them in the breaking of bread.

36. And as they thus spake, Jesus himself stood in the midst of them, and saith unto them, Peace be unto you”

Luke 24. 30-36.

The Significant Gesture

They (Cleopas and possibly Peter, possibly James) recognize the resurrected leader of their group (Christ) through one of the last gestures that they saw him make (breaking bread at the Last Supper).

Caravaggio: ‘The Supper at Emmaus’, 1601, 141 x 196 cm, oil on canvas. National Gallery, London. Detail: Christ’s gesture.

The actual last gesture, as it were, that they saw him make is reflected in the outstretched arms of the right hand disciple: the crucifixion.

Caravaggio: ‘The Supper at Emmaus’; 1601, 141 x 196 cm, oil on canvas. The National Gallery, London. Detail: Disciple with arms outstretched.

I suppose you could call this conjunction; potentialities. There is a range of those potentialities, the striding movement of walking for example, and don’t these worn, sunburnt and slightly battered figures look like they have done a lot of walking in their lives. Notice by the way the cockleshell on the leather jerkin, the symbol of the pilgrim, the walker. The significant, human movements that pinpoint or focus, key points of the story. Notice also that those gestures scoop in the viewer, draw us into the heart of the story.

“I’m not going nowhere because I literally can’t walk no more than, like, one mile an hour”

“Like, I can’t even do that”

Viewpoint

Viewpoint is always crucial in a painting, where are we the viewer situated by the artist’s construction of the pictorial space? In this case, we are below the head of Christ, at roughly the same level of the two disciples. Although we are not close up to the table, that viewpoint is certainly from someone seated in front of Christ, drawn into his circle. The vigour of the painted gestures demands that the viewer makes equivalent movement this side of the picture plane, in our own recognition of the story and its importance.

I have just remembered, thinking back to earlier posts about what we as viewers bring to our viewing position. A boy once told me that this painting was all about telling lies and fishing:

‘You see that bloke on the right Sir, well he’s telling the others that he caught a fish and it was thiiiiis big (boy stretches out his arms in imitation) and the others Sir, well you can tell they don’t believe him”

Hurry Up and Wait

I wrote part of this waiting for my train, in the ticket area of the station. A rectangular area, parallel to the tracks. At one end: ticket sales, here the endless complexities of ticket types are negotiated. At the other: a newsagent, usually shut. Doors on each long side exactly bisect the space. These doors are automatic, over sensitive sensors open them unexpectedly and violently with an uncontrolled shake at their full extent. The track faces due north, the prevailing wind is westerly. Each time the doors suddenly fling themselves open, the wind charges through as though it is late for the fast train to London Bridge.

On each of the four benches, like points of the compass, are static middle aged men:

  • To the North West, one in brown cords and shoes, green socks and light blue striped shirt, blue jacket and bright orange Apple laptop.

  • To the North East, another, in grey suit, white shirt, pale grey tie, permanently speaking on a black shiny mobile.
  • South East, in a charcoal suit, cream shirt, black bag on lap, reading white A4 documents.
  • And me at South West, all in black with a black A5 notebook.

We are all waiting, our gestures are subdued, our composition is precise, and appropriately measured for the subject.

The Composition of Pictorial Space

Figures in pictorial space are often symmetrically arranged, usually about a central axis, ie placing the viewer directly in front of them. Think of Egg’s Travellers, that I have mentioned before,

Augustus Leopold Egg: ‘The Travelling Companions’, 1862 oil on panel. 65 x 79 cm. Birmingham Museum and Art Gallery

that overt symmetricality has meaning, as does the lack of precise composition in Veronese’s: ‘Christ Healing a Woman with an Issue of Blood’ .

Paolo Veronese: ‘Christ Healing a Woman with an Issue of Blood?’, 1548, oil on canvas 117 x 163 cm National Gallery, London

In Supper at Emmaus the viewing point would seem to be directly in front and significantly below the normal eye level so that the vanitas bowl of fruit on the lip of the table appears to be falling on top of you.

Caravaggio: ‘Supper at Emmaus’; 1601, 141 x 196 cm, oil on canvas. National Gallery, London. Detail: Fruit Bowl.

The light in my waiting room is even and clear as fits the scene, but in Caravaggio’s inn, some three days walk from Jerusalem, the light is stark: bright highlights; pools of meaningful darkness; the shadow/ halo around Christ’s head; the darkness of the tomb from which he has risen.

A well dressed couple pass through from west to east, I just catch the end of their conversation:

 “We’ve got enough for the moment, we’ve got the six nuns in Peterborough”

Unlike the vigorous painted gestures, our bodily movements in the ticket area remain subdued, slow and undemonstrative. We are not going anywhere, no dramatic revelations of redemption here.

“South Eastern Trains would like to apologise for the delay to your service this morning, this is due to the late running of the train”

Twenty Eighth Approach to Het Steen: 1636. Walking and Art again

May 7, 2012
Art Seen, Het Steen, Landscape Art, Looking at Art, National Gallery, Pictorial Space, Rubens, the Picture Plane, Walking and Art
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Het Steen, Friday Afternoon, National Gallery, London

Peter Paul Rubens: ‘A View of Het Steen in the Early Morning’, 1636. Oil on Oak. 131 x 229.cm. National Gallery, London

We expect life behind the picture plane to conform to our expectations of life in front of it. But, after a good long look it is far odder than you might think.

I have been asked how it is possible to stare at the same work of art for such long, long periods – never less than an hour at a time in front of Het Steen, usually longer. Patience of course but more, like meditation, it is a matter of clearing the mind of those expectations/ prejudices/ outstanding thoughts that we bring with us, to find out what is really going on in this parallel world. Today these issues sprang up, leaping about in front of my field of vision, I don’t think I really got rid of them:

  1. It is very misty and wet outside, is that why the distant horizon in this painted world seems clearer today?
  2. How long would it take to walk from the tree trunk in the foreground to Malines and the Cathedral of St Rombout (the tower on the horizon). Difficult to tell how far it is away on foot, 5 miles, 10 miles, closer to 10 maybe? Average walking time is what: 3 miles? Ground is very flat and clear, so perhaps three hours, heavy dew on the ground, but not too waterlogged, under 3 hours then.
  3. The view we can see is not that from the large windows of the house. This painting and ‘The Landscape with a Rainbow’

    Peter Paul Rubens: ‘Landscape with a Rainbow’, 1636. Oil on Panel. The Wallace Collection, London

    were to be shown in a room on either side of those windows. Although the painted view is a sort of composite, I wonder which room it was painted in. Traditionally, studios are north facing to stop shadows and direct sunlight. Het Steen Manor faces south (we are looking east to the rising sun) it can’t have been made in a fancy room can it? Could Rubens keep a fancy room clean whilst oil painting? Leonardo famously said that a painter could work surrounded by beauty and listening to a fine musician. Leonardo was a careful, almost fastidious man, mostly dressed in lilac according to his inventories. Rubens was a painter of some bravura, and therefore a bit messier? Would he have painted at the back of the house, is this likely? Covered as I am in the white oil paint left behind by a student panicking about a deadline, I have strong feelings about this point.

