Beyond Caravaggio – a wonderful exhibition, though I wanted more paintings by Caravaggio and more, and more. Because it was incredible to see this after having just read Graham-Dixon’s Caravaggio: A Life Sacred and Profane.
To see Caravaggio’s work, the paintings themselves… They are stunning, the brushwork is invisible creating pieces so luminous they almost glow. They are bigger than I had expected them, so when I stepped forward everything shifted. The figures emerged from the darkness, fingers stretched towards me from the canvas. The scenes enveloped me. Jostling crowds behind me could almost be forgotten (and I may have to beg their forgiveness, but I never was so rude to stand right in front). I realised too, that these paintings must have been even more wondrous in that first decade of the 17th Century, imagine them candlelit, and without the bloating I sometimes feel of having all art immediately available at the search of the internet to create a jostle of periods and wonders so that novelty is hard to come by.
No wonder Caravaggio had the impact that he did, no wonder that so many copied his style – this exhibition was full of truly inspired examples of that. Orazio Gentileschi, his daughter Artemisia, my other favourite Jusepe de Ribera.
Caravaggio remains apart from the wealth of talent that innovated with his use of darkness and light, not just for the power and skill of his work, but for the common faces bearing their lives in the lines of their skin, the stances that reveal their character, the gestures and the spaces they create that invite you into the paintings. The rips in the sleeves — I wanted to reach out to trace the torn fabric in Supper at Emmaus, itching for a needle and thread. There is also the extraordinary beauty of the object, the crystal glasses and decanters, the baskets of fruit that are incredible perfection of detail. They were unexpected, despite having read of them, seen the reproductions.
The poverty, the dirt encrusted around fingernails and into hands. Caravaggio’s own hand, none too clean, appears in the Taking of Christ, thrusting the lantern above the grouping, his face staring a bit wildly, beetled brows and he has done himself no favours – but impossible to guess at his emotion beyond curiosity. Seeing this as a picture on the screen hides the way that details leap out at you, how much you can see emerging from the darkness…
Caravaggio’s commissions were so often religious, he had little choice in his subjects, yet he clearly felt deeply that these men and women surrounding Christ were poor, old, sick, faltering, doubtful, poor. Their feet bare and tired.
Caravaggio was also a painter of intense violence, matter-of-factly inflicted here upon John the Baptist, a curious, complex expression of Salome’s.
There was one enormous surprise – Cecco. Also from the town of Caravaggio, and Caravaggio’s model, housemate, probably lover, the one who stayed with him until that last flight to Malta (and I imagine that scene of farewells, driven undoubtedly by Caravaggio’s ambitions for a knighthood and the unwillingness of the Colonnas to sponsor him alongside Caravaggio into the very closed society of the Knights of Malta). Nowhere does Graham-Dixon mention, I am almost certain, that Cecco too was a gifted painter. Suddenly their relationship shifted, a collegiality and a greater touch of equality shapes it.
He still remains the laughing boy of Caravaggio’s lighter paintings in my mind — not part of the exhibition sadly, though Mario Minniti appears in Boy Bitten By a Lizard. But here Cecco is the model for a youthful John the Baptist:
Not so surprising as Cecco’s paintings were that the luminous works which draw on Caravaggio’s influence from Italy, the Netherlands, Spain, almost all use the chiaroscuro but with rich cloth, wealthy patrons. Many of them copied his two paintings of cheating – the card shark and the gypsy. I was sad they were unable to bring these paintings by Caravaggio to be part of this temporary exhibition. But the small touches seemed absent from the paintings inspired by Caravaggio’s. The humanity, the necessity, the feeling that the next meal requires winning.
Perhaps this is why Jusepe’s work stood out so much to me, though his works were all religious in nature. This one was extraordinary
As was this beautiful painting of Susana and the Elders from Artemisia Gentileschi
I loved the exhibition. I will end on one of the more beautiful of Caravaggio’s paintings, one of a series of John the Baptist in the wilderness. It lingers with you as you leave the final room for the hum of the National Gallery
Caravaggio had, at Graham-Dixon’s guess, set his eyes on rehabilitation and a return to Rome in triumph through a rather curious route — becoming a Knight (read part one of this post on Caravaggio here). Whether this was his goal at the start or not, he was soon on his way after his exile and time in Naples, and through the help of his oldest patron, Costanza Colonna. The process for getting to Malta has changed just a bit since his day:
Malta was not, however, a place where someone could simply turn up unannounced. The whole island was a fortress, and security was tight. No one was allowed in from the mainland without a passport and papers prepared by the order’s network of receivers.
Permission was granted only by the approval of the Grand Master of the Hospitallers himself. The Colonna’ had to have brokered this for Caravaggio, fleeing justice as he was.
A description of the Valleta that Caravaggio approached:
An entirely new city, built of honey-coloured limestone that glowed pink in the sun. Valletta had been constructed at breakneck speed in just forty years. After the turmoil of the Great Siege [by the Turks], the knights realized that they had to fortify the narrow headland known as the Xiberras Promontory, which connected the island’s two principal harbours. The construction of the new capital by an army of slaves, on the steepest incline of the headland had been an immense undertaking… It was named in honour of Jean de la Valette, Grand Master during the siege. The pope’s best military engineer, Francesco Laparelli, was responsible for the plan. The sheer stone fortifications of the citadel rose directly from the craggy outcrop of the island itself…
An army of slaves. They remain otherwise invisible to us, but I had no idea Valletta was built in only forty years, a planned city.
Within its walls, Valletta was laid out on the Renaissance model of the ideal city. The principal architect responsible for the buildings was Girolamo Cassar, who was from Malta but had studied in Rome. His palaces and churches were designed to reflect the knights’ ideals of Christian sobriety and military discipline, with long, sever facades of rusticated stone. The streets were laid out in a grid, with nine thoroughfares running across the peninsula and twelve running from top to bottom. Their strict geometry was softened by gardens and fountains.
It was a steep slog from the harbour to the centre — and everywhere in between. Graham-Dixon notes Byron’s farewell to Malta:
adieu, ye cursed streets of stairs.
I am quoting prolific about the city, but I find this heady stuff…
Approaching Malta for the first time, Caravaggio was surrounded by symbols of the island’s fierce rule of law. On the first promontory on the left of the harbour was the forbidding spectacle of a gallows. Within the harbour itself, prominent on the left-hand side, was the Castel Sant’Angelo, where many of the most famous events of the siege had taken place… it had become a prison for disorderly knights.
At the end of the the sixteenth century, a visitor, Hieronymus Megiser, noted gore still visible on some of the rocks and pointed out by his guides.
A ‘remote and harsh place, rocky and sun-parched’, yet famed for the sweetness of its honey, quantity of almonds, olives, figs, dates, the quality of its cotton. Cicero had his clothes made there.
I have failed to find English translations of Hieronymus Megiser’s descriptions of Malta, so shall quote what Graham-Dixon has gleaned from them.
As Megiser notes, the island encompassed two utterly distinct societies. ‘Malta Africana’ and ‘Malta Europeana’. The world of the indigenous islanders had remained unchanged for centuries. Its people were dark-skinned, spoke a language incomprehensible to Europeans and lived in humble settlements much like the tribal villages of nearby coastal Africa. Cosmopolitan Valletta was utterly different, a flammable blend of extreme Christian piety, simmering military aggression and barely contained sexual dissipation.
I am fascinated by this duality, but there is no more to be found here about it. George Sandys was an English traveler — quoted liberally throughout the volume, and his descriptions of Malta are fascinating. But I have found those, and will read them as they look amazing.
It is not known where Caravaggio lived during his time on the island. Prospective knights on their first tours of duty were given accommodation in the auberge belonging to their particular Langue, or country. Altogether there were eight Langues, of Italy, Provence, Auvergne, England, France, Aragon, Castille and Germany.
Langue meaning language more like? Because Italy was not yet a country, nor was France or Germany in the shape we know them.But Caravaggio probably lodged with the Colonnas anyway, they were the only one’s who knew he was there and of his plans to become a knight — this was not brokered until the winter of 1607.
To become a knight he painted… there is the incredible Beheading of St John
I get to see this. So exciting, Caravaggio’s largest altar-piece still sitting in the place for which it was painted.
The novices of the Order of St John [of whom Caravaggio was one] listened to sermons and received instruction in the oratory for which Caravaggio’s painting was destined. The place was both a school for the martyrs of the future and a burial ground for the martyrs of the past — the bones of the knights who had died at the Great Siege were interred beneath its stone-flagged floor. … Caravaggio’s altarpiece was designed to make sure that they [the novices] could be under no illusions about what that might mean.
Not that I am at all keen on martyrs, particularly not crusaders. But nor, I think, was Caravaggio. He did, however, paint a wonderful portrait of Alof da Wignacourt (c1607-1608), the Master of the Knights. Caravaggio was pretty determined to get a knighthood, and this was a man of fairly absolute power.
And yet Caravaggio still ensures that his page rather steals the show. He still rebels I think.
While there he became friends (if that is possible to guess at) with WIgnacourt’s secretary Francesco Dell’Antella. Graham-Dixon notes he was a gifted draughtsman and produced a detailed drawing of Valletta — which I have found. This is the ‘Map of the medieval town of Valletta, with Senglea and Vitoriosa at the Great Port. Map of Malta and Gozo’ from [BOISSAT, Pierre de / BOSIO, Giacomo]. Histoire des Chevaliers de l’Orde de S. Jean de Hierusalem, contenant leur admirable Institution & Police…, Paris, Jacques d’Allin, MDCLIX [=1659].
