Gainsborough: The Blue Boy (c.1770)
According to D. H. Lawrence, the northern consciousness is gripped by a fear - almost a horror - of the body, especially in its sexual implications. This naturally has a detrimental effect on the plastic arts which "depend entirely on the representation of substantial bodies, and on the intuitional perception of the reality of substantial bodies".
Thus, whilst English painters are very good at painting people hidden away inside their clothes, they daren't handle the living flesh that lies beneath; the social persona becomes more important than the actual man or woman.
This may of course contain an element of truth. But isn't it also possible, as Cioran suggests, that what really terrifies is not the body in its erotico-libidinal aspect, but the body as an object prone to disease, ageing and death; that, ultimately, clothes don't serve to get between us and life in all its naked beauty, but us and nothingness ...
"Look at your body in a mirror: you will realise you are mortal; run your fingers over your ribs [...] and you will see how close you are to the grave."
Maybe that's why Hogarth, Reynolds, Gainsborough et al cared so much about painting subjects in all their finery; not simply because they were bourgeois - and not in order to deny the "gleam of the warm procreative body" - but because it's only when he has his glad rags on that man is able to entertain ideas of immortality: how can we die when we wear a pair of blue satin knee-breeches?
Notes
D. H. Lawrence, 'Introduction to Paintings', Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004). Lawrence knows that it's not the sexual body so much as the diseased body that scares the pants on people, which is why he spends most of this essay discussing the cultural and psychological consequences of syphilis [click here for a discussion of this elsewhere on this blog]. He also knows the importance of clothes, even if, as here, he likes to think flesh as more important than fashion and imply that human nakedness has greater authenticity than our sartorial splendour.
E. M. Cioran, A Short History of Decay, trans. Richard Howard, (Penguin Books, 2018). See the section entitled 'Sartorial Philosophy' in chapter 6, 'Abdications'.
Gainsborough's Blue Boy is quite clearly a costume study as well as a portrait; the shimmering blue satin of the clothes is rendered in a spectrum of cleverly calibrated tints and applied with a complexity of fine brush strokes. It's a picture in which Jonathan Buttall, the son a wealthy merchant, achieves his immortality. The work now hangs in the Huntington Library, San Marino, California.
Gainsborough's Blue Boy is quite clearly a costume study as well as a portrait; the shimmering blue satin of the clothes is rendered in a spectrum of cleverly calibrated tints and applied with a complexity of fine brush strokes. It's a picture in which Jonathan Buttall, the son a wealthy merchant, achieves his immortality. The work now hangs in the Huntington Library, San Marino, California.
Lawrence had 13 paintings seized for obscenity from the Warren Gallery. It wasn't the fact that men were wazzing on flowers etc, but the crime of depicting pubic hair. I wonder if this is because, as argued here, pubic hair is a sign of maturity and therefore one step closer to the grave?
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