Category Archives: The Arts

Poetry 58: Red Geranium and Godly Mignonette by D. H. Lawrence

geranium-141554_640

Imagine that any mind ever thought a red geranium!
As if the redness of a red geranium could be anything but a sensual experience
and as if sensual experience could take place before there were any senses.

We know that even God could not imagine the redness of a red geranium
nor the smell of mignonette
when geraniums were not, and mignonette neither.
And even when they were, even God would have to have a nose to smell at the mignonette.
You can’t imagine the Holy Ghost sniffing at cherry-pie heliotrope.
Or the Most High, during the coal age, cudgelling his mighty brains

even if he had any brains: straining his mighty mind
to think, among the moss and mud of lizards and mastodons
to think out, in the abstract, when all was twilit green and muddy:
“Now there shall be tum-tiddly-um, and tum-tiddly um,
hey-presto! scarlet geranium!”

We know it couldn’t be done.

But imagine, among the mud and the mastodons
God sighing and yearning with tremendous creative yearning, in that dark green mess
oh, for some other beauty, some other beauty
that blossomed at last, red geranium, and mignonette.

Image courtesy of www.pixabay.com

Vincent Van Gogh 1853 – 1890. The Potato Eaters 1885.

 

original potato eaters

 

On the news recently I heard discussed the growing number of families who have to rely on food banks to supplement their meals, I was thinking about the next painting blog at this Christmas time and thought I  would discuss the subject of an early painting by Vincent Van Gogh where peasants are seen eating a meal of potatoes.

Van Gogh was born in Neunen, the Netherlands, his father was a Calvanist minister and his mother  has been described as a moody artist. Many of us will have heard of the difficulties Vincent had throughout his short life dealing with epilepsy, depression and his eventual suicide, I was surprised to learn that in the ten years he spent painting he created nearly nine hundred oil paintings and over a thousand water colours. Originally he wished to follow in his father’s footsteps but he was rejected as unsuitable on two occasions and decided to become an artist in 1880. In 1882 Van Gogh moved to Dreuthe and led a nomadic life, he studied Japanese art and Eastern philosophy, he wrote in ‘my own work, I am risking my life for it’, he wrote extensively about his work. He returned to Neunen in the north of Holland where he painted The Potato Eaters in 1885, the work is considered to be one of his earliest master pieces, he made several versions and preparatory sketches, working on the composition, this is his only group painting, he hoped the painting would promote his career, unfortunately not until after his death was it seen for what it is. Van Gogh felt very close to the peasants, he saw them as hard working and honest people who tilled the ground, planted and lifted the potatoes they were eating, he was also poor and struggling in his own way. The main character has her back to us, there are four women and a man, they may be related,original potato eaters who are sitting around a square table with rough edges on which is placed a large dish of potatoes, their faces are lit by the low- hanging lamp but the rest of the room is dark and cramped, we can see the rafters, a supporting wall which juts into the room and a picture on the wall, no light seems to be coming in the window at the back of the room. The characters are rather ugly and their hands are gnarled portraying the life of manual labourers.

Van Gogh knew the work of the Impressionists but he was more influenced by the Hague school, his brush strokes were long and bold, in the room the colours are muted, black, dark green and brown, not until he moved to the sunshine of the south of France would his palette be more colourful, the bright yellows of his many  sunflower paintings or the violets of irises, the reds and greens in his scenes and portraits, he made several self portraits of great intensity and insight.

Van Gogh hoped to set up a group of like minded artists and rented a house in Arles, he invited the painter Paul Gaugin to share it with him but they quarrelled and Gaugin left. Van Gogh become increasingly ill, his younger brother Theo with whom he remained close exchanged many letters, Vincent’s were filled with his theories and plans for paintings and his emotional state of mind, which he attempted to portray in his work, Theo arranged for him to live in a hospital in Auvers under the care of Doctor Gachet, he was given two rooms so that one he could use as his studio, he would set off to paint in the country side each day and return to the hospital in the evening, until his suicide. Van Gogh did not know how much his work would later be admired, he failed to make a living from his work.

I wish you all a happy Christmas.

Image from wikipedia.

 

Paul Signac 1863 – 1935 and Joseph Albers 1888 – 1976. Two Colour Theories

Colour is used by painters in many ways, cave painters would grind the earth around them to mix with water to create reds, ochres and browns to draw animals, Italian Renaissance painters would often depict the Virgin Mary clothed in blue, blue paint was derived from very expensive lapus lazuli to symbolise the esteem in which she is held in the Catholic Church,  another symbolic colour is gold that was used by Byzantine artists. As time went by many new colour theories arose, here are two .