To return to Caravaggio. Alof de Wignacourt loved his paintings to such a degree he gave him (and this is Graham-Dixon quoting Bellori)
as a reward, besides the honour of the Cross, the Grand Master put a gold chain around Caravaggio’s neck and made him a gift of two slaves…
‘Finally,’ Graham-Dixon writes, ‘Caravaggio had got his own gold chain.’ I forgot to mention the animosity raised in Rome when a rival received such a chain — the one about whom the scurrilous verses had been written.
There is no context given for the slaves. Slavery remains only part of the background throughout, which kills me.
Still, Caravaggio got his Knighthood, with approval of the Pope. He was thus above the law for the murder he had committed, could return to Rome with new rank. Graham-Dixon notes that in this whole scheme to elevate himself, perhaps Caravaggio had not realised that as a knight, he had to have Wignacourt’s permission to leave Malta. A permission unlikely to be granted for some time, if ever — in Wignacourt’s petition to the Pope to be allowed to confer the knighthood, he noted the purpose of it was ‘to keep’ Caravaggio. Ominous.
Graham-Dixon argues the dawning realisation that he was trapped, as much as his unruly habits, explains the end of Caravaggio’s time on Malta.
The ceremony on the ‘feast of the Decollato’ where the unveiling of The Beheading of St John was to take place was a complete disaster — Caravaggio was not present. He was in prison for kicking down the door of the church’s organist, Fra Prospero Coppini, with several others, leaving the organist severely wounded. On top of that
The musicians were unhappy about their pay and most of them went on strike, so that on the feast day itself neither Vespers nor the solemn Mass was sung in the oratory before Caravaggio’s picture.
I confess, of everything that went wrong, only the strike was unexpected to me. I confess I find the existence of musicians willing to strike in Valletta absolutely extraordinary — and a happy fact. The rest though…
Carvaggio escaped from prison. Fled Malta. Was stripped of his knighthood in December of 1608. Graham-Dixon gives an illustration from Wolfgang Kilian of the mid-seventeenth century as an example of what this ceremony might have looked like in the very same oratory of St John where his painting sat (look, you can see it there in the background!):
This happened in Caravaggio’s absence of course.
He, in the meanwhile, had fled to Sicily, meeting up with an old friend and painter Mario Minnitti (also the model for Boy Bitten by a Lizard and others) and traveling through Southern Italy. Caravaggio believed he was being followed, and that his life was in danger. His routes were most circuitous.
In 1608 he painted the Burial of St Lucy in Syracuse
And the Raising of St Lazarus in Messina. Graham-Dixon notes that the Lazzari family had originally wanted a picture whose proposed title would have been ‘The Madonna, St John the Baptist and Other Saints, but Caravaggio negotiated with them to paint this instead.
In Rome at the height of the Renaissance it had not been unknown for a famous artist to alter the terms of a commission. Michelangelo had famously plucked up the courage … But in the provincial artistic milieu of Messina, Caravaggio’s assertion of independence was still being talked about a hundred years later.
In 1609, also in Messina, the wonderful Adoration of the Shepards.
By September of 1609 he had returned to Naples, and the protection once again of the Colonnas, both Bellori and Baglione mention the enemies chasing him. Graham-Dixon argues that this return to the Colonna fold means that both his patrons had forgiven him for his escapades on Malta, but also that they had negotiated a truce with the knights there.
His fear was well-founded, he was severely wounded in an attempt on his life as he emerged from the Cerriglio — a rather famous brothel, his face disfigured — sfregiato, an injury inflicted to avenge an insult to reputation. Probably by Rodomonte Roero, the Conte della Vezza, who had indeed, almost certainly, been tracking him.
Caravaggio never really recovered. In Naples he painted the Martyrdom of St Ursula (1610), thought to be his last picture.
He traveled to Rome, with either a pardon in hand or on its way, and the lack of clarity surrounding his death seems characteristic of most of his life. He was arrested when he disembarked from his boat at Palo, a fort manned by the Spanish. Something went wrong and he was arrested, thus his belongings and the three paintings he had brought with him made the rest of the boat’s journey to the Porto Ecole. Bellori has him running from Palo to Porto Ecole and dying on his arrival from heat and exhaustion — but it was days on foot between the two.
He did die in Porto Ecole, however, of fever, in July of 1610. Then the feeding frenzy was on over the paintings he had left behind him.
This is one, an uncommissioned painting of melancholy treating a subject he had painted several times before. To me it embodies both his queerness (which I know I don’t look at enough here) and his regret and suffering.
A life that as I say, troubles me and sits with me.
Writing this I found that there is a show on at The National Gallery, Beyond Caravaggio, and I am looking forward to seeing it immensely. Graham-Dixon notes only a few of his influences — Ribera and Zurbaran in particular, through his work in Naples. Another wonderful story about the Madonna of the Rosary, which was brought to Antwerp through a joint effort spearheaded by Rubens, and involving Bruegel, Van Bael and Cooymans. But of course, I will be seeing more about this…
Andrew Graham-Dixon’s biography Caravaggio (1571-1610) is very good, very long, full of wonderful detail about everyday life and a great deal of analysis of Caravaggio’s work which I found interesting, without agreeing with all of his interpretations.
It still sits with me days after finishing it, the life of Caravaggio. The explosive talent. The extreme physical violence of his life in a society permissive of extreme violence, winking at it when patronage was high and powerful enough. The violence of poverty, and the violence of painting only by commission rather than by desire, to please and to flatter the rich. To be paid only if they approved of your work — and a number of Caravaggio’s patrons refused his work. To be constantly judged by criteria you do not believe in.
A quote to set the scene in terms of sources:
Much of what is known about him has been discovered in the criminal archives of his time. The majority of his recorded acts — apart from those involved in painting — are crimes and misdemeanors.
He always looks troubled and angry, but in some ways the extent to which he was allowed to explore his own art was only possible because of his time’s changing social ideas of it. Graham-Dixon describes these changes occurring only a generation before Caravaggio’s:
Previously the profession of art had been ranked low because it involved work with the hands and was therefore classed as a form of manual labour, a craft rather than a liberal art.
This changed to a view of greatest artists as ‘men of true genius’ — though men still much at the mercy of their patrons — through Giorgio Vasari’s anthology of artist biographies The Lives of the Most Excellent Painters, Sculptors and Architects (1550). Caravaggio would not prove to be a prodigy from an early age, like most. But like other artists he would leave home (he is actually one Michelangelo Merisi of Caravaggio — but the town he was born in has become the name he was, and is, known by) for Milan, and then Rome.
As Florence had been during the fifteenth century, and as Paris would be at the peak of Louis XIV’s power, Rome under Clement VIII was the artistic capital of Europe.
Graham-Dixon notes the slightly more fluid medieval aristocratic structures in Italy as compared to Northern Europe, as well as the idea that ‘an increasingly urbanized society … led to the blurring of social distinctions.’ There is so much fascinating detail in here on life in Rome itself in here, and given my interests, what I most enjoyed apart from the art itself. An early version of the surveillance state, for example. I don’t know why this surprised me so much, but it did:
Religious observance was not a matter of choice. At Easter everyone living in Rome was obliged to take communion and procure a ticket of evidence from the priest who administered the sacrament. Procuring the ticket — proof of orthodoxy, and necessary to pass muster with the police — was itself part of a system of surveillance and involved a separate visit to the priest, who was obliged to write down the name and address of each communicant. But he also had to write down other details…
Another fun fact about the Rome of this time was the way in which the discovery of the Christian catacombs (the ones I thought everyone in Rome had surely always known about — how were they forgotten?) under Rome led to ‘a boom in the field of what might be called sacred archaeology.’ In the late 15 and early 1600s. I hope to read some of these — I quite love archaeology and am rather fascinated by such a ‘discovery’ but to return to art.
After several years of apprenticeships and poverty, Caravaggio won the patronage of Cardinal Del Monte, a man of learning with a love of the arts, apart from having his own pharmaceutical distillery (a fad of the time), he was also a patron of music (the first opera was written in 1600 by a friend, Emilio de’ Cavalieri). Slowly through the book you watch Caravaggio’s characteristic style develop.
One of Caravaggio’s early, extraordinary paintings, Boy Bitten By a Lizard (c1596)
It is quite wonderful to make this journey through his work, just as it is to note the small touches — like the fact that the music in The Rest on the Flight To Egypt is identifiable, the four-voiced Quam Pulchra es et quam decora, by Noel Bauldewyn (c1480-1520) — hear it. I love the internet, imagine being able to listen to this today as you stare at the painting itself.
More descriptions of Caravaggio, dark hair, dark eyes, great dark brows, disorderly, Bellori (one of his biographer’s) writes:
We cannot fail to mention his behaviour and his choice of clothes, since he wore only the finest materials and princely velvets; but once he put on a suit of clothes he changed only when it had fallen to rags.
Little could tell you more about someone in a way, and I love that clothing in various states of disrepair is to be found everywhere in his paintings. The poverty of his models and subjects is never hidden. Nor is his own suffering, in 1596 he painted this shield to be held and passed around, a portrait of medusa as a gift for the Medici using his own face as the model, distorted in a round mirror that appears in others paintings as well.
A shocking image of himself. A note on materials, on toxicity and poison like that of the serpents in Medusa’s coils:
Some ascribed the fiery temperament of painters to the toxic qualities of the materials that they used. Lead white and vermilion were particularly poisonous. The mere touch or smell of either might cause a variety of symptoms including depression, anxiety, and increased aggressiveness. Those suffering from ‘Painter’s Colic’, as it was called, also tended to drink heavily.
Not vermilion! What a word, what a color. There seems to be a great deal in Caravaggio’s work, one great red sheet of fabric that wraps saints round being the most obvious one. I like to think it is always the same one. Returning to his style, Bellori writes
The painters then in Rome were greatly taken by this novelty, and the young ones particularly gathered around him, praised him as the unique imitator of nature and look on his work as miracles.