  4. Going back to the walk idea, there are no fences behind this particular picture plane, no closed off areas. Some grown out hedges, several lines of trees suggest a slight fence hedge behind the milkmaid for example. But none of the post-enclosure English hedgerows and field boundaries, none of ‘this land is mine-ness’, that characterise the English countryside.
  5. One thinks of John Clare, the poet of the English countryside unhinged by the effects of The Enclosure Acts. That period of 18th and 19th century English history when landowners put boundaries across common land; expelling those who once used the land to work and walk. Clare was a great walker, for example in 1841 he walked 80 miles after escaping from his asylum, returning home to look for his first love, Mary Joyce (long dead); he lived on grass and air. As he wrote about her:

“And we will walk the meadow love

And we will walk the grove

And by the winding river love

We’ll walk and talk of love

And by the white thorn bushes love

Just budding into green

Where the shaded fountain rushes love

We’ll steal a kiss unseen”

(For the text of Clare’s diary from his walk see http://dawnpiper.wordpress.com/john-clares-walk-1841/, the John Clare WebLog is very good on his walking as well http://johnclare.blogspot.co.uk/)

 All this sense of rural freedom goes, as you can read in his : ‘Remembrances’

“…Inclosure like a Buonaparte let not a thing remain

It levelled every bush and tree and levelled every hill

And hung the moles for traitors – though the brook is

running still

It runs a naked brook cold and chill”

Or

“These paths are stopt – the rude philistine’s thrall

Is laid upon them and destroyed them all

Each little tyrant with his little sign

Shows where man claims earth glows no more divine

But paths to freedom and to childhood dear

A board sticks up to notice ‘no road here’”

Enclosure in a Gainsborough landscape?

I have always assumed the neat fields behind Gainsborough’s: ‘Mr and Mrs Robert Andrews’ 1750,

Thomas Gainsborough: ‘Mr and Mrs Robert Andrews’, 1750, oil on canvas, 76 x 119 cm. National Gallery, London

are a reference to the economic benefits of the ‘rude philistine’s thrall’, it is certainly set at the beginning of the Enclosure Acts, Clare’s poetry towards the end. Look at the sharp meanness of those two faces and, despite the gun and dog, both look uncomfortable in the countryside that they so clearly own; she won’t have walked far in those shoes. As Clare put it some ninety years later:

“Fence now meets fence in owners’ little bounds

Of field and meadow large as garden grounds

In little parcels little minds to please

With men and flocks imprisoned ill at ease”

To the Painting in Front of Me

So, trying to watch the world of seventeenth century Flanders, these are some of the ideas from the twenty-first century I brought with me. I think walking kept bobbing up like a dog wanting me to throw the ball, partly because I was thinking of a response made to an earlier post by Ann Marquez from Desert Muse publications and her description that “growing up in the southwest I never imagined limited access to land”.

‘The Path Stopt’

And partly because a few days ago, I tried to take a walk through local woods on a path that, though not a formal right of way, has been a customary path used by many for many, many years. It was fenced off without warning or explanation; heart-breaking.

Walking and Rubens

Rubens’ figures don’t look like they walk much, Paris in the later Judgement  perhaps,

Rubens: ‘The Judgement of Paris’, 1632; Oil on canvas, 139 x 174 cm; National Gallery, London

in the earlier version Paris is too much of a classical hero, despite his very pink bottom.

Peter Paul Rubens: ‘The Judgement of Paris’, 1597-9. Oil on Panel. The National Gallery, London

Moses and Eleazer in ‘The Brazen Serpent 1635 – 40’ look like they have covered a few miles.

 Mainly, Rubensian walkers are stock working figures, milkmaids and shepherds, many carts in his rural scenes, as in Het Steen. As Rebecca Solnitt points out in her book about the history of walking: ‘Wanderlust’, nobody walked for pleasure before the Wordsworths.  

Looking slowly at paintings is a process of clearing questions and relaxing and just looking, it takes about twenty minutes usually. Time to really start looking, or to walk away until the next time?

Twenty Seventh Approach To Het Steen 1636: But What Shall I Wear?

April 30, 2012
Art Seen, Het Steen, Landscape Art, Looking at Art, National Gallery, Pictorial Space, Rubens
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Het Steen, National Gallery, London, Friday Afternoon

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London

The young woman in front of the later ‘Judgement of Paris’ is haranguing a large group of fellow Chinese. She has talked for 10 – 15 minutes without drawing breath, a small boy has his hand up; he is ignored. She is wearing cream trousers and a cream jacket zipped right up the neck, she does not look relaxed.

A complete contrast to a colleague I saw this morning, taking a large group of Year Eight students through a range of paintings about rooms and interiors: Dutch and Swedish ending with Rachel Whiteread. It was all about interaction, questioning, and the students lively responses.

How Do We See Art?

Returning to the central theme of all these posts: how do we see art, what do we get from looking at it? The students in front of the slide show had been led by careful pointed questions, what can we see? What might be the relevance of? What does that make you think about? The importance of composition/ light/ context/ new ideas about interiors. But I wondered, were they just showing their skills at a particular game: answering questions (very high) or were they actually engaging with images. Was this the equivalent of twenty questions,  just running around a museum pressing buttons. Their teacher by the way was wearing dressed down art teacher clothing; checked shirt and jeans.

Pictorial Space

I think these posts have established by now, that composition of pictorial space has a great deal to do with how a painting is approached; physically and mentally. But, schooled in iconographic analysis or not, you also bring assumptions about behaviour and meaning on the far side of the picture plane. For example, I remember a small boy’s response to Picasso’s ‘Woman Weeping’

Picasso: 'Woman Weeping', 1937, 60 x 49 cm, oil on canvas. Tate Gallery

‘I know she’s really upset’

‘Why do you know that Darren, is it to do with the shapes clashing together in the painting?’

‘No, it’s because she’s eating pizza, my mum always gives me pizza when I’m upset’

So, what do we bring to Het Steen? A general assumption about the reassuring properties of paintings about nature? A deep calm, from the gently lifting ground plane, the soft, close tonal range, the warmth of colours in the foreground, the bucolic carter and companion, the wealthy but not obtrusive house? Soft shapes rising sun: optimistic; reassuring; comforting. These are the sorts of terms that come to mind. It might be autumn, i.e. towards the end of a cycle, but time moves very slowly here.

Rubens: 'The Judgement of Paris', 1632; Oil on canvas, 139 x 174 cm; National Gallery, London

Large numbers of Spaniards, smelling rather strongly of soap, not unpleasant but certainly insistent, are collapsed around the bench. It is a comfortable place to rest, they are exhausted, time this side of the picture plane is catching up with them. At the other end of the bench, a man is slowly making an extremely painstaking tonal drawing of the later Judgement; hours of evident labour. He is drawing from left to right and the proportions are gently getting away from him; the figures are beginning to elongate and lose their Rubensian plumpness as the drawing becomes widescreen.

The Spanish, distressed brown leather, sports gear and strange white tubular headgear rather like socks, do not look at the paintings. Later a middle aged English couple, beige trousers, grey anoraks, argue in a low monotone, carefully looking at an image, true; but it is a tube map. Most of the visitors, few are actually viewers, seem to regard being here as a form of labour, measured in miles walked, the occasional interesting painting is a bonus.

The ‘Art Study’ Problem

Perhaps this is behaviour learnt early. By and large students coming into an art room see making art as a subdivision of leisure activities; ‘Art’ is not real work etc. Whereas looking at art made by others is always more of a chore, any art teacher who has tackled the ‘art study’ will confirm this. I have written many books for teachers trying to overcome this reluctance, but never quite worked out why it is there; surely pictorial space is fascinating, isn’t it?

But What Shall I Wear?

Maybe it is to do with clothing, to make art in an art room you put on an overall, a paint spattered ‘cloak of creativity’ as it were. To study the art work made by others you are still in the clothes you wear for other activities, learning Maths for schoolchildren, travelling seems to be the main theme here in the National Gallery. I don’t mean that you should stand in front of Het Steen wearing seventeenth century muddy peasant linen bowing to the Lord of the Manor, but the awkward mismatch between formality and casual tourism is noticeable. At the Damien Hirst exhibition at Tate Modern, that I saw earlier (highly recommended by the way, very well put together indeed) there was none of that awkwardness; art and viewers seemed to be well matched. So perhaps it does help to dress accordingly, I’m off to order my rough smock now.