Pointillism. Capo di Noli Italy. 1898.

Paul Signac was born on Paris and began his career studying architecture but then changed his mind and took up painting when he was eighteen after seeing the work of Matisse, he studied the colour theory explained and used by Georges Seurat, they were two French painters who belonged to the group called Neo-Impressionists , Seurat developed the use of pure colour which he applied to his canvases in the form of dots which became known as the Pointillist style having abandoned the Impressionist method of painting with short brushstrokes,  it was slow patient work, this experiment meant using scientifically  juxtaposed small dots of pure colour which were intended to blend not on the canvas but on the eyes of the viewers.  Signac learnt a great deal about this technique from Seurat, they became friends. Signac liked to sail around the coasts of Europe painting landscapes and making water colour paintings of French harbour scenes, the sunlight on the south coast produced sparkling seas and heightened colour. He had met Seurat and also Monet in 1884, Van Gough and Gaugin were also painting at this time. Signac was very interested in the ideas of anarchist communism but had to tone down these ideas in order to gain public acceptance.

I have chosen the painting called Capo di Noli 1898. The sparkling colours expressing the sunshine of Italy are  seen in this sea – side view, whether or not you think the colours have merged to create a flat plane is left for the viewer to decide, the brush strokes of the Impressionists  rather than dots of colour are perhaps more easily accepted? The shadows are in pale to dark violets set alongside the yellows of the sandy ground. Matisse experimented with pointillist painting but just for a short time.

Paul_Signac_-_Capo_di_Noli 200px-Josef_Albers's_painting_'Homage_to_the_Square',_1965      Homage to the Square 1965.Joseph Albers.

Joseph Albers was a German-born American artist who after studying with Johannes Itten at the Bauhaus school was asked by its founder and director Walter Gropius to join the stained glass department to teach foundation students, he also worked with Paul Klee designing glass and furniture. In 1925 the school moved to Dessau, there Albers met a student, Anni, whom he married, he worked there until in 1933 the Nazis closed the school and the artists dispersed. Albers went to live and work as a professor of art at the art school Black Mountain College in North Carolina. In 1950 he left to head the department of design at Yale University, he retired in 1958.

In 1963 he published ‘interaction in Colour’ to demonstrate his theory ‘that colours are governed by an internal and deceptive logic.’ He favoured a very disciplined approach to composition and painted hundreds of works in ‘ Homage to the Square’ in which he explored the chromatic interactions with nested squares. I remember when we students would experiment in a similar way with colour, for example we painted the same colour with a different coloured background, this showed clearly how the colour seemed to change, becoming darker or lighter, or more bright, our colour perception was changed.  Albers paintings consisted of three or four squares of solid planes of colour nested within one another. These studies made very interesting viewing I think, although we see a flat surface which seemed to contain no symbols or metaphor in a left brain hemisphere way  they do possess a beauty and balance that enriches our sense of colours working together. I wonder what you make of this painting. Mark Rothko painted large canvases with what looks at first like simple flat colour, but there is activity at the edges of the squares and oblong shapes he uses, the intensity and depth of colour can envelop the viewer – perhaps.

 

images from wikipedia.

Poetry 53: For Wolf Graf von Kalckreuth by Rainer Maria Rilke

Rainer_Maria_Rilke,_1900

Can I have never seen you? For my heart
feels you like some too-burdensome beginning
one still defers. Oh, could I but begin
to tell of you, dead that you are, you gladly,
you passionately dead. And was it so
alleviating as you supposed, or was
no-more-alive still far from being-dead?
You thought you could possess things better there
where none care for possessions. You supposed
that over there you’d be inside the landscape
that here closed up before you like a picture,
would enter the beloved from within
and penetrate through all things, strong and wheeling.
Oh, that you may not have too long had cause
to tax your boyish error with deception!
Loosened within that rush of melancholy,
ecstatically and only half-aware,
may you, in motion round the distant stars,
have found the happiness that you transposed
from here into that being-dead you dreamt of.
How near you were to it, dear friend, even here.
How much it was at home here, what you purposed,
the earnest joy of your so strenuous longing.
When, tired of being happy and unhappy,
you mined into yourself and painfully
climbed with an insight, almost breaking down
under the weight of dark discovery:
you carried what you never recognized,
you carried joy, you carried through your blood
your little saviour’s burden to the shore.

