Language can often seem inadequate for articulating thoughts about paintings. A useful word to remember is 'syncretic', which can be used to describe a complicated aspect of an artwork. Some painters have experimented with fusing disparate ideas, themes and different visual idioms to create a challenging visual puzzle. An example of this is Poussin's 'Adoration of the Shepherds' which can be seen in the National Gallery in London. During the summer, motivated by TJ Clark's book about Poussin, 'The Sight of Death', I spent an hour or so staring at this curious painting. TJ Clark refers to the need to read paintings from the details and to follow the questions that these throw-up; in Poussin's 'Adoration' the objects and characters painted immediately give rise to problems. Why is the stable set within a crumbling ancient temple? Why are putti throwing garlands of flowers on to Christ? Why is there a canephore carrying a basket of fruit to the shepherds? The painting is difficult. Recently a colleague of mine has pointed to Poussin's interest in drawing parallels between Dionysus and Christ. Dionysus too was the son of a god, Zeus and a mortal woman, Semele. The classical references that I have pointed to in 'Adoration' are all connected to Dionysus. However, this is only an interpretation. Validity for this can be checked by asking who Poussin made the work for, as these connections would not have made a more general public comfortable in the 17th century. A single patron may have shared Poussin's interests to test the boundaries of meanings and relationships. Even if true, or possible as an interpretation of this puzzle, finding a way to articulate how this syncretic painting remains a forceful and unified work is difficult. Not to mention the fact that why there is such a predominance of a clay colour is also an odd thing.
Syncretic is a word that could be used to describe Picasso's 'Les Demoiselles d'Avignon', which you might like to explore. Another interesting word which seems relevant to Poussin's 'Adoration' is liminal. What's happening between the two characters about to cross the shadowy threshold from the field into the stable?
V
1 comments:
Thanks for a great post Vaughan including some great language to help us build a suitable art history vocabulary. I love the idea that the business of looking at a work of art can be puzzling but that the ability to begin asking interesting questions is a great way to develop a conversation with it. Of course, having a good grasp of some key frameworks for these questions helps structure the conversation. It is important to understand that works of art have patrons whose tastes may influence the subject matter and visual style of the piece they have commissioned and that such works inevitably reflect the broader social, cultural and historical contexts in which they are made. Similarly, artists are conscious of their visual heritage and often refer to the art that has gone before them. Sometimes, whole cultures become fascinated by the past as in the fashion for Classical art in the 18th century (which, in turn reflected an earlier rediscovery of the art of Greece and Rome during the Renaissance). What I love about the questions you ask in relation to Poussin's painting is that they open doors to further looking and thinking. The stage setting of a classical temple for a Biblical story is intriguing, as is the presence of classical figures. I am also fascinated by the composition. Typical of Poussin is the geometric, almost mathematical sense of proportion and balance. The image is divided into three vertical bands with two triangular arrangements of figures above and below the central doorway to the the landscape beyond. The scene is quite theatrical in the use of space with foreground, middle ground and background clearly delineated. Poussin's palette is relatively high key and dominated by earth colours. The bright blue of the two cloaks won by the Virgin and canephore leap out at the viewer and suggest some kind of connection between these figures. Is the gift brought on the tray a parallel to the gift of the Christ child? The possible connection between Christ and Dionysus is really interesting and one which I am keen to explore a bit further. Given that this painting is in London I think a trip to the National gallery might be in order. If anyone is up to it, I think a further walk over to The British Museum to take a look at the Parthenon Marbles (particularly the reclining figure of Dionysus from the Eastern Pediment) might also be a good move! Let's return to some more classical and neo-classical works of art in future posts.
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