Walking Back to Happiness: Walking and Art

April 18, 2012
Art Seen, Dogs in Art, Het Steen, Landscape Art, Light in Art, Looking at Art, National Gallery, the Picture Plane, Walking and Art
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In common with the theme of this post, the form of this writing follows a meandering path. I have just returned from walking in the Scottish Highlands. The walk is a familiar theme in contemporary art[i], Long and Fulton are probably where one usually begins,

Richard Long: 'A Line Made by Walking', 1967

Long’s ‘A Line Made by Walking’ is the most straightforward and refers us, perhaps, backwards to the rural walk. For the urban walk there is the ‘dérive’ starting, arguably, with Guy Debord, looking backwards to the ‘flaneur’.

Edouard Manet: 'Music in the Tuileries Gardens', 1862. Oil on Canvas. 76 x 118 cm. National Gallery, London

(Manet’s self-portrait in the left corner of ‘Music in the Tuileries Gardens’, his monocle referring to Baudelaire’s original description of the term flaneur, Baudelaire is also amongst the painted throng), and forward, via Ron Herron’s ‘Walking City’ maybe, to pyscho-geography and Ian Sinclair[ii].

The Romantic Experience

I practise both, but standing on the top of Beinn Resipol,

 the Romantic associations were uppermost, the line which runs from Keats: ‘On First Looking into Chapman’s Homer’, 1816

“Then felt I like some watcher of the skies

When a new planet swims into his ken;

Or like stout Cortez when with eagle eyes

He star’d at the Pacific—and all his men

Look’d at each other with a wild surmise—

Silent, upon a peak in Darien.”

The Wanderer (I roam around, around, around)

Or Caspar David Friedrich’s painting from a year or so later: ‘Wanderer above a Sea of Fog’, 1817 [iii].

Caspar David Friedrich: 'Wanderer Above the Sea Fog', oil on canvas, 98 x 74 cm, Kunstahalle, Hamburg.

Look at the ‘Wanderer’ carefully; the spatial construction makes the figure static and solid. It is directly on the central vertical axis

Caspar David Friedrich: 'Wanderer Above the Sea Fog', oil on canvas, 98 x 74 cm, Kunstahalle, Hamburg. Detail 1

and the waist on the horizontal,

 the crag and head form a strong pyramidal structure.

Caspar David Friedrich: 'Wanderer Above the Sea Fog', oil on canvas, 98 x 74 cm, Kunstahalle, Hamburg. Detail 3

This pictorial strength, as it were, makes the wanderer a form of god in the way that he dominates the rest of the space, his Romantic imagination, and by extension, our own, creates the view. ‘The Wanderer’ is one of the first paintings in which we look with the figure from inside the painting, not at a painted figure looking at it. Friedrich takes the notion of the internal spectator and makes it the central focus of the painting, and makes that act of internal viewing the paradigm for all acts of viewing this side of the picture plane.

A Literary Device?

Powerful stuff, but to be honest it is a device and a literary one at that. We can see the apotheosis of experience on a mountain top. We can understand the analogous nature of viewer and internal viewers experience. But, there is very little particularity about what we are actually experiencing; it is a generic scene. It has none of the genuine nature of what it was really like to walk up there and stand above the clouds; cold and wet in my own experience.

‘Wanderlust’

As Rebecca Solnitt points out in ‘Wanderlust’, to walk is to be embodied. But is the figure in the Wanderer embodied, in the sense that it is corporeal and fully sensate? I think the precision of the co-ordinates that place it in pictorial space, militate against that reading. This is an intellectual body, a minds eye body, not someone who has toiled up through bog and slippery footholds, out of breath with the wind in their face, wondering which path to take. Can art ever present the embodied walker?

A better work on this theme was John Cale’s ‘Dreaming in Vertigo’ section of ‘Dark Days’,

John Cale in front of 'Dreaming in Vertigo'

shown at the Welsh Pavilion of the Venice Bienalle in 2009. If memory serves, he strapped a video camera to his chest and walked up endless steps on a Welsh hill. The soundtrack is of heavy panting as he struggles up a steep slope, the view is of a man working hard to keep walking.

Our Forbidden Land

The book of photographs by Fay Godwin: ‘Our Forbidden Land’, describes the real experience of a walk. The journey as a political tool is extended by showing the journey denied.

Fay Godwin: 'Meall Mor Glencoe', from 'Our Forbidden Land'.

‘Our Forbidden Land’ is a series of polemical photographs taken around Britain, Godwin’s photographs of natural beauty show how ordinary walkers are denied access to that beauty. Over 87% of this country is privately owned, and another 13% is made up of roads and railways etc. A walker has only a one in three chance of being able to complete a 2 mile country walk along public rights of way. Her photograph of Glencoe in Scotland shows a dark tarmac road leading to the white mountains, the road is almost central, the diminishing single viewpoint perspective almost perfect, the snow on the mountains white and exciting, the sky clear, beauty in the wild. But the pressure of tourism in the area, the demand for new roads and the amount of rubbish thrown from passing cars speeding through Glencoe is horrible; this will destroy that beauty within the next few years.

So then, most images about walking tend to be making some other point, Christ striding about with a cross, fresh from the tomb off to have a few words with dad (‘Noli Me Tangere’). ‘Bonjour Monsieur Courbet’, the artist as The Wandering Jew, as the true seer of society. The group of walkers (the Bacchante) that meet the single walker (Ariadne) as she tries to call her lover Theseus as he sails away.

‘The Morning Walk’

Gainsborough’s ‘The Morning Walk’ might sum all this up.

Thomas Gainsborough: 'The Morning Walk', 1862, oil on canvas, 76 x 118 cm, National Gallery, London

Like ‘Mr and Mrs Robert Andrews’, it’s about ownership, walking the bounds of your property in your best shoes. Like the painting technique, this is a far more subtle painting than it’s predecessor, and infinitely grander. Compare the two dogs to get the sense of this change. The elegant white dog (a Spitz) versus the working gun dog; the dogs tell us who owns whom and what.

Dogs in Art

By the way, thinking of dogs in art have a look at ‘The Pont de l’Europe’ by Caillebotte,

Gustave Caillebotte: 'Le Pont de l'Europe', 1876, 125 x 181 cm, Petit Palais, Geneva.

the elegant hands behind the back, the swaying self-importance of the strolling flaneur. Notice the bustling dog though, which I have always thought stands as the internal urban viewer in this Realist/ Impressionist work.

The ownership theme is the same in both Gainsborough works, although the visual relationship between the white dog and the white dressed Mrs Hallet, makes her marital relationship to Mr H none too subtle.

The brushstrokes are the key to ‘The Morning Walk’; light, feathery, and gentle. The clothing was fashionable, not clothes worn for getting muddy on a long hike through real countryside. The delicacy of the paint matches the lightness of the walk through the grounds, they are on a well made path, the title is ‘The Morning Walk’, i.e. before the real business of the day. From the branches at the top left the eye is drawn to the pale background, then to the dog and back to the figures, the silks of the Mrs Hallet in particular. These light brushstrokes, made with a six foot brush, create serpentine movement, i.e. the type of movement expected for a gentle walk in one’s grounds, definitely not the earthy energetic rush of the hunter in Het Steen.

The view up to Beinn Resipol, Ardnamurchan, West Scotland.

Our return from Beinn Resipol was neither gentle, nor light, it was definitely earthbound and very soggy; like all proper walks,

[i]  I recommend this website on the theme as well: ‘Walking and Art’ a blog about the uses of walking in art

 

[ii] Might I mention here the existence of ‘The Suburban Hiking Association’ formed first in Leeds in the late 1970’s and then resuscitated with Adam Curtis and Mary Harron in Brixton in the middle Eighties. Us Suburban Hikers met in the centre of town and then travelled to the ends of tube lines to collect stories and characteristic objects to display to each other at the subsequent party.

