I guess I’m displaying a degree of ignorance in admitting that I’d always associated Edward Hopper – a real American original – only with airless city scenes, isolated buildings, lonely people and so on. Like this, in fact:
..and it is a work of genius, completely original. Hopper spent a lot of time In Cape Cod though, and he did produce terrific seascapes that are highly evocative of that frankly blessed portion of the planet. So, landscapes of a sort.
However, it was only a random spot on Twitter that alerted me to his other work in New England, and here it is. Lush, verdant magnificence, totally different in feel to his more famous stuff, but quite marvellous. This was nearly 20 years before the painting above.
It turns out that there is a book on this period in Hopper’s life, with this watercolour masterpiece on the cover. More weirdly, in a good way, is this blogger’s realisation that he lives in a Hopper painting. The picture above is the view from his driveway.
From a long but rewarding read by Daniel Johnson in the always interesting Standpoint magazine, considering the theme of Europe v the EU, through the lens of the life of Spanish intellectual Jose Ortega y Gasset:
Ortega died in Venice, the maritime republic that had once embraced Orient and Occident, and I cannot help wondering if this was a coincidence. Venice was the bulwark of Catholic Europe in defeating the Ottomans at Lepanto, together with the Papacy and the Habsburg Empire. La Serenissima symbolises grandeur and decadence, the metaphysical city suspended between land, sea and sky. Venice is the antithesis of Brussels, the Europe on which Ortega had turned his back.
Venice as the antithesis of Brussels is a great concept, and entirely in keeping with the flavour of those cities. Venice is the one you want to revisit, for sure.
Many painters have tackled Venice of course, Brussels not so much (though this, from the greatest Belgian of them all, is stupendous). Turner, the most brilliant of all British artists, did many, many such scenes, and the one I’ve chosen is not a favourite as such, just a good example of the prolific Turner’s stunning technical and creative facility. And it is indeed a metaphysical city suspended between land, sea and sky.
I’ve posted on this four times previously (1, 2, 3, 4), in part because it’s such an intriguing day. Bryan Appleyardtweeted 3 years ago: Easter Saturday, a catastrophic, hopeless day of no hope. Some say all Beckett’s work takes place on Easter Saturday. I guess that hopelessness is how it felt back then, around 1984 years ago. But if you’re a believer it’s different – you know what’s coming. This astoundingly good Mantegna painting sums up the Appleyard view…
……it looks to be all over. But the mysterious activities behind the scenes, so to speak, on this Saturday are Christ entering hell, as seen in this engraving, also by Mantegna. Note that Christ is trampling down the gates of hell, with the souls in limbo waiting expectantly through the open door…
..and you may ask what that’s all about? I went into the background to it here. It’s decribed in the Catechism as the “last stage of Jesus’ messianic mission”, to “preach even to the dead”. It’s produced some pretty flamboyant painting, such as this derivation of Rubens, Bosch and other Low Country painters…
Easter Saturday then is quite a day. The transient attempted secularising of Easter makes no difference to these awesome traditions and beliefs. Here is a fine blog post on the Limbo thing and its depiction, if you’re interested, and also a great study of the ‘Appleyardian’ view in painting.
** the title is from the famous and highly poetic sermon of Melito of Sardis: Something strange is happening—there is a great silence on earth today, a great silence and stillness. The whole earth keeps silence because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised up all who have slept ever since the world began. God has died in the flesh and hell trembles with fear.
I confess that I hadn’t heard of the Dutchman Carel Willink, and I owe my exposure to him to ace film critic, acquaintance of Russ Meyer, and all round arts maven, Anne Billson (whose extensive film database is a very witty and stimulating bargain on Amazon),
But if you like Giorgio de Chirico, Rene Magritte, Lawrence Alma-Tadema or Paul Delvaux, then you’ll like Willink. Technically very gifted and versatile – his portraiture is outstanding – he had the ability to produce startlingly evocative dreamscapes like the one in this post. The elegaic mood and unspoken history in them remind me of neighbouring Belgian Fernand Khnopff, albeit the style is very different. Khnopff was inspired by the unique gloomy atmosphere of Bruges (which is still there, despite the tourism), and his literary parallel is with fellow Belgian Georges Rodenbach, whose beautiful (and readable) Bruges-la-Morte is effectively a symbolist novel. In Willink’s work symbolism mingles with surrealism, classical landscape and technical precision. It’s an interesting observation that notwithstanding the Greek de Chirico, all this is very Nordeuropa, in a line that stems from the fantasy and improbable landscapes of Bosch, Bruegel and particularly Patinir, the most obscure of these three giants.