Evidence of its development can be seen in Martha and Mary Magdalen (c. 1598) — and also here is to be seen Fillide Melandroni, a famous courtesan in several of Caravaggio’s paintings.
Here she is again as St Catharine of Alexandria (c. 1598)– I wish I had seen this earlier, when I worked at the Foundation. More shadows.
There is the story of Fillide’s arrest for threatening another woman, testimony of her screaming out ‘I want to cut her face!’ The ultimate insult. Graham-Dixon notes that the world of painters and poets is also that of prostitutes and pimps, and the probability of Caravaggio’s being a pimp — controlling women for both modelling and for incomes, explains the many times he is arrested late at night or early in the morning, much of the violence, the carrying of an illegal sword and dagger under the protection of powerful patronage, and the source of the long-running conflict that would eventually lead to the murder of Tomassoni for which he was exiled.
Violence fills his paintings, Judith Behading Holofernes (c. 1598), David with the head of Goliath (1599). I am not so enamoured of these, though they are powerful and skillful. Artemisia Gentileschi, of course, also painted Judith holding the head of a Holofornes based on the face of her rapist — she was the daughter of a friend of Caravaggio’s and a most wonderful painter in much the same style. But I am looking forward to exploring her life and art separately, yet her story cannot be forgotten in this accounting of the terrible violence inflicted on women in this period more broadly.
This painting I love, the Calling of St Matthew (1600):
Another one — The Crucifixion of St Peter (1601)
Graham-Dixon writes that:
The presence of these coarsely posed, unmistakably low-brow figures underscored Caravaggio’s total rejection of High Renaissance and Mannerist elegance.
The fact that everyone in his paintings has bare feet has great meaning, and in fact Caragvaggio becoming famous as the painter of feet — Graham-Dixon quotes Niccolo Lorini del Monte:
In sum, feet may be taken by the holy Church as symbolising the poor and the humble.
Many among the upper classes hated their appearance in his paintings, along with the poor and humble subjects in their everyday torn clothes and positions of work and suffering. Graham-Dixon persuasively argues that this was closely tied with the counter-reformation leanings of the pauperist wing of the Catholic church, and the preaching exactly along these lines of the famous Borromeo, Archbishop of Milan, whose words Caravaggio would have grown up with. This also helps define Caravaggio’s focus on Christ and the martyr’s intimate and personal suffering that was praised as a subject for religious meditation. There is also an argument for some form of class identification, some anger over poverty and privilege, although clearly nothing about Caravaggio is straightforward and he exploited his own privileges fairly ruthlessly.
When Caravaggio painted the saints and martyrs with bare feet, he was firmly allying himself with pauperist wing of the Catholic Church. Not only was he explicitly welcoming the poor into his pictures, making them feel part of the same impoverished family as that of Christ and his followers, he was also implicitly calling on the rich to follow the example of those such as St Francis … The message would not always be well received.
It was very different from the rising countercurrent of
a newly triumphalist Church… It did not welcome the poor and the meek or make them feel that they, ultimately, were the inheritors of the earth. It was there to awe, daunt, and stupefy them, to impress them with visions of a force so powerful it could not be resisted — and must, therefore, be obeyed.
Graham-Dixon describes this is as a new Baroque sensibility — one with no room for Caravaggio. It seems to me that all these paintings of the poor might also be a kind of revenge against the rich to whom Caravaggio must look for all things — money for paints and canvasses, clothes, a roof over his head. He was one of the few to try to renegotiate commissions (more on that later)… this world seems so distant from my modern sensibilities, yet it seems so clear how galling this system of patronage was to Caravaggio, if only through the amount of time he spent doing what he could to sabotage it all through gambling, drink, brawling, prostitutes and constant rumours of boys. Graham-Dixon notes his probable relationship with Cecco, his servant and model, but there is little deeper exploration of what his queerness might mean (and some of these paintings are ridiculously queer).
Caravaggio leaves the house of Cardinal de Monte for that of Cardinal Girolamo Mattei. Again, the connections between time, money and influence, and the city form is brought to the fore:
They lived in a honeycomb complex of houses and palaces built over the ruins of the Ancient Roman Teatro di Balbo… The adjoining residence of the various branches of the family formed an entire block, known as the Isola dei Mattei.
It is a whole network of palaces and residences, worthy of Kafka. Yet another protector was Vincenzo Giustiani. It is probably he who ensured that Caravaggio was allowed a second attempt at fulfilling his commission for a painting of St Matthew as the altarpiece of the Contarelli Chapel. When the first was rejected scornfully, Giustiani bought it for himself.
Why rejected? Because Matthew is represented as too unlearned, too peasant-like. Barefoot. An old man painfully scribing, and needing help in it. I love this picture.
WWII bombs destroyed it in Berlin.
The second painting was accepted and still rests in the chapel, a capitulation to be sure, but a rather fine one, and Caravaggio insists on the bare feet:
His work continues to be extraordinary. Here, a picture of The Incredulity of Saint Thomas (c. 1602), testing grotesquely Christ’s wound, experiencing in full Christ’s suffering (familiar old men as well…).
And always, always, this work sits alongside an incredible violence in the dark streets of Rome. There is the verbal/written kind — the tradition in Rome of insult, connected to a statue in the corner of Palazzo Braschi to the western side of Piazza Novena, known as the Pasquino.
It had long been the custom to attach squibs, scurrilous pieces of grafitti and outbursts of defamatory rage to the wall next to the statue, under the cover of darkness. There was a collective noun for these libeles: pasquinate…
That sounds rather safe, a rather curious and interesting method of venting anger in a unique city space, until you read the contents. Caravaggio and his friends posted their defamatory verses about Baglione here, with much use of words like cock and fucking…juvenile, nasty. There were arrests, trials. Caravaggio’s testimony is sullen, stupid. For all that, I rather like the concept of the valent’huomo, in Caravaggio’s words (Graham-Dixon notes that to be considered a valent’huomo both in society and the art-world was always Caravaggio’s possibly fugutive goal):
By the term ‘valent’huomo’ I mean he who knows how to do well, that is, he who knows how to do his art well.
Most of the testimony, however, is a bunch of lies to praise artists in official favour and distance himself from friends involved and pretend utmost ignorance so they can all get off free. They do. Probably through patronage. Everything runs on it.
On 24 April 1604 Caravaggio got into an argument with a waiter at one of his local restaurants, the Osteria del Moro, or ‘Tavern of the Blackamoor’. In the course of an altercation concerning artichokes, he smashed a plate against the man’s face.
The tavern of the Blackamoor (interesting the number of references to slaves). I laughed at the artichokes, but it’s not really funny. This arrest is one of series. In his testimony Caravaggio claims the policeman has a grudge against him, in Graham-Dixon’s description:
The policeman was hostile and insulting whenever he bumped into him… but he stoutly denied having called the arresting officer a ‘cocksucker’ on the night in question.
That, actually, was just funny.
More on the particularities of the papal state.
Rome was a turbulent city at the best of times, but it was doubly unstable whenever the papal throne was empty. During this interregnum, normal government was effectively suspended. According to long tradition, a blanket amnesty was given to the inmates of the city’s jails.
Blanket amnesty! Returning to the thin line between curious and awful…there is this:
There was a crime of deturpatio portae, or defacing doors for which Caravaggio was charged by a mother and daughter. … a specific legal term that can be translated as ‘house-scorning’. …
Amazing you think. House-scorning. But read on:
Housescorners generally operated in the dead of night,,, They often made a lot of noise, shouting insults or singing lewd songs as a prelude to the vengeful assault itself. Then they would throw stones, damaging shutters and blinds.
They threw ink, blood, excrement, drew cocks. Most often, houses were scorned by a man when a woman had refused his advances, or perhaps somehow insulted him. It loses all hilarity.
It becomes the dirty behaviour of a pimp. An abuser. Who still paints…look, just look at what he paints.
This depicts so beautifully the crazy story of The Madonna of Loreto (1604), the miraculous event in which the house of Mary and Joseph flew (flew?) from Nazareth to Italy in the middle ages. Crikey, best myth ever. It’s quite a house as Caravaggio imagines it, but I love that the pilgrims are poor who have summoned the virgin to the door through their faith, their feet dirty and tired.
No other artist had ever given such prominence, in a major religious altarpiece, to two such nakedly proletarian figures as the pair of kneeling figures.
Caravaggio inserted no patrons into his paintings, but the poor, the courtesan, the servant, and every now and then himself. Despite this, his paintings were in ever greater demand. One of my favourite threads that runs through much of Caravaggio’s story is that:
…his movements were being carefully tracked by Fabio Masetti, an agent in Rome working for Cesare d’Este, Duke of Modena.
Masetti gives Caravaggio money, on more than one occasion, but no painting is produced. Masetti tracks him for years, like a faithful shadow. We will meet him again.
And still Caravaggio is brawling, cutting people, getting arrested. He is forced to apologise to one of his victims to get a pardon from the governor — for coming up a clerk of the Vicar’s court named Messer Mariano late one night and striking him, scarring his face. Like the house-scorning, this is a public insult. The apology is hilarious, like one of those forced things a mother exhorts from her son (well, like my mum exacted from my brother Chewy) expurgated of all loopholes:
I am very sorry for what I did, and if I had not done it yet, I would not do it.
He continues to say that Mariano is worthy of facing in the daylight in a duel. It is a return of honor to him.
It feels like the violence is escalating, though in the book it is oddly sandwiched between paintings and their analyses. Graham-Dixon notes that thus seemed Caravaggio’s life, intense periods of work surrounded by growing periods of nightwalking and brawling and thuggery. Pimping. This brings us to the moment of murder, in what was almost certainly a duel between Caravaggio and Ranuccio Tomassoni, between whom there had long existed violence and accusation — Tomassoni was the pimp of Fillide, and if Caravaggio were also a pimp (who had clearly stolen Fillide) this makes more sense of much of his behaviour.
