Also from politics!
Some days stay silent in the memory, other days won’t let go. I’d planned a day visiting galleries in London, and last Wednesday didn’t disappoint.
I began with the 17th century Spanish painter, Zurbaran, at the National Gallery in London. You head down a vast flight of stairs for special exhibitions. It can be a little gloomy down there, which added to the impact of the crucified Jesus in the very first room, Jesus brilliantly lit, against a black background. There’s also St Peter, crucified upside down. Objects of veneration, commissioned by Carthusian (and other) monks who had no doubts, valued immediacy not elaboration, they knew their God.
Other commissions didn’t quite match that opening room for impact. But there is magic in a small still life, lemons, oranges and a rose, with a small cup, almost real, touchable, against a stark black background. And finally, ‘Agnus Dei’, a lamb, its legs bound, as brilliantly lit as the crucified Christ, and again, a black background.
An hour later, the magic colours and serenity of a Virgin and Child, by the Dutch artist, Gerard David. Painted in 1515, two years before Martin Luther turned the world upside down and reduced the virgin to an ordinary mother: no more had she her role as a pathway to paradise.
Three centuries of turmoil pass and I’m still in the National Gallery, in the Salzkammergut. (A special exhibition which also includes Sicily.) Mountains, woods and lakes painted by the 19th century Austrian artist, Waldmüller, have a Pre-Raphaelite clarity.
I’d been reading a review on the way to town and I marked a short passage. A poet, a reviewer suggests, ‘wants to know what it sounds like when meaning gives way to the malignant jabber of history, or when it is overcome by its own futility and sinks into silence’.
I loved that phrase ‘the malignant jabber of history’. It has resonance. And dissonance. I half-believed it. And here I was several hours later enjoying paintings by artists who had time and certainty and belief on their side. Artists who were sure of their place.
‘Beware the Jabberwock, my son!/ The jaws that bite, the claws that catch!’
From the National Gallery to the Tate Modern. Two exhibitions by women artists. The morning had of course been all male. First, Tracey Emin, an exhibition by a living artist opening her life to the public gaze. I wanted to see it, but as a man I simply didn’t and don’t feel competent to comment. Better I leave to a review in the Guardian: ‘Tracey symbolises the height of the 90s, its sex, drugs and booze, successes and excesses, but this show isn’t about that. It’s about how she has put her life out there, laid herself bare – and pushed us all to come to terms with our own emotions in the process.’
It’s that level of engagement, whether or not her paintings and bronze sculptures measure up, that is extraordinary and unprecedented.
A short hop across the Tate Modern’s third floor took me to the Frida Kahlo exhibition. Again, so much hype. Another woman artist who has become iconic, but in her case, long after her death. Her self-portraits are like no others, and her clothes: I now know what rebozos (shawls) and huipiles (sleeveless blouses) – the tehuana dress that she adopted – look like. Her honesty about her disabilities is unflinching.
She lived, like Emin, exactly the way she was, totally honest, but by contrast she had all the advantages of stable family and a marriage to Diego Rivera which is a story in itself. We watched Salma Hayek as Frida in a 2002 movie a month or two ago. In truth, I learnt more from the movie than the exhibition about Frida.
What the exhibition also focuses on, maybe to excess, is her legacy, as a champion of ‘Mexicanidad’, that is, being Mexican; as an icon for feminists and the LBGTQ community; and as the subject of a quite amazing breadth of Frida-celebrating merchandise.
‘Jabber’ would be too harsh a word. But media and merchandise can fragment a legacy, take out meaning and substituting display. A sign of our times.
What no-one is trying to do, as far as I am aware, is produce Tracey Emin merchandise. The real Tracey is simply too powerful, too immediate for that.