 

[iii]I have fond memories of this painting, it was the cover of the second Mekons Album (from 1980 I think, memories of that period are a little vague).

The Cover of The Second Mekons Album

Originally there was to be a speech bubble coming up from the fog below with “It’s De Mekonns Bas” written in it. We thought this would sum up the ironic contradictions between attacking Capitalism, yet using it’s mechanisms to create profit. Virgin Records, and then Rough Trade, hated the content, we really were outside the system now. Somewhere along the line the name changed to cultish references to pop fiction.

 

Twenty Sixth Approach to Het Steen: 1636.Time and Space (The Usual Stuff of Art)

April 2, 2012
Art Seen, Dogs in Art, Het Steen, Landscape Art, Looking at Art, National Gallery, Rubens, the Picture Plane, Time Based Art
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Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London

Friday Afternoon, National Gallery, London

Sitting in front of this painting, can we recognise a sense of freedom, a release from working to commission? This is, or so we are told in critiques of late Rubens’ landscapes, a painting made entirely for pleasure. It is certainly not one of Rubens’ machines, no muscular quantities of flesh and evident classical narrative.

“Man, why’s there so many dogs in all these paintings?”

“I don’t know, maybe the Brits liked dogs”

“Look there’s one with that man with the gun”

“And see in that one over there, the one with all the fat women, the dog under the tree, and there’s an ostrich!”

“Man, that’s not an ostrich”

“What’s it then?”

“I don’t know, but it’s not an ostrich”

“Maybe that dog will eat it”

“Maybe, then we won’t have to know what it’s called”

The panel is made from many odd sections (twenty apparently), some of the horizontal joins are increasingly obvious. Earlier explanations believed this unorthodoxy showed Rubens adding new parts to the painting as ideas occurred; a genuine development not an allotted task. Recent research (e.g. Christopher Brown: ‘Making and Meaning/ Rubens’ Landscapes’. National Gallery Publications. 1996)  thinks this unlikely. It would be difficult if not impossible to add, prime and work in sections of oil painting, the already worked paint would be disturbed at the very least. Adding sections of panel is not like, for example, Degas sticking on extra bits of paper to his drawings as he expanded an idea.

Edgar Degas: 'Woman Drying Herself', 1880's. pastel on several pieces of paper. 104 x 98 cm. National Gallery, London

The reason for all the small sections then? Rubens was paying for it himself, the artist went for the cheapest option, something knocked up from oddments in the panel makers shop: lots of bits.

But, to be honest, after looking for so long at this large painting in such a public place, I still think it is a public painting, made for this sort of reception. You could say that the strong brown washes (the Burnt Sienna like colour, probably Cassel Earth) over white lead underpaint in the foreground have the effect of lighting the trunk and fallen branches from underneath; like footlights on a stage.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London. Detail: The Foreground

I’m sure this has more to do with paint ageing, than a deliberate attempt to reinforce the artificiality of the painted world, far too Post-Modernist. Nonetheless, the fact that one could hold such a notion about the work, emphasises that it was an image made for public consumption.

Was there any other type in this period?  Van der Capelle (looked at in the last post), is often described as a ‘Sunday Painter’ in that, as a wealthy man (the family firm made money in the dye trade: carmine) he did not need to sell his work. Unlike for example Rubens, and like for example, Cezanne supported by his father’s money.

The Ground Plane

Van der Capelle’s paintings look very similar, but I hope my digressions on the ground plane recently showed that something else going on, some wish to follow a line of enquiry. There is none of that same sense of personal investigation about Het Steen, personal display perhaps but not personal discovery. Rubens is not finding anything that he had not known before, unlike Cezanne or possibly van der Capelle.

Look at the ground plane in Het Steen, unlike the van Der Capelle,

Jan van de Cappelle: ‘A River Scene with a Large Ferry and Numerous Dutch Vessels at Anchor’, 1665. Oil on canvas. 122 x 154.5 cm. National Gallery, London.

Rubens ground plane is entirely and deliberately solid, and for a reason. This is land that Rubens would like to us to believe generations of Rubens have traversed; there is certainly an ancient hill fort aspect to our viewpoint. It is also land, Rubens would like us to believe, generations of Rubens will traverse after him; in fact it was sold not long after his death.

“Eurgh, my feet hurt”

“We should really report in”

“What time is the meet?”

“Now”

“Moving on then?”

Timelessness and Pictorial Space

Another question: How does an artist go about creating this sense of timelessness in a scene which, through the contemporary dress of the carter and companion and hunter, is clearly set in 1636?

Answer: the deep pictorial space and elevated viewing point help a great deal. Think of a different painting, Rubens: ‘Samson and Delilah’, which you can just see from the bench in front of Het Steen.

Peter Paul Rubens: 'Samson and Delilah', about 1609, Oil on Oak, 185 x 205 cm. National Gallery, London

It is made by the way, from six very carefully jointed and prepared oak panels, with the grain running perfectly parallel in all of them. Although Samson is a timeless story and the some of the clothes are vaguely timeless, the animal skin notwithstanding, it is set in a claustrophobic now. The long past and future are suitably indicated, but not really part of the show. The contemporary armour helps, but that ‘nowness’ is set, because there are no depths for the eye to travel to, therefore no indicated depths of time for us to wander about in.

The action in Het Steen is in the immediate fore and near mid-ground, the rest of the view though, is equally clearly painted, and clear for us to potter across. It is not though,  the mere scene setting landscape you can see on the flanking Judgements of Paris.

A young man pushes an older man (father?) in a rather splendid wheelchair (all wicker back and cane edged wheels) to position him centrally in front of the painting.

“A view of Het-Stern, whatever a hetstern is”

The older man points with his stick at the horizontal crack running between cart wheel and trunk. They wonder between them what could have caused this. The younger man points out the hunter, the older points to the fallen tree and says:

“I suppose it looked like those once” waving at the oak and birches in the mid ground.

“I suppose so”

The younger man wheels the chair away, he has Rebel Rock Radio embroidered on the back of his shirt, and big head phones around his neck.

This morning I saw some drawings by Robert Bevan (The Camden Town artist better known for his small painting of horses and horse markets) made during time spent in Pont-Aven.

Robert Bevan: 'Poplars by the Road, Brittany',early 1890's, charcoal on paper, 33 x 40 cm.

Heavily influenced by Gauguin, these drawings of trees had enormous energy and strength, not dissimilar now I come to look at them, to the lively forms of the trees the old man has been indicating with his stick. The different areas of sunlight and the curving masses of the painted leaves are full of movement and, well, youth really.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London. Detail The Trees

On the other side of the bench, a young man is drawing in his sketchbook, not the usual insipid copying, but strong lines of figures, thick and black and energetic. So different for example to the art student I saw recently, laboriously copying the biro lines made by Boetti’s assistants, and getting them wrong.

Alighiero Boetti: 'Al Mondo Il Mondo', 1972-3. Biro on Paper, 159 x 164 cm. Archivio Alighiero Boetti.

In the Boetti, the biro lines are entirely vertical, in hers they were both horizontal and vertical. Boetti’s ‘Mettare Al Mondo Il Mondo’ series are strong, thought provoking images, a record of the labour involved in making art, hers were not.

The young man behind me continues to draw, I realise that he is drawing people as they walk past, reflecting their vigour in this room (Room 29) of vigorous painted figures. The focus of his drawing is moving round the bench and will get to me soon; time to go.