Initial reports, though, seemed to describe this as an accidental brawl over a late-night game of tennis. That was rather funny.
Mesetti the agent reported hopefully back to d’Este after the incident that Caravaggio had fled Rome badly wounded and was heading to Florence — which meant he might well swing through Modena and paint as he had promised.
This really is the beginning of the end for Caravaggio. His sentence:
…indefinite exile from Rome, he was condemned as a murderer and made subject to a bando capitale, a ‘capital sentence’. This meant that anyone in the papal states had the right to kill him with impunity; indeed there was a bounty for anyone who did so.
A brilliant drawing from a policeman’s report drawing the offending weapons that Caravaggio carried in defiance of the law.
And so Caravaggio flees. First to Naples, a centre of trade of goods and people. He also notes the many communities there, Pisans, Catalands, Ragusans… Ragusans? Once the Republic of Ragusa, now known as Dubrovnik.
Once arrived in Naples, Caravaggio was deluged with work. He receives a commission from the Pio Monte della Misericordia, probably led by Giovanni Battista Manso (who was a friend of Galileo, who hosted Milton — it is hard to imagine them all contemporaries). Caravaggio painted the Seven Acts of Mercy for them. Not my favourite. But then there was The Flagellation:
Pictures such as the Seven Acts and TheFlagellation were greeted with stunned admiration, bordering on bewilderment. They created a sensation and transformed Neopolitan painting virtually overnight. Caravaggio’s extreme chiaroscuro and his brutal sense of reality were the catalyst for a new school of tenebristic painting in Naples. And through this city at the crossroad between Italian and Spanish art, Caravaggoio’s starkly powerful new style was transmitted to Spain Itself.
But Caravaggio had bigger plans, which would soon send him to Malta — which is in part why I have read this, because I love Caravaggio’s art but also, guess what you guys? I am going to Malta! So more on Malta in a separate post. This one is enormous, and I give you my apologies.
Last night at Bristol’s Watershed we went to see The Fabulous Nicholas Brothers:
Bruce Goldstein, Director of Repertory Programming at Film Forum in New York, presents a unique compilation tribute to the greatest dancers of the 20th century the Nicholas Brothers, featuring a collage of rarely seen home movies, photographs and film clips.
It was — the Fabulous Nicholas Brothers were — amazing. I perhaps use that adjective too much, my enthusiasms lace my writing with ‘I loved’ and ‘brilliant’ and other such encomiums so that perhaps they lose some meaning. But little I have ever experienced compares to the feeling of pure joy that dance can grant, particularly as embodied by Fayard and Harold Lloyd Nicholas. Before Bruce Goldstein began, they started with this clip, ‘Lucky Number’ (1936):
Throughout their career, in addition to the jaw-dropping virtuosity of their movements, there is a joy in dance and in dancing with each other that is a gift to watch. It fills you up as you watch it, together with awe that such things might be done.
I will also note that this format, of talk interspersed with clips, from someone as knowledgeable and personable as Bruce Goldstein who knew the brothers personally, was awesome. He had loads of footage from the Fabulous Nicholas Brothers’ own home videos including some of their unique film of the Cotton Club performances, which rendered it incredible. You are sorry you missed it.
Anyway. You take all of this, the very best and the most beautiful of talent, and you set it in Jim Crow America. This ensures the Fabulous Nicholas Brothers are billed most of their lives as a ‘specialty act’ (though usually at the top of the bill). I think for all I have read, watched, wrestled with, this exposed an entirely new view of how damaging Jim Crow was. How crazy it was.
Absolutely batshit crazy.
There’s Pie Pie Blackbird. Crazy. Immense talent to be found singing and dancing about the master’s ‘blackbird pie’.
As a reference to master sleeping with his slaves, it hardly seems veiled at all. And so it is that here, the Fabulous Nicholas Brothers in their 1932 debut get called little pickinninies.
Wonderful without reservations is their appearance in the 1935 All Coloured Vaudeville Movie — and look at that city background, this is really an urban art after all, not one tied to the plantation south, but to Harlem, to Chicago, to the places that beckoned towards freedom and equality (though still have yet to grant it). Fayard is performing in his characteristic three piece suit — he wore it at almost all times (there’s home footage of him wearing it at the tennis courts, on the beach), a fashion statement against the indignities and disrespect of Jim Crow, and I love him for it:
Yet so many of these clips make me feel Jim Crow viscerally. After a rather saccharine display of white doo-wop and the (rather good don’t you know) Glen Miller band, there is the joy and virtuosity of the Fabulous Nicholas Brothers and the equally fabulous Dorothy Dandridge (who married Harold, how did I not know?). Carefully orchestrated so the whole section is separate from the white musicians, able to be cut entirely for Southern audiences — a prime reason the Nicholas Brothers would always perform self-contained ‘numbers’ rather than roles.
I found this separateness physically painful to watch, which sat strangely beside the absolute joy of the performance itself. But more bewildering were these two clips, the first the 1934 ‘Minstrel Man’ from Kid Millions
Apart from it being cool that Lucille Ball is in this, I sat wondering in what insane ideological space the whole of America was in to make such a musical number possible, such plunging necklines and singing about loving a minstrel man when Black men were being lynched in the South for even looking the wrong way at a white woman.
Their number from Tin Pan Alley (1940) is even crazier:
I couldn’t stop thinking about Emmet Till through the whole of this damn number. What the actual fuck. Never in a million years could I have imagined such a thing in 1940. In struggling to make sense of it, I think a partial answer is that the category of youth allowed Harold Nicholas to be non-threatening enough for ‘Minstrel Man’, and the category of ‘performing slave’ to be non-threatening enough for Tin Pan Alley (and the absence of sexual innuendo or physical contact). And yet. It doesn’t really explain it to my satisfaction.
Nothing does. Think of Billie Holiday singing ‘Strange Fruit’ in 1939: Southern trees bear a strange fruit / Blood on the leaves and blood at the root / Black bodies swingin’ in the Southern breeze / Strange fruit hangin’ from the poplar trees. The two performances together somehow make white power and violence even more terrifying in ways I am unable to understand. Perhaps it is the impossibility of reconciling these two things that is the most terrifying, how do you fight what is impossible to understand?
World War II would start to move change along again, Fayard would be drafted into the Jim Crow Army’s laundry brigade.
The Pirate (1948), with Gene Kelley, was the first film where Black and white dancers interacted together, as something like equals (where Gene Kelley, who is a superb dancer, is struggling to keep up in fact).
Still the brothers’ speaking roles were cut from the final film, they remained listed as a specialty act.
Bruce Goldstein writes of all those they influenced:
The dancer’s dancers, their fans have included Gene Kelly, who teamed up with them in The Pirate; Bob Fosse and Gregory Hines, whose first acts were modelled on them; ballet legends George Balanchine and Mikhail Baryshnikov; Michael Jackson, who once had Fayard as a dance coach; and Fred Astaire, who named their Stormy Weather ‘staircase’ number the greatest of all musical sequences.
Yet watching this talk I was struck by how much better all of those dancers and all of their performances could have been in a world without racism, where the Fabulous Nicholas Brothers could have found a rightful respect and a rightful place in musicals and movies. The leading roles they deserved. The space to further develop their art. Instead they moved to Paris. After four years Fayard moved home, because home is home, you know? No one should have to leave home to feel like a human being. No one should have to choose between performing with his brother or being treated like a human being. Harold had to, chose the second for a time. Remained in Paris. Ended up coming home to be with his brother.
Here they are reunited at the Hollywood Palace in 1965. Fayard is 51.
How wonderful they are. How angry I remain at this larger context and history.
Finally to end, and to end on the wonderful just as the talk did, the most wonderful routine of all (of all!) from Stormy Weather, which we are lucky enough to have tickets to see on the big screen on Sunday!
I am going to learn to tap dance. I will not be good, but perhaps I might come to express some of my joy with my feet in such a way…
Headed down to the Old Malt House in Bristol yesterday to catch a piece of the Bristol Radical Film Festival — the programme of shorts. With over 2000 submissions, the films they chose were wonderful indeed. In many ways short films face the same challenges as short stories — creating something to hold the attention, convey a message. To open up a character in a very short amount of time, or perhaps rather than a character a city, an aspect of human nature or action. These last featured in the opening film One Million Steps (Eva Stoltz), and this turned out to be my favourite. In truth what I loved most, though, was the feeling of the whole, seeing so many different kinds of film exploring various aspects of resistance. Still, this was brilliant and beautiful and expressive of so much in a very unique way.
An exploration of a city and its people through the sharing of the unexpected joy that dance can bring in the face of poverty and the destruction of the old and beautiful to make way for neoliberal development. From their website:
“Rhythm as a universal language, inspired us to meet with a city and its habitants through the rhythms of the steps we take in our lives. We chose Istanbul as our destination, a city of extreme contrasts that is over 2000 years old and subject to the expansion of a neo-liberal economy. What pressures does this generate? What becomes visible when we look at the daily steps and movements of the habitants?
With a small crew, we filmed for a week in April 2013. End of May 2013 country wide protests broke out and our initial questions suddenly became visible and audible everywhere. Not only did the movements of the people in the streets change – protesters and policemen pressing through the streets, people occupying a park to prevent it from demolition, banging pots and pans out of windows at 9pm – but people seemed to ask themselves different questions: how will this continue? How do I want to live and relate to my fellow citizens? What will be my next step?
Through the changing sounds and movements in the city, we felt a peaceful and creative resistance against a system that has alienated itself from the people and their needs. In the film we see through the eyes of the dancer how people reclaim their living space and fight for a piece of freedom. The dancer is a-political and playful at first, but then she discovers her affinity with the people in the protest and uses her dance as a powerful expression of solidarity.