Why did you not wait till the difficult
gets quite unbearable: until it turns,
and is so difficult because so real?
That was perhaps your next allotted moment;
it may perhaps have been already trimming
its garland at the door you slammed for ever.
Oh that percussion, how it penetrates,
when somewhere, through impatience’s sharp draught,
something wide open shuts and locks itself!
Who can deny on oath that in the earth
a crack goes springing through the healthy seeds?
Who has investigated if tame beasts
are not convulsed with sudden lust for killing
when that jerk shoots like lightning through their brains?
Who can deduce the influence leaping out
from actions to some near-by terminal?
Who can conduct where everything’s conductive?

The fact that you destroyed. That this must be
related of you till the end of time.
Even if a hero’s coming, who shall tear
meaning we take to be the face of things
off like a mask and in a restless rage
reveal us faces whose mute eyes have long
been gazing at us through dissembling holes:
this is sheer face and will not be transfigured:
that you destroyed. For blocks were lying there,
and in the air already was the rhythm
of some now scarce repressible construction.
You walked around and did not see their order,
one hid the other from you; each of them
seemed to be rooted, when in passing by
you tried at it, with no real confidence
that you could lift it. And in desperation
you lifted every one of them, but only
to sling them back into the gaping quarry
wherein, being so distended by your heart,
they would no longer fit. Had but a woman
laid her light hand on the still mild beginning
of this dark rage; had someone occupied,
occupied in the inmost of his being,
but quietly met you on your dumb departure
to do this deed; had even something led you
to take your journey past some wakeful workshop
where men were hammering and day achieving
simple reality; had there been room
enough in your full gaze to let the image
even of a toiling beetle find admittance:
then, in a sudden flash of intuition,
you would have read that script whose characters
you’d slowly graved into yourself since childhood,
trying from time to time whether a sentence
might not be formed: alas, it seemed unmeaning.
I know; I know: you lay in front and thumbed
away the grooves, like someone feeling out
the inscription on a grave-stone. Anything
that seemed to give a light you held as lamp
before those letters; but the flame went out
before you’d understood – your breath, perhaps,
perhaps the trembling of your hand; perhaps
just of its own accord, as flames will do.
You never read it. And we do not dare
to read through all the sorrow and the distance.

We only watch the poems that still climb,
still cross, the inclination of your feeling,
carrying the words that you had chosen. No,
you did not choose all; often a beginning
was given you in full, and you’d repeat it
like some commission. And you thought it sad.
Ah, would you had never heard it from yourself!
Your angel sounds on, uttering the same
text with a different accent, and rejoicing
breaks out in me to hear his recitation,
rejoicing over you: for this was yours:
that from you every proffered love fell back,
that you had recognized renunciation
as price of seeing and in death your progress.
This was what you possessed, you artist, these
three open moulds. Look, here is the casting
from the first: space for your feeling; and look, there,
from the second I’ll strike out for you the gaze
that craves for nothing, the great artist’s gaze;
and in the third, which you yourself broke up
too soon, and which as yet the first outrushing
of quivering feed from the white-heated heart
had scarce had time to reach, a death was moulded,
deepened by genuine labour, that own death
which has such need of us because we live it,
and which we’re nowhere nearer to than here.
All this was your possession and your friendship;
as you yourself often divined; but then
the hollowness of those moulds frightened you,
you groped within and drew up emptiness
and mourned your lot. – O ancient curse of poets!
Being sorry for themselves instead of saying,
for ever passing judgement on their feeling
instead of shaping it; for ever thinking
that what is sad or joyful in themselves
is what they know and what in poems may fitly
be mourned or celebrated. Invalids,
using a language full of woefulness
to tell us where it hurts, instead of sternly
transmuting into words those selves of theirs,
as imperturbable cathedral carvers
transposed themselves into the constant stone.
That would have been salvation. Had you once
perceived how fate may pass into a verse
and not come back, how, once in, it turns image,
nothing but image, but an ancestor,
who sometimes, when you watch him in his frame,
seems to be like you and again not like you: –
you would have persevered.

But this is petty,
thinking of what was not. And some appearance
of undeserved reproach in these comparings.
Whatever happens has had such a start
of our supposing that we never catch it,
never experience what it really looked like.
Don’t be ashamed, when the dead brush against you,
those other dead, who held out to the end.
(What, after all, does end mean?) Exchange glances
peacefully with them, as is customary,
and have no fear of being conspicuous
through carrying the burden of our grief.
The big words from those ages when as yet
happening was visible are not for us.
Who talks of victory? To endure is all.

Image courtesy of Wikimedia Commons