Railing Against It: Art about Waiting

March 27, 2012
Alberti, Art Seen, Landscape Art, Looking at Art, National Gallery, Pictorial Space, Poussin: Landscape with a Man Killed by a Snake, Railing Against It, the Picture Plane
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On the Platform

An empty station, Friday afternoon. I am on the platform alone. A man walks purposefully down the long empty space, it is hot, the sun very bright. He stops less than one pace in front of me. He is middle aged and red faced with a shiny suitcase on wheels, resting over the handle is a vividly crimson, highly decorated Chinese silk suit. He does not acknowledge me, although I could probably breathe down his neck if I wanted to, I do not, so I don’t.

Art about Waiting

Paintings are busy spaces, and the people depicted are busier still. They are always doing something, about to do something, having something done to them.

Conversely, travelling on public transport is all about waiting, long periods not going anywhere, not having anything done to you etc. There are few works of art that fit this state.

A Large Ferry

There is a painting in the National Gallery, London that shows stasis: Jan van der Capelle’s: ‘A River Scene with a Large Ferry and Numerous Dutch Vessels at Anchor’, 1665.

Jan van de Cappelle: ‘A River Scene with a Large Ferry and Numerous Dutch Vessels at Anchor’, 1665. Oil on canvas. 122 x 154.5 cm. National Gallery, London.

It is calm, still, waiting for the tide, or a wind; the ferry by the way is the boat in front, lying diagonally. Apart from the gentle tonality, I have always been fascinated by van der Capelle’s treatment of the ground plane.

“This is the guard speaking with a message for the customer who just got on with a large plain (plane?) cross; you left half of it behind on the platform. I’ve got it here with me now. I’m in the fourth carriage from the front waiting for you”

Albertian Space

Leon Battista Alberti: ‘De Pictura and Elementa’ 1518, from 1435

Traditionally in Albertian space, the ground plane, the Renaissance pavement, is an opaque, unyielding surface, where figures can stand, buildings can be constructed with no fear of falling through that solid ground. Even in marine paintings, the sea is usually fairly solid and boats sit/ float on top of it like a ruffled carpet on a hard floor. The power of a painted storm is the obvious departure from the comforting horizontal format.

For Albertian space to be convincing, we must feel we can traverse it, usually on foot. In this van der Capelle image the ‘pavement’, the skin of the world is the thickness and transparency of a soap bubble; we would fall through. But fall through to where? The reflected world is equally real, as though, in fact, it is us that is upside down and the reflection is reality. The boundaries between one world and the next are confused. In a very calm world there is unease. To some extent this is the familiar artist game with mirrors, playing with spaces within pictorial spaces (think of The Arnolfini portrait, or Manet’s ‘Bar at the Folies Bergeres). These mirror reflections are in planes parallel to the picture plane, parallel to us looking at them. The game relates to the role of pictorial space in the first place; the function of illusion. Can we say the same with a horizontal plane?

Outside the British Car Auctions, in front of an enormous queue of waiting cars, two young men are playing football with a very white ping pong ball.

The Reflective Ground Plane

To get closer to what is happening in ‘Large Ferry’ try comparing it with another familiar image of reflections in calm water, Poussin’s ‘Landscape with a Man Killed by a Snake’,

Poussin: 'Landscape with a Man Killed by a Snake', 1648. oil on canvas. 118 x 198 cm. National Gallery, London

look at the lake in the mid ground, the reflections of the buildings do not, surprisingly perhaps, destroy the flatness of the surface, the watery ground plane still happily continues on its journey to the infinite horizon. Or, any of Turner’s reflections in calm waters:

J M W Turner: 'The Fighting Temeraire Tugged to her Last Berth to be Broken Up', 1839. oil on canvas. 91 x 122 cm. National Gallery, London

‘The Fighting Temeraire’, or

J M W Turner: 'Norham Castle Sunrise', 1845. oil on canvas, 90 x 121 cm. Tate Britain.

‘Norham Castle Sunrise’, you could traverse these flat, reflective ground planes without once thinking of falling through. Their function is to create space, to reflect the sky, to promote the narrative; but they are always an unyielding surface. Depth in these paintings goes horizontally, into the space not, as it were, down through it, as we can see in ‘Large Ferry’. Down into another world? Where does that other world lead to, do they do things differently there? This is the familiar trope from children’s fiction: the land behind the wardrobe; the rabbit hole; the looking glass. As Auden wrote in ‘As I walked out one evening’

‘The glacier knocks in the cupboard,

The desert sighs in the bed,

And the crack in the tea-cup opens

A lane to the land of the dead’

 

The Viewing Experience

Maybe this sense of unease is why this room of unassuming Dutch landscape paintings is always empty. Or, it might reflect my thesis that our behaviour this side of the picture plane is, to some extent, governed by the organisation of the space on the far side of the picture plane. This painting is hung in one of the quietest and calmest areas of the National Gallery, I have rarely seen anyone in this room, the few viewers rarely stay for more than a minute or two. Numberless hordes pass nearby, yet, like this painting, all in Room Twenty Two is still: waiting.

Railing Against It: The Silenus of the Crammed

March 21, 2012
Art Seen, Looking at Art, National Gallery, Railing Against It
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Morning Train

As we pull into a station two large herring gulls are slowly tearing apart a McDonalds bag, the train leaves and the birds walk with a proprietorial air down the platform.

In the seat across the aisle a youngish woman makes noises, reminiscent of a dog about to be sick. She (the youngish woman) has a transparent plastic cup and a can of Red Bull in front of her. From a carrier bag she opens a rectangular golden cardboard box and takes out a bottle of brandy. She tops up the cup and places a ham roll beside it. Her hair is red, as is her phone and all of her accessories – earrings, bracelets, flashes on trainers etc. It is 7.30 on a Saturday morning. As the train pulls away from the station she rushes towards the toilets.

“Of course, I won’t buy a new one, a perfectly ordinary biro, Why should I?”

“In the old days…”

“Of course, In the old days you could repair things, but now, I don’t see that I should.”

“In the old days…”

“Of course, in the old days, you would have signed it out wouldn’t you?”

“It would have lasted you for ever”

“Of course, you’d have looked after a thing like that, wouldn’t you?”

Both together: “in the old days…”

At the coffee shop

A well-dressed couple order extra-large and complex arrangements of what is really, sweetened milk with added cream, caramel, chocolate and finally coffee flavourings. They add a thick pink creamy looking drink each, and a couple of pain au raisins to their order. It takes them a while to organise carrying out this feast as they are both carrying large sporting bags.

“Ignorant of misfortune/ Living without worry”

Witnessing these searches for gratification makes me think of paintings of Silenus. There are different approaches to this god, Titian’s ‘Bacchus and Ariadne’,

Titian: 'Bacchus and Ariadne', 1520-3, oil on canvas, 177 x 191 cm. National Gallery, London

and Van Dyck/ Rubens’ Studio’s ‘Drunken Silenus Supported by Satyrs’,

Attributed to Anthony van Dyck/ Studio of Rubens: 'Drunken Silenus supported by Satyrs'. 1620. Oil on canvas. 134 x 197 cm. National Gallery, London.

(both in the National Gallery, London) show the usual iconography: the hugely fat figure; the surrounding Bachante; riding on a donkey in the Titian. This is the Falstaffian Lord of the Revels, clearly, but happily showing the effects of that indulgence. The teacher and companion of Bacchus/ Dionysius, the god of wine and good times; someone I’ve always felt close to. The Van Dyck figure, in particular, seems a joyful image, the brushstrokes, the palette, the smiling red face, the white hair, everybody’s favourite uncle, even if he is blind drunk and cannot walk.