There is so much here about life, music, daily resistance and extraordinary moments of resistance. So much about what it means to live with the destruction of neighborhoods as context — a blog post on the Istanbul places lost since filming is here.
This was followed by Silent Country (James Wren), a look at the future where even Bristish-born children of immigrant parents are being hunted down. I found it quite gripping — also curious that in the discussion afterwards some expressed that it needed exposition at the opening to set the scene, and that it was confusing. The curious thing is that Mark and I thought perhaps there was too much.
The Tomatoes Tree (Armin Mobasseri) — the struggle of two immigrants to cross the next border, the jokes and small talk of travel and the amazing contrast of this journey with that of the tourists wandering around taking pictures with their ipads.
No Te Conozco, Pero Te Necesito Para Cambiar El Mundo [I don’t Know You, But I Need You to Change the World] (Libres Films) — A wonderful short documentary on Rexiste, a political action group using art and action to challenge power in Mexico. I watched this and realised suddenly how many opportunities we missed when we were organising in LA, to use film to expand our strategies and our solidarity. Also, drones are being used in fascinating ways. But I could imagine the ladies breaking out the stencils after seeing this.
Cthulu Regio Entropy (Flavio Carvalho) — This one minute film is awesome with its accompanying text, bewildering without. ‘A probe launched. A flyby over ‘Cthulhu Regio’ in Pluto. Data lost.‘
The Movement (Shawn Antoine) — on the Black Lives Movement, but it gave too much time to the white lady talking about all lives matter, the footage from only one small protest…
Streets of Parliament (Lottie O’Connell) — I liked this combination of footage and views across East London. Not just because I love East London. But I sought what I knew in the montage, and thought it fit in well with the other types of short we were watching…
Pirates are the Best Customers (Alex Lungu) — I love infographicky sorts of things, and this was interesting enough, but if anything could have been said not quite to fit, it was this. That bit where the corporate executive is bouncing off the artists like a trampoline though? Amazing.
Austerity (Ranos Gavris) — a powerful short film returning to the world of narrative, character and resistance, a very slow, moving view into the meaning of crisis in Greece. The director was there, as well, and it was good to hear him speak about it.
Tree (Director: Sadegh Akbari, ArtDirector: Mohammad Zare, Storyboard: Masoud Sabahi) — I loved this animation, it was a brilliant way to end. There is nothing online about it, but here is a view of the story board
And the animation itself…
It’s very short, wholly darkly unexpected.
Short film is such an amazing media, I really need to remember to take more time, seek more of it out.
Julie Johnson’s book The Memory Factory: The Forgotten Women Artists of Vienna 1900 is wonderful. She writes:
The Memory Factory, refers to Vienna as a site for fabricating history. Vienna was indeed a place where intellectuals and artists ‘thought with history,’ and participated in providing their own historical narratives (P 3, quoting Schorske 1998).
I’m working on writing something on Vienna, and everything written about fin-de-siecle Vienna is about men. Men, men, more famous men. There are some mentions of the women who stand by them but mostly those who betray them. God, that Alma Mahler. There is a sprinkling of mothers. It wouldn’t be surprising if women couldn’t flourish in the arts in such a climate of misogyny as Johnson details on these pages (and that is detailed on many another page, believe you me).
But they did. A splendid few, their work is amazing. This is a book that looks both in depth at their work, its connections to a wider modernist movement and to the art of Vienna of the period, an art book. But it also looks at how these women have been removed from the canon, removed from accounts of Vienna, removed from galleries, and erased from our understanding of the past. She quotes Trouillot’s work on the erasures of the Haitian Revolution, which is one of the books I love most. That is about erasure of resistance to Empire and white supremacy. There is a whole field of work on the erasure of women I did not yet know. There is Joan W. Scott, who
believes all history writing depends upon identification — a selective delving into the past–in a process that uses fantasy to create coherence out of chaos. The repetitions or ‘echoes,’ of history are part of this process: there are inevitable distortions that occur over time and over the generations, but identification is required for these repetitions to take place. This is as true for the established canon as it is for new research on women artists. (4)
These repetitions are key in building understandings of history. The amount of work on certain artists and pieces adds to their aura and position, which can become so exaggerated that others are erased. The Memory Factory.
Such examples from the discipline of art history support the proposal of some historians that memory is by definition repetition. (4)
There opens a memory gap where women’s participation slowly becomes invisible — how else to explain the false understanding that women did not exhibit art publicly in fin-de-siecle Vienna when arguably they were more prominent then than they often are now? That astonishes me, actually. This is not a project rescuing competent artists who were never enough appreciated because of their gender, though that would be worth doing. Nor is it fighting for wider appreciation of more ‘feminine’ and interior domestic scenes as high art the way Griselda Pollock and Linda Nochlin’s separate spheres model is used to explain the aesthetics of Morisot and Cassatt. In Vienna, it is a project uncovering works of astonishing strength and power that were much admired and displayed and copied in their time. It’s uncovering modernist art of landscapes, nudes, still lifes, challenging portraits…nothing in short, that does not achieve excellence within the very male canon.
Their loss from descriptions of Vienna’s fin-de-siecle glory is rooted not just in misogyny, but also in Vienna’s antisemitism and all of WWII’s erasures. A fascinating example of how much was lost is that in 1977 an exhibition of women artists from the Renaissance to the 1950s was held in Vienna, that was
credited with launching new research that has led to changes in the canon, now visible in the inclusion of women artists in survey books and virtual memory systems for students of art history.
It took them 5 years and the women described it as starting from scratch. In 1910 a very similar exhibition was held and very successfully, bringing together art from around Europe as well as showcasing working artists. It was put together in only 6 months…between these two dates there was clearly an erasure, not least of the documentation of the earlier exhibition.
So it is not just in the processes of creating memory we must look, but on the processes that erase it, how women have been excluded.
Another interesting note? Over one-third of the Kunstschau exhibitors in 1908 were women, as were members of Schiele’s Neukunstgroup in 1909. (164) For Museum of Modern Art’s International Survey of Painting and Sculpture in 1984, only ten percent were women. (247)
The exclusion of women from art’s history appears to have been favourable for men’s prominence in major exhibitions.
There are some interesting concepts of identity and the way gender parallels race as well:
Kutluh Ataman, one of many contemporary artists who deal with how race is represented, has put it aptly: “I do not think identity belongs to the individual. Identity is like a jacket. People you never see will make it and you wear it. Identity is something other than you, outside of you. It’s a question of perception. You can be aware of it and manipulate it, play with it, amplify it, or mask it for infinite reasons.” (10)
For Eleanor Heartney, identity
is like a reflection in still water–it is only clearly visible until you reach out and try to grasp it in your hand.
I rather like those two, I need to think more about them.
I also realised I will throw around the words modern and Modernism occasionally, but have never been entirely sure what official (and I am sure contested) definitions of those might be as it is not especially my field. So I found it interesting that Vienna is
characterized as birthplace of modernism, but only in fields outside the history of art–in cultural studies, philosophy, science, music, psychology, architecture, and literature… By Modernism with a capital M, I refer to the doctrine articulated best by Clement Greenberg: that the best art is self-critical about its own medium and is autonomous.(10)
Thus material takes precedence over subject, so for Greenberg Manet is the 1st Modernist painter as the paint came first for him — Klimt on the other hand uses allegory, combination of abstraction and naturalistic bodies.
By “autonomy” Greenberg meant freedom from social context and politics. This is why the white cube space of the art gallery is so well suited to sowing modernist works–it removes them into an aesthetic vacuum, where the works relate to each other in a historical progression. (11)
Freedom from context and politics… that is quite fascinating as a definition as well, that wouldn’t have occurred to me though in thinking about art for arts sake and views of the life and role of the artist I see it has been there lurking in my head to some extent all the time. Aesthetically some of the most prominent women, Koller, Luksch-Makowsky, Funke and Blau are clearly part of and pushing the modernist canon, though as women they have been systematically left out of it.
The idea that women were not part of Modernism, and only became important public artists in the postmodern phase, had become a truism in the history of art by 1986. This study aims to correct that misperception. (13)
And it does, artist by artist.
She had a significant public exhibition record, was given a studio in the prater (a beautiful central park) where the World Exhibition had been held together with another (male) artist named Schindler, in 1879 it became all her own. She was singled out by Prince Regent Luitpold and he regularly visited her there.
It’s important to remember that artists in Vienna never saw themselves as breaking away politically from anything at all. As Johnson remarks later.
Unlike Berlin, where a rift between the avant-garde and the government was an expected part of life, in Vienna the approval of the emperor was a crucial endorsement.
Tina Blau won this endorsement, thus she was envied by her peers and former teacher Shaeffer (who again and again is seen to be working to denigrate his female students and bury their work away from public gaze). He even describes her in a rather nasty review as the student of Schindler, when he knew better as her actual teacher that the artists had simply shared studio space. She was innovative and brought impressionism to Vienna, had pictures rejected by the Kunstlerhaus as being too progressive, drew amazing landscapes, was very successful in Paris — yet never seen as part of movement. Johnson argues part of that was the mythologies created by the secession artists themselves around father-son relationships, and brotherhood. They couldn’t bear the idea of a mother-son relationship in art, so Blau could not be seen as an early forerunner of their movement or part of Modernism itself.
Yet Spring in the Prater — and all of her paintings — are wondrous. This was bought by the emperor.
Above all I love that her paintings show women in public space and unlike the men, she shows they could inhabit public space without being whores. A number of the artists who are women do that. I wonder if that was infuriating.