Nash is primarily famous for his brutal war art, such as The Menin Road, strangely elegant though that painting is. He was actually out there in Ypres, amidst the bombs, mud and carnage, ending up with an official war artist role. He became disillusioned quickly: “It is unspeakable, godless, hopeless. I am no longer an artist interested and curious, I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate, will be my message, but it will have a bitter truth, and may it burn their lousy souls.”
He died in 1946. After WW1 he got into illustrating, often with a surreal, abstract or expressionist edge, and painted plenty of rural scenes, of which this is one. In WW2 he was back as an official artist for a while, and all of his work is of great quality. As you can see, Shell liked it so much (they commissioned it) that they continued to use it for a funky travel advert 37 years later. Anyway, the great man is currently the beneficiary of Tate Britain exhibition.
When you’ve built the tallest medieval fortified structure in Europe, for its time, you would expect it to tower over the landscape and the trees. The Chateau de Vincennes does exactly that in the last of the twelve month cycle. It’s still there today, though without the many smaller towers you see in the painting (and in the model below).
The chateau took a battering over the centuries, and housed a community of English nuns and the imprisoned Marquis de Sade, though not at the same time. It was further damaged by a rentamob once the French Revolution was well underway. The Duc de Berry’s interest in it is that he was born in the chateau, 676 years ago last week.
Vincennes was a heavily forested area near Paris – now part of the Parisian urban sprawl – and as you might expect, there was a lot of hunting, in this case a wild boar hunt, with dogs, a potentially risky business. Oddly enough, still no snow, that seemed to wait till after Christmas in medieval France, judging by the Tres Riches Heures. By this point in the series – about 1440 – the duke was dead, the Limbourg brothers were dead, and the probable artist was the Master of Shadows, which is a cool name, in real life Barthélemy d’Eyck, which is still not bad.
Considering what a unique, populous and proud city Barcelona is, and by extension the rest of Catalunya/Catalonia, it’s a bit odd that its artistic heritage is primarily in its buildings, a bit in its literature, and very little really of fame in the visual arts. It’s not like Paris, Rome, Berlin or any of the other competition. It doesn’t come close to Madrid in that respect, as the obvious rival conurbation.
Rumbustious Aussie art critic Robert Hughes‘ excellent homage to Barcelona – 500+ pages of discursive history and opinion – makes this point well (Hughes’ own potted history of the place is here). Relatively few tourists flock to the externally impressive Palau Nacional for its contents, which are “the country’s (but mainly Catalunya’s) art history from early medieval times to the mid-20th century”, which sounds great but there’s an emphasis on ‘specialist’ stuff such as early Spanish Romanesque. That sounds harsh on the Catalans, but it’s not the mighty Prado.
Hughes however specifies a few works, and one caught my eye. Here’s his description of Modest Urgell’s El toc d’oracio:
Which may sound a bit sentimental or cheesy, but I think it’s superb. Including the bat.
So many pigs. I think there’s at least 18, and unusually for Les Tres Riches Heures, the only building is a small nondescript generic castle. The peasant in the foreground is dislodging acorns by throwing his stick at them – a technique still employed by conker hunters to this day. Apparently a pig can scoff 10kg of acorns a day. Over to a fascinating jamon iberico website:
Many centuries ago, the rulers of western Spain decreed that each town and village should maintain pastures studded with oak trees, called the dehesa, for the long term stability of the region. This forest/pasture continues to serve many purposes. The holm and cork oaks provided firewood for the people, shade for the plants and livestock, cork products, and acorns (bellota) during fall and winter. During the spring and summer cattle and sheep graze the fields. During the fall and winter, when the acorns are falling from the trees, the pigs are released to fatten up. This ancient human-maintained ecosystem survives intact to this day.