Whereas the darker delineation around the stumbling Silenus in Rubens painting,

Peter Paul Rubens: 'The Drunken Silenus'. 1618. oil on canvas, 212 x 213 cm. Alte Pinakothek, Munich, Germany.

although delicately held up by the pair on the left, is an altogether different and lonely character. To add to this theme, the woman (the face anyway) on the lower left looks surprisingly like the young person on the train. Rubens’ driven, but falling demi god, is closer to the Greek mythology later revisited by Nietzsche (The Birth of Tragedy). The melancholic, pessimistic and wise Silenus pursued by King Midas. For example when the golden king asked what is best thing for man, Silenus replies:

‘you, seed of an evil genius and precarious offspring of hard fortune, whose life is but for a day, why do you compel me to tell you those things of which it is better you should remain ignorant? For he lives with the least worry who knows not his misfortune; but for humans, the best for them is not to be born at all, not to partake of nature’s excellence; not to be is best, for both sexes. This should our choice, if choice we have; and the next to this is, when we are born, to die as soon as we can.’

( from Aristotle: ‘Eudemus’)

 Afternoon Train.

 Man to my right eating Salt and Vinegar Monster Munch, drinking Carling Black Label, bellowing into his mobile about borrowing requirements and bank lending rates. Behind, a baby screams. In front a woman eats a very ripe banana from a yellow storage box, it is shaped like an ideal banana. Two seats down, earnest young Asian men are talking about mathematical formulae and what happens when you substitute P for X – I think. Schoolchildren are everywhere, talking about ‘Games’ and teachers and work not done, and ‘then my dad did this’ and ‘my mum did that’. And ‘she said’ and ‘I was like’ and ‘I texted her’ and on and on in a continuous stream of high-pitched jollity.

It is a relatively new train, the announcements are up as loud as they will go, the sibilance could take off the top of your head and fill it full of strong smelling, potato based, snack opportunities.

“Look, look, look what I’ve bought”

“What?”

“I got ten sets of eyelashes, all sorts”

“Like, wow”

We all partake of nature’s excellence, each of us be-ing in our own particular way.

Twenty Fifth Approach to Het Steen: 1636. Art and Not Seeing.

March 17, 2012
Art Seen, Het Steen, Landscape Art, Looking at Art, National Gallery, Rubens
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On the Platform

Waiting at the station, I talked to a man about cataract operations for Labradors, £3000 per eye apparently. It would be cheaper to send the dog to India he thought, but wasn’t sure about quarantine.

The bus to the station had to drive through thick fog, bright but visually impenetrable. Trees are just changes of tone in a wall of grey/ white, like the steam on glasses in a hot bathroom as you clean your teeth before departure.

Art about not seeing

It is rare to find art work that presents a restricted vision. Or, restricted vision as a deliberate theme. You could say that the late work of Monet and Degas, as they struggled with eyesight problems, are the results of restricted vision itself, but I’m not sure Claude or Edgar would thank you for it; not really what they were intending to do. Duchamp’s last work (Étants Donnés) perhaps, where we can only see through the holes in an old door. In most art your eye is directed around pictorial space, yet you are simultaneously aware of the whole work. Think of artist play with mirrors:

Velasquez: 'The Rokeby Venus',1647, oil on canvas, 122 x 177 cm. National Gallery, London

Velasquez’ ‘Rokeby Venus’, what we see in the mirror, (her face), is not what we (the male viewer) want to see, her naked front, although we know that the mirror is in fact pointed at that very form.

“Charlie ruined his IPad yesterday, he rebooted from a PC and it like, wiped all the applications, there is nothing to see, just the empty screen.”

“Why’d he do that then?”

“Don’t know, because he’s a boy? It was great”

What about ‘The Day of the Triffids’, those unable to see on the night of a meteor shower are saved from blindness. They survive deadly killer plants, ending up in the Isle of Wight of all places; is this a metaphor for enhanced perception? Perhaps not. Or the standard ‘blind so that he might really see’ trope (Homer, Gloucester in Lear, Milton etc.) I suppose it’s not surprising that an art work, an object to be seen, is made with visual clarity, and doesn’t concern itself with not being able to see. But art about how we perceive the world and how we see ourselves, there’s lots of that.

“Look, he sent me a text, says he wants a picture of me, not a dirty picture or nothing, just a nice one he can put it in bed at night and see me when he gets up in the morning”

“Nice”

“Yeah, right”

The schoolchildren are opposite, two women in front are discussing their day, they have documents on the table, ‘Rebranding  HLC/ALCs: a New Look’, quiet speech in determined tones, lots more jargon.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London

In front of Het Steen

Behind me a large French youth is lying full length on the bench, earphones on and singing. Next to him, two equally disengaged young men, equally French; all are wearing sportsgear for the non sportif. They comment loudly on the girls that pass. They have yet to turn round and see the Judgements of Paris. I suspect their reaction would be similar to the primary school boys who have just passed, their hands over their mouths, pointing and giggling.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London. Detail The Trees

The Trees

The small group of six trees in the foreground island, are reminiscent of a group of people, standing tall. The oak on the left proud and straight, the birches in the centre: lounging, and the birch on the right swaying gently.

I am surrounded by people standing – to look at the art – apart from the lolling French behind. Many viewers take the attitudes of the outer left and right trees. It is only the young in groups who lounge and lean. Do we take the attitude of that we look at? More noticeable when looking at standing figures perhaps, adopting the pose of the Arnolfinis; that sort of thing.

Peter Paul Rubens: 'Landscape with St George and the Dragon', 1630, oil on canvas. The Royal Collection

Pathetic Fallacy

The blasted tree in the ‘Landscape with St George’ now in Tate Britain reflects this sort of ‘pathetic fallacy’ approach, as incidentally do the trees in the later ‘Judgement of Paris’.

Rubens: 'The Judgement of Paris', 1632; Oil on canvas, 139 x 174 cm; National Gallery, London

Those to the left, with the clouds generated by the Goddess of Discord are dark and distorted and forked, echoing the shapes of the Goddess. The tree around which Hermes and Paris and their bovine dog are wrapped, is clean limbed and brightly lit.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London

The scale of the trees in Het Steen really does not fit the figures. Judging from their foliage and form these are mature trees. Yet, stood beside them, the carter or his passenger would reach about half way up the trunk; implausible.

The Tree Question

Is it possible to be a self-conscious painted tree, a form that draws attention to itself?  A question that is not quite as footling as it sounds. Such a question assumes that painted forms in their painted world have mass and agency within that illusory space. A world in which the usual laws of physics, those from our side of the picture plane, still operate.

Perhaps other human traits also apply, the jeunesse dorée behind me clearly believe they are objects of interest. They have positioned themselves and behave to draw attention; admiring attention they assume. I do not share their opinion, but I am in the minority. Their belief, to watch the huge numbers of European and British young moving through the gallery, is shared.

 I wonder if the similarity I see between the composition of the trees and their anthropomorphic nature, comes from proximity. Apart from upright humans standing in front of them, they are flanked by triads of painted standing, naked women. Three goddesses confident in their nudity, conscious of being seen by Paris and Hermes, but not perhaps by us the viewers, or by aggressive young Frenchmen or giggling London primary schoolchildren. Is it possible to ask the question: are the trees in Het Steen aware that they are being watched, without putting my hand over my mouth and giggling?

The Tree Question: Context

The tree question presumes that we read a single standing form as part of a history of single standing forms. Rubens was a classicist, he would have known both something about Greek and Roman statuary and Vitruvius’ descriptions of the classical column as different forms of human figure.

The Classical Orders: Greek and Roman

Here, in these trees we have everything from Doric (the sturdy ‘male’ Oak) through Ionic (the curving birch as a young slender and female) through to Corinthian (The swaying birch on the right as the fuller female figure). John Summerson’s ‘The Classical Language of Architecture’, (Thames and Hudson) is very useful on all this by the way. Rubens would also have been aware of the general belief that Classical stone architecture was derived from wooden building techniques; we are looking at the painting of a building after all.