She was retiring, never wanted her work associated with gender, but did attempt in her 50s to correct misperceptions of her life and work. She taught at the Art School for Women and Girls, and one of her students was Rosa Mayreder, one of the most well-known feminists of the time, who published a wonderful review of her work. Tina Blau responded thus, in a way that breaks my heart a little but emphasises why reviewing people’s work is very important indeed even beyond the highlighting of excellence and the repetitions that ensure work is known and remembered:
…no one has written like you have, and I will read your article again when I am sad and depressed about the lack of success that I was supposed to get used to and that I did get used too: and then I would agree with you, that my way of being carries some of the blame. (37)
A street was named after her. When she died in 1916, numerous celebrations of her life were held, and in 1933 there was a retrospective exhibition.
Then in 1938 all her paintings removed from galleries as she was a Jew. The street name changed, her name was erased. And then there were those constructing the histories of art in this period, influential art critic Julius Maeier-Graefe for example:
A woman with genius? The thought gives one the shivers. Unhealable sickness, a kind of elephantiasis. (26)
She had her own signature block as part of secession group of artists — her husband was a member and she worked to all intents and purposes as one also, though without voting rights. She was on their hanging and design committees for the Raumkunst installations, her work always appearing there.
She also participated in art collectives Wiener Kunst im Hause and the Wiener Werkstatte.
She was responsible for an entire issue of their in-house magazine Ver Sacrum showing her amazing woodcuts — though somehow this is an issue not reproduced in glossy collections. She drew on Russian folktales and stories for these, along with broadsheets and a whole array of crafts. This is one of her more famous paintings, and it is arresting, below is the painting as it was integrated into the 17th secession exhibition:
For all of these women, for a time, Johnson argues Vienna was cosmopolitan and diverse and actually did offer possibilities for women working as public artists. Pictures such as this one were celebrated.
And ‘public art’? These wonderful friezes:
She moved with her husband to Hamburg, and during difficult times of inflation and war, Luksch-Makowsky trapped rabbits, gardened, harvested, made everything at home.
She too excluded from histories — Johnson points out not by the Klimt group itself, but by contemporary historians.
…when she was rediscovered in the 1980s, she was described as a “painting housewife”
Johnson writes, yet
…she was a serious artist who presented her work in no fewer than forty-six art exhibitions…
Koller was a member of Klimt’s artist association (Kunstschau group), a founding member of Egon Shiele’s New Secession. She was often to be found at the Cafe Museum with Klimt, Wagner, Moser, Hoffman et al, and noted as one of ‘the greats’ in at least one diary. Her focus was much more on interiority — named by Schorske as
a key component of the aesthetic of Vienna 1900, and links developments in interior design to the psychological discoveries of Freud and innovative interior monologues of Arthur Schnitzler.
Interesting that in the 1980s, the label of domesticity and decoration seen as opposite of modernism — of interiority? They were seen as secluded, cocooned, away from the outside world and its risks. Away from the crowds. This is a difference between art emerging from Vienna and that of other key centres — for the artists of Vienna, it was all about art in life, art as part of life.
Klimt, in his opening speech for Kunstschau 1908, declared the unity of his group and their belief that:
no area of human life was too insignificant or narrow to offer space for artistic striving, that in the words of Morris, even the most unseemly thing, when it is perfectly made, adds to the beauty of this earth, and that progress in culture is founded on permeating life with artistic intention.
where reason prevailed, unlike the crowds of the street. In Bahr’s scenario, the interior was gendered as masculine and calm while the exterior figured as feminine and unruly, dominated by the unknowing masses. This is the opposite of the Baudelairean vision of public and private, masculine and feminine domains… (134)
Again to return to the interesting division between this kind of view and its inclusion of craft and decorative detail and that of more traditionally understood ‘Modernism’ (I know I need to dig more here into how other people understand this) as opposed to this, where instead:
the decorative, the add-on, the nonessential, and the detail’ as ‘the foil for Modernism, which was seen as adventurous, daring, out in the world, and an art that is avant-garde, autonomous, essential, and self-critical’
For Koller there was no such binary really. And look at these:
The female nude was a genre that allowed the avant-garde to distinguish themselves from conservative artists in the nineteeth century. It became a vehicle for making claims to the new, which Modernist artists often did…
I love this painting, how different this slightly awkward pose, this returned gaze between model and artist — not about sex but just, ‘is this the pose you want?’ Maybe a little, ‘are you done yet?’
How better to challenge the genre? I love this one too:
The book looks at how these pictures influence Shiele, Erwin Lang, how influences of women’s art upon men are never acknowledged.
Funke was part of Matisse’s circle in Paris, lived in an apartment building there with Gertrude and Leon Stein. She enjoyed great success in Vienna, but survived the years of inflation and war by becoming a cleaning lady. Fauvist art is not perhaps my favourite, but she was a brilliant artist on the cutting edge of that tradition working there in Vienna, exhibiting there in Vienna, celebrated in Vienna. Then forgotten.
I love this one though, playfully responding to the art of male gazes and women on display.
Ries’s fortune was made when the emperor himself singled out her statue of ‘The Witch’ during an exhibition, and asked to speak to her. Critics quickly changed their opinions of a female sculptor.
The witch is uncanny and truly splendid.
Her Eve is beautiful as well.
The Prince of Lichtenstein allowed her to use a grand suite of rooms next to his picture gallery as her studio. Being Jewish, this studio was later plundered, her history erased, and her statues hacked and defaced.
Better to remember the ugliness of which fascists are capable, but Teresa Ries at her best. Her Lucifer, sculpted years before Rodin’s Thinker:
Like here in her studio with Mark Twain.
There was Olga Wisinger-Florian, an accomplished impressionist painter herself after a career as a pianist was cut short by an injury to her hand. I love this painting:
More women in public space, talking amongst themselves, not being whores. Wisinger-Florian exhibited widely both in Vienna and Europe, and worked tirelessly to promote the exhibition of women’s paintings. With Marianne Eschenberg she formed the ‘8 Women Artists’ in 1901, curating a highly successful exhibition at the Salon Pisko. They would hold annual exhibitions. She was also active in the Association of Women Writers and Artists of Vienna (VSKW) founded in 1885, formed to ‘promote professional interest and eventually to offer a pension plan for women artists in need.’ This parallel the self-help offer of men-only artists unions.
There was the Art School of Women and Girls, where Tina Blau and a number of secessionist artists taught. Its graduates formed the Radierclub Wiener Künstlerinnen, or Print Club of Women Artists in 1903, ‘to promote the arts of printmaking in Austria and “win new friends” for the graphic arts by publishing original hand-pulled prints in affordable portfolios.’
I adore their logo.
There was the Association of Women Artists (VBKÖ), founded in 1908 and recognised and supported by the State as an art association. Interestingly, many of the women, both in the exhibitions held by the VBKÖ and ‘8 Women Artists’ felt ambivalent about them, hoping they would act more as a key to opening up the men-only artist groups to women’s membership rather than remaining as separate and gendered institutions. As Johnson writes of the VBKÖ, ‘The group wanted to prove that being separate was a mistake…If the exhibition were successful, the VBKÖ would “no longer be necessary.”‘ (278)
They faced a great challenge, however, despite the success of some in exhibiting alongside men. Above all the strange layers of misogyny floating around Vienna at the time. One of the most curious that of Otto Weininger, who wrote Sex and Character as a thesis that barely passed, but became a huge publishing success in 1903. He had a strange, partly even possibly progressive argument that everyone had some masculine and feminine essence within them through gendered plasma particles coursing through the bloodstream (crikey), but that genius and intellect alone belonged to the male. So successful women ‘were actually dominated by the “M,” or masculine, substance. Something in between a man and a woman.
There were other ideas about how painting was similar to applying makeup, which attracted women to it and defined their painting technique. There is also the narcissism of themselves on display, the love of gaudy colour and fabric. One reviewer of the 1910 retrospective of women’s art described how the pictures seduced the ‘unsuspecting male’.
He credited members of the installation committee with “feminine slyness and clever calculation” in their ability to “capture the visitor…Before a critical word has formed on the lips, a conciliatory, friendly, receptive mood has been awakened in the spectator. (318)
Adolf Loos himself in his polemics against the ornamental and decorative wrote:
Whenever I abuse the object of daily use by ornamenting it, I shorten its life span . . . subject to fashion, it dies sooner. Only the whim and ambition of women can be responsible for the murder of this material. (322)
Which makes you hate him. But then, surprisingly, he also comes around with the argument that:
Ornament is something that must be overcome…But we are approaching a new and greater time. No longer by an appeal to sensuality, but rather by economic independence earned through work will the woman bring about her equal status with the man. The woman’s value or lack of value will no longer fall or rise according to the fluctuation of sensuality. Then velvet and silk, flowers and ribbons, feathers and paint will fail to have their effect. They will disappear. (80)
This conversation ended with the Nazis. Johnson writes by 1945,
approximately three generations of women artists had been — for racist or political reasons, rarely aesthetic ones — erased, driven into exile, deported to concentration camps, their works removed from museum walls and public settings. (337)
This was the destruction of both women’s artwork, and women themselves, as well as the history of women as public artists. Only in 1988 did Austria recognise it was not just a victim of the Nazis, but participated in their cleansings. Given that many of the same collaborating artists, museum personnel and critics continued operating there was little hope of recuperating and recovering women’s art removed from walls and studios, much less that of Jewish women. It seemed that it has been many of their children who have worked hardest to save what could be saved, and to bring their work to the public once again.
The highlighting and constant repetition of certain stories of art in Vienna, the functioning of the memory factory, meant the silencing of others. There is so much here both in terms of extraordinary art, but also around memory and forgetting, historiography, identity… wonderful.
[Johnson, Julie M. (2012) The Memory Factory: The Forgotten Women Artists of Vienna 1900. West Lafayette, IN: Perdue University Press.]