It’s generally held that the painter of this one is Jean Colombe, not the Limbourg Brothers, and it’s certainly less exquisitely crafted, though still terrific. The landscape seen through the trees is an early example of the classic ‘blue landscape‘ later reaching its apogee with the enigmatic and wonderful Joachim Patinir.
When visiting the splendid museums and galleries of New York, it becomes pretty obvious that we much of what has been casually labelled ‘modern’ art – such as in the hugely popular MoMA (Museum of Modern Art, of course) and the Whitney – is in fact not very modern at all. Iconic he may be, but the somewhat limited Warhol’s screenprints have the air of musty history about them. Edward Hopper is great, but he’s redolent of the era when my dad was still at school. Picasso too, even the wackily named Futurists, much as I like them, are from more than 100 years ago. There are lots of similar examples.
Go to the Guggenheim, and if you’re unlucky, you’ll find that the best thing on display is the enduring brilliance of the building itself, given the vagaries of contemporary art. Getting an exhibition in the Guggenheim is a meal ticket for any artist, but perhaps only 50% on a good day is actually any good (I know it’s subjective, and that’s my take on it). What it is though, is modern. Even the crap stuff usually has a freshness that has its own beguilement.
Which brings me to Beethoven.
Stravinsky – referring to a specific piece, the Grosse Fugue for string quartet, op 133 – famously described his work as ‘contemporary forever’. That work was described by an 1826 critic as “incomprehensible, like Chinese” and “a confusion of Babel”, and I would add that it is indeed an ear splitting gem of furious dissonance and angst – which sounds rather 21st century as a description , I suppose. It was written in 1825. If you’re a piano geek, you may know that the biggest, most brutal, most intense and most impenetrable of all the 32 piano sonatas is the Hammerklavier, from 1818. It has a lot in common with the quartet 7 years later. The Hammerklavier is opus 106. I have heard probably 30 or more different versions of it over the last three decades, and I still haven’t fully fathomed it. Far from it (this marvellous review is very insightful). Like the Grosse Fuge, it is absolutely, resolutely contemporary. It knocks modern classical piano compositions out of the park. It is more far reaching or ‘daring’ than any 20th or 21st century piece.
Which is why I was intrigued to find opus 107, an obvious next step that I’d never really considered before. It couldn’t have a more twee 19th century title: Ten National Airs with Variations for Flute and Piano, the national airs being folk songs from Scotland, Ukraine, Austria, Ireland and Wales. Beethoven sanctioned a piano solo version, sacrificing the flute. My copy is played by the slightly maverick Finn, Olli Mustonen. He always seems to apply great dexterity and precision, but with a slightly spiky quality. You can hear the spaces between the notes. A lot of the critics don’t like this applied to Beethoven, but given the points I’ve made about Beethoven being anything but trapped in the 19th century style, I reckon it works. The spaces around the musical line remind me a bit of the Second Viennese School, though Beethoven is reliably tonal. In any event, hear how he takes likeable jaunty folk tunes and turns them inside out. It’s far from the Hammerklavier (though it’s nearly the same length at 41 minutes) and the Grosse Fuge, but it’s still, well, contemporary. See what you think.
October’s a busy month: ploughing (weighed down with a rock), sowing the next crop, archery, bird scaring, various people messing around by the river. They’re ploughing and sowing round here too, at the moment, in my corner of Nordeuropa.
The obvious unseasonal element in the picture though, is a huge badass castle, only this one wasn’t owned by Jean de Berry. It’s the original Louvre Palace in Paris, which did indeed stand where the current building stands, and it’s a remarkably accurate representation. Visitors to the lowest floor of the current Louvre might recognise the enormous rounded bases of the towers, which have been well preserved. The palace was built by Charles V, who happened to be Jean de Berry’s big brother, so it’s still a family affair. Amusingly, he was known as Charles the Wise, whose enemy in life was Charles the Bad, and who was succeeded as king by his son, Charles the Mad. We should bring back these handy adjectives for our own royals (Charles the Twit?).