The Tree Question: Nonsense

But, of course this is all fanciful. The building is Flemish vernacular, look at the stepped gables,

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak. 131 x 229.cm. National Gallery, London. Detail Het Steen itself

the only classical references are textual; to Virgil and Horace. The trees are, as I have established earlier, just stock trees from the painters studio repertoire, no reference to anthropomorphism here at all.

More French youth have appeared, an army of them, enough to stock a re-enactment of Delacroix’s ‘Liberty Storming the Barricades’ though without the bare breasted Liberty, much to the disappointment of those on the bench behind. Like Delacroix’s painting the young folk around me are also stock characters, gum chewing, unshaven, louche and aggressive, time to go.

Twenty Fourth Approach to Het Steen: 1636. Structures

March 11, 2012
Art Seen, Het Steen, Landscape Art, Light in Art, Looking at Art, National Gallery, Pictorial Space, Rubens, the Picture Plane
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Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak.131 x 229.cm. National Gallery, London

Late night Friday opening at the National Gallery, on the bench in front of Het Steen.

The way pictorial space is organised, the route through the painting that the viewer walks, conceptually as it were, creates our reaction as much as the iconography and the figures. The rectangular surface of this painting appears (almost) to divide into two equal squares.

 The dimensions are 131.2 x 229.2 cm, so in fact each ‘square’ is 131.2 x 114.6. Nonetheless, there is a possible vertical axis, at the central join of the two squares. It goes up between the lines of the silver birch trunks and bisects the two birds, just touches the right hand branches of the of the silver birch on the raised circular area. Each ‘square could be a complete painting in itself, one contains pure landscape, the other contains the house etc.

It seems to be Spanish visitor night in the Gallery, lots of leather handbags and jackets, large family groups with large shopping bags labeled with large names of west ends shops. The Spanish woman behind me has, at last, finished her phone call. Mostly it consisted of ‘Si, Si, Si’ in a manner reminiscent of Sybil Falwty’s ‘Oh I know, I know, I know’

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak.131 x 229.cm. National Gallery, London. Detail Horizontal Axis

A horizontal line of light and shade runs across the painting, approximately half way up; although none of these putative lines are exact. This doesn’t just apply to the surface, but divides the structure of the space into quarters

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak.131 x 229.cm. National Gallery, London. Detail Numbered Quarters

A contains all the figures

B contains the house

C contains the sky and mid and background

D contains foreground  and the milkmaid with cows and the oversized ducks.

Not much else is organised around these axes. You might for example expect the tower on the horizon, (the Cathedral of St Rombout in Malines) to mark the point where the vertical axis touches the horizon.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak.131 x 229.cm. National Gallery, London. Horizon Detail

Or that the tower would be balanced by something on the left, equidistant to the vertical axis; but it isn’t. You could say that the vague branch of the of the silver birch dropping down at about 45 degrees, just touching the horizon, is that balance but I don’t think so, do you? You could say that the orthogonal made by the right hand ditch, just below the milkmaid and cows, will join the horizon where it is bisected by the possible vertical axis.

 As, by the way, does the almost exactly symmetrical orthogonal line made by the front of the house. This again starts from the upright side of the canvas at the same point as it’s symmetrical twin. It cuts the horizon at the same point, where the vertical axis and the orthogonals meet; just about.

A young Spanish couple next to me on the bench are trying to organise English terms,

‘With you…With me…You say I go with you…You come with me…We go on this tour”.

There is much hesitant repetition. Each time they get a phrase right, they kiss. An improvement on my own French language education with Monsieur Hervé. If we declined wrongly he would hit us, rhythmically in time with the right stresses as he repeated the correct form. I can still spell ‘old’ in French as a result, and it still hurts.

In ‘The Science of Art’, Martin Kemp points out that Rubens knew his perspective systems well, although he didn’t use them in an obvious manner. With a bit of effort you could say that underneath this bucolic autumnal dishevelment are some careful pictorial structures.

Peter Paul Rubens: 'A View of Het Steen in the Early Morning', 1636. Oil on Oak.131 x 229.cm. National Gallery, London. Detail Orthogonals 2

Even more debatable, look at the equilateral triangle made by the fallen trunk, you could say that the dominant lines are parallel with the orthogonals of the ditch and house. Above, as you travel up the vertical axis, is another meeting of orthogonals made from the lower of the ditches and a line formed by the angles of the horses hooves and cart wheels. I.e. a herringbone pictorial construction, that system of depth projection that preceded linear perspective. But in this case, unlike for example the Veronese I was looking at in an earlier post, I think this interpretation would be over-reading the visual evidence.

We can say is that the underlying structure creates a calmness and a logic to the pictorial space, which could otherwise be over-ridden by the figures in the bottom left quarter.

At this point a Spanish couple stand in front of the painting, one behind the other and both exactly on the vertical axis. He is very tall, his face very close to the picture surface. The top of his bright, bald spot, haloed by dark hair just touches the horizon. She is much shorter, her head directly below his, so that where his thinning hair stops hers starts. She is wearing a large brown leather coat that obscures their bodies and she is perfectly positioned so that his legs are obscured also. All I can see is the back of two heads in exact vertical alignment. His head is shining like an extra sun, placed where a less successful painter than Rubens might have positioned a painted version, centre stage.

By now all the other Spaniards seem to have gone, to shops and bars and restaurants. Behind me, a couple have been having a quiet and intense discussion for some time. Something about it is increasingly unnerving, and I can’t work out why. Then I recognise the language, they are speaking in Danish. After two series of  The Killing, I associate that sound, those characteristic stresses and language forms with fear, anxiety and rain. All the suns in the painted world in front of me cannot dissolve that association; time to go.

Railing Against It: Waiting at the Station. Home and St. Jerome

March 6, 2012
Art Seen, Light in Art, Looking at Art, National Gallery, Pictorial Space, Railing Against It, the Picture Plane
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A young man is unhappy, as he speaks into his phone I gather that he has left his tent on the train; he is carrying two large rucksacks. He was expecting to sleep in the tent which must, by now, be half way to Ramsgate. It is late Friday afternoon on a small, rural station, the ticket office is closed. He had not obeyed the constant instruction:

“TAKE ALL OF YOUR PERSONAL BELONGINGS WITH YOU WHEN YOU ALIGHT AT YOUR NEXT STATION STOP”

Sympathy for the poor man without his weekend shelter prompts thoughts about our minimum requirements; what are the key elements of ‘home’? Do we always carry ‘home’ with us?

National Schools?

I have just come from a talk by the President of the Royal Academy to a group of schoolchildren. I had been about a National School of Art, a founding function of the Royal Academy. Afterwards a GCSE student asked the Pres about Tracey Emin, he was very appreciative of her time and commitment. He did not discuss whether she was, in fact, part of the new National School he was supposed to promote. Is such a collection possible or desirable in a complex, multicultural world? ‘National’ presumes a homogenous culture, a shared view of the land we share. We all share the same sky as the old posters used to say, appreciation of soft, British light might characterise those who struggle to represent its landscape.

National Characteristics: Light

It is grey and cold and drizzling on the platform, the light levels are low. Two girls are standing, half way along, towards the front. They face each other and bob slowly up and down in exact time, knees not quite touching. Just before the train arrives, the sun briefly appears on the horizon, it silhouettes the two gently rising and falling figures

What else might allow us to think of home as a set of shared national characteristics?