Artists and Empire, the Tate’s description of the point of it:
At its height the British Empire was the largest empire in history and the most influential global power. originating with a few overseas possessions and trading posts, it grew to encompass dominions, colonies and protectorates rules or administered by the United Kingdom. In 1922 the Empire covered almost a quarter of the world’s total land area; by the end of the century it had diminished to just a few overseas territories. During this contraction, ‘Empire; became a highly provocative term.Its history of war, conquest and appropriation is difficult, even painful, to address but its legacy is everywhere: not just in public monuments, but in social structures, culture and in the fault lines of contemporary global politics.
This is what the booklet says. No slavery. Empire become provocative only as it contracts? It seems unlikely that a project of Empire was not provocative at all times, especially amongst those being Empired. The blurb on the website is slightly different:
In 21st century Britain, ‘empire’ is highly provocative. Its histories of war, conquest and slavery are difficult and painful to address but its legacy is everywhere and affects us all. Artist and Empire brings together extraordinary and unexpected works to explore how artists from Britain and around the world have responded to the dramas, tragedies and experiences of the Empire.
A bit better, that. Hard for Britain to do, but something that must be done. It was a thought provoking collection. It mostly filled me with rage, sat with nausea in my stomach. I confess, though, that is knowledge and rage I myself brought in through the door. I am not sure that there was too much open critique offered of Empire here in the Tate Britain, founded by Sir Henry Tate with all of his money from sugar grown in the colonies by slaves. From comments by the elderly middle class people seeing the exhibit with me, I got little sense there was too much critique going on in their minds either. Even though they sat staring at art deriving from a history of murder, occupation, exploitation, enslavement, genocide, extinction. Fairly neutrally curated given the subject.
So there were curiously neutral descriptions of paintings like this one:
‘Portrait of Poedua 1777-85’ by John Webber. The caption on the wall went on to say that she was painted by Webber while being held captive by Captain Cook, a hostage to force her father to round up some runaway sailors.
So this guy took a women being held against her will, stripped her, wrapped her in a rather British sheet and painted her.
But I am ahead of myself. I found the first two rooms most interesting, though the last room was my favourite. But we shall start with 1. Mapping and Marking. Because I love maps. And it behooves me not to forget just how they were used to control not just territories but also how we think about them. This was a stunning example of London at the centre of the world, and its lines of communication (England’s empire in Red):
They also had Crane’s map of Empire — from before the real ‘scramble’ for Africa, so it’s not quite as pink as the later map above.
I also learned that when Charles II married Catherine of Braganza (Portugal) in 1661, he got with her Bombay and Tangiers. They were painted and etched meticulously for him, fortifications and all.
A picture of bucanneers, explorers, men I once knew as heroes Cavendish, Drake and Hawkins (that guy who chose to have a slave as part of his new coat of arms given his promotion by Elizabeth I). These were not display.
2. Trophies of Empire — the art, artefacts, and natural history. I love natural history. Again, force myself to remember what so much of these beautiful paintings of flora and fauna mean — the control and exploitation of nature, the constant ‘discovery’ of what native peoples knew already even as their knowledge was being erased. This history was present here to some extent.
In light of this, this portrait of Banks becomes chilling — such a key figure in botany, part of Cook’s voyage, President of the Royal Society, here wrapped in a cloak from his travels to the South Pacific, more exotic weapons collected beside him…these too were to be found here on display.
The collection of wild animals, the founding of zoos. The beginnings of collections such as that at the Grant Museum of Zoology.
3. Imperial Heroics. This is a rather disgusting room, but what is fascinating is just how many last stands there are. Not of those peoples fighting for their homes and sovereignty, but of British soldiers being brave. Being portrayed as the victims. Being shown as the face of determined masculine civilization standing against the savage. I think this needed a bit more reframing, as these pictures tend to reinforce the dominant narrative of Empire. I liked the mocking installation of such narratives in the centre of the room, but it wasn’t really calculated to awaken the consciences of the people sharing the room with me I thought.
There was some interesting looks here at ‘historical’ paintings though, a lot of them focusing on Mysore, the war of conquest there repainted in a very different way, particularly this scene of a ‘kindly’ taking of hostages.
Robert Home has even painted himself into the canvas as an eyewitness. This was most interesting, this claim of authenticity and this stamp of one version of events over something that was clearly of a very different nature.
4. Power Dressing? The appropriations and subversions of European dress were interesting, but Europeans decking themselves out in the finery of colonised peoples? We still see that every day.
5. Face to Face — portraits, and some chilling ones. Both European looks at the ‘other’ but some very welcome looks back at Europeans. I particularly loved this view of Queen Victoria.
I particularly hated the portraits made for Queen Victoria’s collection so she could better know her Indian subjects, though they were beautifully done. One of them forms the exhibition’s marketing materials. Men brought over for an exhibition of traditional crafts, though they were in fact trained in those crafts while in a Colonial prison.
6. Out of Empire and Legacies of Empire
Art of the diaspora, critical art, quite wonderful art. ‘Trophies of Empire’ by Guyanese Donald Locke, his compatriot Aubrey Williams’ powerful work. Sonia Boyce, Avinash Chandra, Ronald Moody, Ben Enwonwu and others. A very good way to end the thing I think, it left me liking it more than I expected, expelled some of the anger building up as I wandered through the rooms.
One of my favourite things — the title of Sonia Boyce’s ‘Lay Back, Keep Quiet and Think of What Made Britain So Great’ (1986).
I found the exhibition overall immensely thought provoking and moving — yet the presence of many of these objects in a British museum at all is a problematic thing, particularly for the objects of art and worship that were stolen, like the beautiful heads from Benin. A lot of this shit needs to be given back. Their very presence shows there is a lot more needing doing than just facing the past, so while this call for restitution had some voice here it was oddly discordant with the rest. Walking through, I did find these objects a powerful way to understand better the nature and impact of empire, even knowing their presence here in London is a troubling legacy of empire itself.
Particularly emotive given my own recent interests were the donations of several statues of beautiful African art by Sierra Leonan Krios — descendants of former slaves and Black men who fought for the British in the American Revolution, all sent by English abolitionists to colonise a piece of Africa. Their history was missing from this, I brought it with me. On one of the pieces donated, it noted the intent of the donation was probably as an attempt to show the richness of African culture to a European audience. An effort to find empathy, respect, understanding.
I found that donation encapsulates many of the complexities of empire, of museums, of just such collections as this. It did indeed face Britain’s Imperial Past, was even perhaps more critical than I might have expected given the probable pressures to refrain from critique. But it remained something of a mixed message, and in too many ways Britain still isn’t truly facing its Imperial Past.
A visual autobiography…I loved this idea of Otto Neurath’s.
Watching an old black & white 1950s documentary on housing in London, it struck me greatly when they showed graphics like the one below on the screen, talked about something they called isotype in a way that made it seem like a new technology that was being mobilized to understand and change the world.
What struck me most is that as organizers and popular educators in the oughts, we sought to create such graphics all the time (though never creating anything quite so professional I confess). Yet I’d never heard that word before.
I looked it up.
Isotype — International System of TYpographic Picture Education, initially known as the Vienna Method of Pictorial Statistics (Wiener Methode der Bildstatistik). Developed at the Gesellschafts- und Wirtschaftsmuseum in Wien between 1925 and 1934 — interrupted by the rise of fascism in Austria and Neurath’s and other collaborators’ move to the UK. Found this book. Found that a technology for social change is what Otto Neurath always meant isotype to be, though he thought of it and described it more in the terms of his own day’s idealism and with sometimes unfortunate phrasing.
Also, it might be confirmed that, if you start with visual material, problems which are usually dealt with at a higher level can be discussed within the curriculum at a lower level of education. One of the advantages of this is that people can remain in contact with certain problems throughout a much longer period of their lives. (6)
The point is that making information visual in this way allows us both to understand it better, and to open up meaningful discussion on key issues to forums beyond a handful of experts — and even they may have failed to fully grasp the facts. This in turn is key to any meaningful democracy.
Therefore, whenever the fate of individuals and communities is at stake, we need some comprehensive knowledge to help us make our own decisions. It is for this that I think visual aids are so important, especially when we wish to educate ourselves and others in citizenship. (7)
I kept thinking the phrasing is often not quite what I like, partly the period, partly language and culture and class gaps. Yet his commitment to graphics emerges from a desire to facilitate people looking at their own reality, and then thinking and making decisions about it for themselves. It is also clear that part of this is because the very process of transmitting expert knowledge is not a neutral one. Neurath’s words doesn’t quite nail the issues with it the way Freire does, but grapples with some of the same questions.
Teaching habits, whether we are acting as schoolmasters or museum directors, are often dangerous. Such habits might tempt persons in power to present what they themselves like… (7)
Yet he isn’t quite able to see a world where we all have bias, even when we draw pictures based on just the ‘facts’.
The few remarks I have made here may suffice to explain what Isotype sets out to provide for the masses of citizens who want to learn simple things in a human way and without bias, so that they are stimulated to further reading and museum visiting. (114)
And his goals — I may love these goals, but wonder why he has chosen them for mention above ending poverty, increasing direct democracy, fighting fascism, improving life.
Still, in the end it is a wonderfully visionary and utopian ideal behind all this effort, behind this creation of a visual language for making complexity more immediately graspable that does not rely on spoken language or literacy to show people things as they are.
But there is perhaps a chance that visual communication will play its part in the creation of a brotherhood of man, for it can help to bridge many gaps and reduce some of the sources of antagonism. I should like to take my share of the cooperative work, thinking of the possibilities that lie ahead, while tending to the tasks of today. (8)
I share many of these ideals of communication through visual means, believe in using my many years of work and study to help sift information, understand it, convert it into a graphic form (or work with someone more graphically skilled to do so) that best represents the facts as I have done my best to understand them. This is long and hard — just the way conveying an idea or proposal in one hundred words is so much harder than conveying it in 500. You have to have complete clarity on what you are trying to convey, on what is most important.
Yet it never occurred to me to try to create a universal visual language. I rather love this vision, and initially it made perfect sense. But then I thought about it, and realised as much through his visual autobiography as anything that probably much much of our taste and understanding of pictures emerges from our time and place and culture. How much the images you chose should reflect the people you are trying to reach. Neurath writes:
One of our museum slogans in Vienna was: ‘Words divide, pictures unite’. (126)
Interesting, and perhaps more true than false, but I am not entirely sure. Just imagine depictions of ‘home’, and how much that might differ across countries and cultures.
But to return to the subtitle…what is his visual autobiography? Too complex to capture here, but a wonderful collection of things…
Stickers he knew as shinies, stamps, maps, instruction sheets for building blocks, paper buildings and dolls with whole wardrobes. Berghaus’ PhysikalischerAtlas.
Always he loves pictures that capture information, that transmit knowledge, the more knowledge in the simpler the line and more arresting the graphic the better.
He talks of beautiful etchings of birds and plants, colour-coded maps of military movements
It is not realistic depictions he favours, but what best transmits an idea, gives an overview without need of words.This is particularly interesting I think.
Again and again I felt that the orthodox perspective is somewhat anti-symbolic, putting the onlooker in a privileged position. A perspective drawing fixed from the point from which I had to look, whereas I wanted to be free to look from wherever I chose. (49)
He loves the details abounding in Hogarth:
Egyptian wall paintings
He later writes:
I revive some of the feelings I had when looking at Egyptian wall-paintings, but without the sad undertone: pageantry for the dead. No–now it is pageantry for the living, for people of every kind throughout the world, whatever way of life they may accept, whatever creed they profess of reject, whatever their colour, whatever language they use. (126)
he shares these amazing visual mnemonics from 1808:
At the end there is just a collection of images Neurath had collected after fleeing Austria. I particularly loved these:
All of these things fed into the creation of isotype’s visual language, the attempt to create a new language all together through scientific study, observation and testing.
I think we were the first to evolve a theoretical framework of visualization, which started from a few observations but later on covered a wide field of experience, applying what we had learnt from the behaviour of pupils in schools and visitors to exhibitions, and of course everything one could learn from the literature concerned with visual problems. (103)
One of the key artists Otto Neurath worked with to develop pictograms and the language of Isotype was Gerd Arntz, a google search on his name shows something like this:
These figures — or figures like them are now so familiar. Their impact is clearly visible in the US as well, in graphics like these I found in Cayton and Drake’s Black Metropolis on Chicago — their use pushed this book to one of my very favourite sociological studies as one of the most helpful to the people it studied:
Similar is a pamphlet emerging (somewhat surprisingly perhaps) from the Truman Administration on racism in 1946:
I think these show just how powerful numbers can be when translated into images, and how they can educate the school-educated and non-educated alike, while serving as a call to action. And this as well:
…at least I may be allowed to express my personal hope that the increasing speed of Isotype may perhaps be symptomatic of the spread of certain general trends towards a cosmopolitan attitude, a commonwealth of men connected in a human brotherhood and human orchestration. (126)
Of all the different figures who formed part of the Situationist International, Asger Jorn is the one who resonates the least with me, and even so, McKenzie Wark managed to make him interesting. Wark will write something like this, and I’ll think hm, maybe I should read that guy Jorn:
The suns around which Jorn’s thought orbits are, as for so many others, Darwin, Nietzsche and Marx, although his path was more elliptical than most. The Marxist in Jorn expects capitalism to collapse, but not through class struggle so much as ontological struggle. Its inability to grasp its own nature condemns it. For Jorn, “the socialist way of life is the natural way of life.”9 (120)
There is this too:
The working class is present in Jorn. Unlike bourgeois economics, he does not want to hide them away behind the surface-effects of exchange. Rather, he shifts attention away from exchange to production; not to production as quantity, but production as quality, as difference. The key to this is not labor as the universal content of value, but form as difference, as the production of differences. Labor may be the content of value, but creation is its form. There is both a laboring class and a creating class. Capitalism is the alienation of labor from creation.
In short: substance is value, value is process, and process is difference. (206)
Even in this there is something, I’m not quite sure I know what it is, but it seems worth struggling a bit with. We are alienated from creation and creativity in our work, this is part of what we are fighting for. Both Marx and Morris tried to return creation to labour, and there is something of importance here I think.
That last sentence though, I just don’t know what it means. But it’s the challenging kind of not knowing that pushes my thinking outwards, which I like very much, not the obfuscation that makes me write people off.
Important to note, of course, what I don’t like at all about Jorn:
Jorn’s is perhaps a perverse kind of Leninism. It is not the party that brings class consciousness to the workers from without, but bohemia. The nucleus of a radical form of action is not the specialists in political praxis, but the connoisseurs of the free use of time (Gilles and Carole, wandering the labyrinth of the city at night). Theirs is not a politics of work, but an aesthetics of leisure. (209-210)
I feel many ‘bohemians’ suffer from just such a misapprehension. I’m in a bit of mood today having just finished my article for Salvageon the situationist’s abandonment of their Algerian comrades, for which I’ve been reading all of this when I had some time ago all but written them off. I’m glad I didn’t, but that kind of presumption makes me want to do some damage. Pain and poverty are too real. Last night we heard Linton Kwesi Johnson say that poetry would never itself create change, that art does nothing to stop injustice. It is action and struggle that change the world.
The relationship between art and revolution, the finding of voice long oppressed and silenced, the sharing of it with others, the supporting and inspiring of movement and solidarity, the catharsis through shared anger and screaming, the whispering of hope — these are not small things, unimportant things. They rarely emerge from bohemia and the art of ‘free time’, just as Asger Jorn is no Linton Kwesi Johnson.
So it is worth returning to Jorn after that?
If there is a Situationist praxis, it has to take time in a quite different sense to a Marxist one. It is not just that capital quantifies time and cheats the worker of the value of it. Rather, it is that the quantification of time suppresses the qualitative aspect of the transformation of one substance into another. The slogan “live without dead time” comes to mean something quite specific here. It is not that the situation is the spontaneous irruption of a pure event, severing all ties with the past, freeing itself from the grip of technologies, built spaces, all the massive forms of dead labor. (212-213)
There is still something here. Something we have to free in ourselves, transform in ourselves. Something signified here, but that I don’t think Jorn will help many to find it. I think I myself will go looking somewhere else. But in the one quote of his that caught my attention, I did like his recognition that there are no true breaks for us, and that culture grows from all that has come before.
In formulating an irrational architecture, leaving out these capital facts would be unthinkable. It is easy and undoubtedly amusing to come up with new ideas opposed to the previous ones, but culture consists in just the opposite: it is the continual education and transformation of pre-existing phenomena. (54)
Excerpts from Image and Form, Asger Jorn, 1954 (Situationists and the City, Tom McDonaugh)
Oppressed peoples, though, it is worth remarking, often have more layers of culture to draw from as they negotiate more than one world, one language, one official history.
Excerpts From: McKenzie Wark. “The Beach Beneath the Street: The Everday Life and Glorious Times of the Situationist International.” iBooks.
This collects Incredible Hulk 1-6 and Tales To Astonish 60-91, beginning in May 1962. I enjoyed it immensely, and somewhat unexpectedly, much as I enjoyed reading Captain America — and the similar trials and tribulations of the early years of a character’s introduction into the comic universe. Perhaps because what I love most is what they reveal about the process of creation, the twists and turns the superhero takes in the collective hands of each team, and the breakneck pace at which these twists and turns happen issue by issue because as good hacks really good at what they do, they never had time to slow down or think too clearly. They wrote really fast, spun out every idea to see how it worked, and if it didn’t they scrapped it and started again.
You get the sense they loved most every minute.
There are wonderful sentences like these:
But with the coming of dawn, the thing that was the Hulk, vanished, and Bruce Banner returned to normal, knowing that he was destined forever to be two people — by day, a mild-mannered intellectual–but by night, the most dangerous menace the world had ever known!
I love the exclamation points, they are everywhere. I love the fact that Bruce Banner once upon a time changed into the Hulk only at night — it is only gradually that his anger becomes the trigger. He keeps getting hit with those gamma rays you see, and the plot keeps requiring different methods of change, different triggers. For a while it was just the rays themselves. And Bruce Banner complies with it all, goes with the flow because he never has a second to think, he is too busy fighting amazing creatures, discontented men, powerful aliens and super spies. You see him go from one thing to the next before he gradually begins to settle down into the character you thought you knew.
I don’t know what could be cooler than that. You almost don’t want him to settle. The constant creation and re-creation of character around a recognizable frame, this is what I find most awesome in comics. Stan Lee and Jack Kirby, what a team…
Then there are the antics — I don’t know why this stunt on a teeter-board with all the bad guys apparently poised on one end made me quite so very happy, but it did:
Things like the the ‘world’s first nuclear absorbatron, it was built to absorb the impact of an atom bomb blast,’ or Hercules exclaiming ‘By the Zesty Zither of Zeus!’ also filled me with pure joy. As did the raw energy and movement of Jack Kirby’s drawings — the way the images are the equals of the words in driving forward the story. It’s funny too how the Hulk shifted one way and another in the hands of different artists, from almost-Frankenstein to my least favourite, where the Hulk is at his most monkeyish. But that didn’t last for long and I can’t help but think it was Kirby taking a hand in again as he took over art direction for a while (but not the art itself).
Then there is this title page:
Beginning: A new chapter in the award-winning series that delicately poses the age-old question, “Can a green-skinned introvert, with anti-social tendencies, find happiness in a modern, materialistic society?”
These are the questions that matter….
Just communities, just cities, Just connections between country and city. Also, the weird and wonderful.