National Characteristics: Channelling your inner minor official

Time on public transport brings to mind that national inability to operate or cope with minor authority. Give any British man or woman a cap, a radio, a low level position of importance and we become instantly unbearable, we suppress individuality and joy in ourselves and others. That overwhelming British urge to stop someone enjoying themselves. Is that a recognisable icon on our national desktop?

This morning, on the bus, the new driver did not know the way. The driver made it as clear as he could that it was the passengers fault, we in turn did not help, did not show him where to go. He was lost and grumpy in charge of a double decker bus on winding country lanes; we were on a rudderless ship.

National Characteristics: Making it Big

As I watch the tent-less man, I can see another familiar theme on the pull down menu; sat on a bench is a young man on his mobile. He wears a vivid red and white shiny tracksuit and a crisp, purple New York Yankees baseball cap, the price ticket in dollars proudly displayed. His accent though is clearly local as he continues a monologue about his sexual successes. Could such a fidgety, awkward youth, blessed with such poor, pale skin expect his listeners to believe his spectacular history?

St Jerome

A small painting in the National Gallery shows a different conceptual desktop,

Antonello da Messina: 'St Jerome in his Study', 1475. oil on panel. 46 x 36 cm. National Gallery, London

it is ‘St Jerome in his Study’ by Antonello da Messina painted, probably about 1475. The saint is symmetrically framed by a stone portal, a frame within a frame. A peacock, a finch and a perfectly elliptical water bowl stand outside the illusory stone frame. The saint sits reading inside a Gothic nave, in profile, in a wooden carrel; a rather complicated piece of furniture centred on a desk. Shelves surround him with carefully placed significant objects (including a cat. Notice by the way, the saint’s attribute, the lion in the arcade on the right). We can see landscape through the clear windows (no stained glass) to his left and right and sky with birds in the windows above.

Georges Perec

As Georges Perec points out in ‘Species of Spaces and Other Pieces’ (Penguin Classics 2008, page 87)

“The whole space is organised around the piece of furniture (and the whole of the furniture is organised around the book). The glacial architecture of the church (the bareness of the tiling, the hostility of the piers) has been cancelled out. Its perspectives and its vertical lines have ceased to delimit the site simply of an ineffable faith; they are there solely to lend scale to the piece of furniture, to enable it to be inscribed. Surrounded by the uninhabitable, the study defines a domestic space inhabited with serenity by cats, books and men.”

Space within Space

Antonello da Messina: 'St Jerome in his Study', 1475. (Centre Detail) oil on panel. 46 x 36 cm. National Gallery, London

This painting features spaces within spaces within spaces, from the stone doorway, to the rectangular box shelves, the carrel itself with the stone box of the church, the tunnel of the arcading on the right and the different heights of the horizon through the two lower windows. An idealised landscape, the familiar notion of paradise in the types of Northern European art that had so clearly influenced this Southern European painter. Look for example at the view in Van Eyck’s ‘Madonna with Chancellor Rollin’.

Jan Van Eyck: 'The Madonna and Chancellor Rollin', 1437. 66 x 62 cm. Oil on Panel. Louvre, Paris.

 Antonello’s left hand landscape view does, coincidentally I presume, bear strong similarity to the methods that Poussin would later use to represent small towns, eg in ‘Landscape with a Snake’.

In his writing, Perec has organised the species of spaces so that each section works outwards starting from ‘The Page’ and ending with ‘Space’. Reminiscent of that schoolboy address that starts “If this book should dare to roam/ box it’s ears and send it home” and each further line moves from continent to hemisphere to planet to near space and ends with: The Universe. I’m not sure that I entirely agree with Perec that the ineffable faith is delimited. Look at the painting starting from the picture plane, the stone portal emphasises the world of the viewer on this side of that plane.  Go through the doorway and you enter the world of the spiritual mind (a series of interlocking themes and spaces within the overall temporal space of ‘The Church’); ineffable faith inscribed throughout each piece of iconography and the very way that the spaces are organised. Finally look through the windows; a release, a timeless space.

Note that the light from the windows has a different source to that (ordinary human space) which for example casts the shadow of the peacock.

Antonello da Messina: 'St Jerome in his Study', 1475. (Detail) oil on panel. 46 x 36 cm. National Gallery, London

Iconography

Penny Jolly has pointed out (Antonello da Messina’s ‘St Jerome in his Study’ : An Iconographic Analysis The Art Bulletin, Vol 65 No 2 (Jun 1983 pp 238-253) that each of the painted objects fit into a complex ‘iconographical program’ as characteristic of Flemish art as his use of painting media (traditionally Antonello was the first Italian artist to introduce oil paint to the South, although this is now disputed).  The iconographic references tend towards associations with the Virgin Mary, as Jolly points out the composition and arrangement of St Jerome owes something to paintings of the annunciation. The towel (although used), the bowl of water, the trees referring to walled gardens and so on; all these are, or could be, disguised Mariological symbolism.

Jolly assets that the right hand landscape is the uninhabited wilderness Jerome lived in as a hermit, and the left hand view, with it’s proximity to the cat, (sexual temptation/ erotic associations etc) shows a view of the city associated by Jerome with wordliness.

Antonello da Messina: 'St Jerome in his Study', 1475. (Centre Detail) oil on panel. 46 x 36 cm. National Gallery, London

Close examination doesn’t quite prove this, the city could of course be Jerusalem: “Do you keep your windows open on the side where light may enter and you may see the City of God” as Jerome said in Epistle 22. 

And, the right hand side looks closer to the sort of organised agrarian landscape you can see in the right side of for example, the effects of Good and Bad Government in the Town Hall in Sienna.

Ambrogio Lorenzetti: 'The Legend of Good and Bad Government (Good Government in the Country)1337-9, Fresco, Sienna.

Painted Space

Like most art historians, Jolly concentrates on de-coding iconography and says little about the composition of pictorial space, usually a figurative artist’s overriding concern.    A carefully placed series of spaces, containing other spaces, the pictorial logic holds throughout; it is convincing, rational, planimetric. The Carrel and its contents, including the saint are parallel to the picture plane. It has for example, none of the oddities of later Florentine Mannerism,

Jacopo Pontormo: 'Joseph with Jacob in Egypt', 1518, oil on panel, 96 x 109 cm. National Gallery, London

try looking at ‘Joseph with Jacob in Egypt’ by Pontormo (expressing perhaps something of the nature of dreams fundamental to the story, certainly of the mysteries of death fundamental to the parts of the story shown here and the style.,

Lorenzo Monaco: 'Coronation of the Virgin', 1414, egg tempera on panel. national Gallery, London

Or the absolute rigidity, pictorial and ideological, of early Renaissance images such as Lorenzo Monaco’s ‘Coronation of the Virgin’. The way each painted area interacts with another is as much part of the meaning as the precise signification of the peacock (“symbol of celestial immortality and incorruptibility” Jolly p 240).

Perec as, I suppose, a Twentieth Century Modernist sees Jerome driving his desk into infinite space, as it were. Doesn’t the composition, with its sequence of steps and arrangement of layers, work the other way?

Antonello da Messina: 'St Jerome in his Study', 1475. oil on panel. 46 x 36 cm. National Gallery, London

Like Jerome, we have to start at the door outside the box, a box we might call home. Note that he has come from outside, he has taken off his hat, his own cap of office, minor officialdom plays no part here. And , we know that he is now on holy ground because, in common with so many other Flemish paintings, he has taken off his shoes. Grasp hold of the significance of these wordly goods, and there are many of them around him, to arrive at the calm centre. We have to examine the objects that make up our ‘home’, study their relationships guided by a key text, before we can look out of the window to paradise.

I try to do this on the train home, but the image of the poor young man, still trying to track down his tent as the batteries fade on his phone, and the monotonous insistence of the red suited would-be sexual athlete who boards the train with me, make looking out of the window in a contemplative mood, difficult.