Showing posts with label cornwall. Show all posts
Showing posts with label cornwall. Show all posts

13 Aug 2023

Reflections on Gauguin's La Vague (1888)

Paul Gauguin: La Vague (1888)
Oil on canvas (60.2 x 72.6 cm)
 
"As they neared the shore each wave rose, heaped itself, broke and swept a thin veil of white water 
across the vermillion sand. The sea paused, and then drew out again, sighing like a sleeper 
whose breath comes and goes unconsciously." [1]


The Little Greek is right: Gauguin's painting La Vague is an astonishing work ...

Painted whilst living in Brittany, Gauguin was as captivated by the primeval character of the North Atlantic coastline as D. H. Lawrence was during his time in Cornwall, from where he wrote the following magnificent passage:

"It is quite true what you say: the shore is absolutely primeval: those heavy, black rocks, like solid darkness, and the heavy water like a sort of first twilight breaking against them, and not changing them. It is really like the first craggy breaking of dawn in the world, a sense of the primeval darkness just behind, before the Creation. That is a very great and comforting thing to feel [...] I love to see those terrifying rocks, like solid lumps of the original darkness, quite impregnable: and then the ponderous cold light of the sea foaming up: it is marvellous. It is not sunlight. Sunlight is really firelight. This cold light of the heavy sea is really the eternal light washing against the eternal darkness, a terrific abstraction, far beyond all life, which is merely of the sun, warm. And it does one’s soul good to escape from the ugly triviality of life into this clash of two infinites one upon the other, cold and eternal." [2]
 
Having found himself an interesting vantage point from which to work [3] - one which could only be accessed during low tide - Gauguin probably made a number of preliminary sketches, before beginning the actual canvas at his lodgings. 
 
Whilst Guaguin's abiding fascination with Japanese prints is clearly evident in La Vague, he was also inspired by a young artist called Emile Bernard, who was working nearby and buzzing with creative ideas. Through his discussions with the latter, it became clear to Gauguin that it was vital to find a new (post-impressionistic) form of expression; one that was more subjective, more primitivist, more visionary, and, above all, anti-naturalist. He and Bernard would call their new conception synthétism
 
Gauguin was now free to experiment and to dream. No longer under any obligation to simply copy what he saw, he could reimagine the landscape as he deemed necessary; in La Vague, for example, the third rock (in the upper-left corner) is an invention added purely for visual effect. 
 
And, most outrageously of all in the minds of those who demand realism, Gauguin painted the sandy beach an unearthly shade of martian red, affirming his increasingly idiosyncratic sense of colour. Further to this, the bright redness of the beach also relates to an optical phenomenon that Gauguin cleverly introduced into his work:  
 
"Detectable in the surging, foamy surf, is a prismatic phenomenon, in which the water appears to separate the reflected sunlight into its component chromatic wavelengths - pale violet, blue, green, and yellow - which, completed by the vermilion sand, yields a curving, rainbow-like effect along the upper edge and right-hand side of the painting." [4]
 
Finally, perhaps the thing I most admire about Gauguin's picture (as an object-oriented philosopher) is the addition of two tiny female figures, fleeing the incoming waves which threaten to overwhelm them and possibly carry them out to sea. This just intensifies the brutal elemental power of the painting; the ancient rocks and crashing waters care nothing about human bathers, or the warm softness of their flesh. 
 
 
Notes
 
[1] A slightly modified couple of lines from the beginning of Virginia Woolf's 1931 novel The Waves
      I don't know if Woolf borrowed the title of her book from Gauguin - just as he took the title for his canvas from Hokusai’s famous woodcut The Great Wave of Kanagawa - but I do know that Roger Fry's introduction to Britain of works by Post-Impressionist painters, including Gauguin, had a significant impact on Woolf's own thinking and that The Waves might best be regarded as a work of literary abstractionism; a synthesis of poetic myth and external realism. 
      For an interesting essay on this, see Bernadette McCarthy; 'Denying the Dichotomy: Word Images in The Waves', in Cahiers victoriens et édouardiens, 64 (Université Paul-Valéry Montpellier, 2006): click here
      Readers might also be amused by a post entitled 'Virginia Woolf as Gauguin girl' (27 Dec 2013), published on Paula Maggio's blog - Blogging Woolf - which relays the tale of how Virginia and her sister, Vanessa Bell, attended a party thrown in conjunction with Roger Fry’s 1910 exhibition of Post-Impressionist painters at the Grafton Galleries, dressed as figures from Guaguin's Tahitian paintings: click here.
  
[2] These beautiful lines are in a letter written by Lawrence to J. D. Beresford, dated 1 Feb 1916. See The Letters of D. H. Lawrence, Vol. II, ed. George J. Zytaruk and James T. Boulton, (Cambridge University Press, 1981), pp. 519-520. 
 
[3] Commenting on the peculiar nature of Gauguin's vantage point, an anonymous critic writing for the British auction house Christie's notes: 
      "Gauguin often composed landscapes from elevated and other unusual vantage points, allowing him to dispense with a stabilizing horizon [...] Instead of gazing into the typically broad expanse of the landscape format, the viewer in La Vague experiences a vertiginous plunge into vertical depth, the psychological effect of which is like peering into the inner recesses of one's own emotional self." 
      Readers who are interested, can click here to read the full essay on the Christie's website. 
 
[4] Lot Essay on the Christie's website: click here.
 
 
This post is for Maria Thanassa (MLG).


3 May 2020

Gordon Ramsay and D. H. Lawrence Versus the Cornish



I.

Celebrity chef Gordon Ramsay has apparently received a warning from the Cornish Coastguard for repeated violations of the government's insane lockdown measures put in place primarily to protect the NHS even at the cost of wrecking the British economy and suspending the socio-cultural interactions of everyday life (like Peter Hitchens and other voices of dissent, I'm not convinced that these measures do anything to save lives or stem the spread of Covid-19).     

A Coastguard official told a reporter that Ramsay had been spotted 'multiple times in several places' and had even dared to seem happy and relaxed whilst out strolling on the beach with his wife, cycling on his bike around country lanes, and shopping at the local fishmongers.

Neighbours have also complained to the police of loud noise coming from the £4 million Ramsay home in Trebetherick: 'Why can't he just keep his head down, stay indoors, and be quiet like everyone else?'

Sadly, this sorry tale reveals much about the absurd yet profoundly sinister state of affairs in the UK today; overly zealous officials and fearful, resentment-ridden citizens happy to act as police informants. I'm sure the good people of Cornwall are not the only ones gripped by this viral hysteria (spread by the media), but it does remind me of another incident, in Zennor, that happened a century earlier ...


II.

The novelist and poet D. H. Lawrence lived in Cornwall for almost two years during the First World War and had high hopes of building a new life in the bare, primeval land with his wife Frieda: "When we came over the shoulder of the wild hill, above the sea, to Zennor, I felt we were coming into the Promised Land." [1]

Unfortunately, the neighbours were suspicious and eventually hostile towards this stranger who wrote controversial books and was married to a German woman. The vicar of Zennor, in particular, hated the Lawrences and was largely responsible for them being investigated by the authorities. 

They were suspected of espionage and possibly signalling to U-boats off the coast. Despite pleading their innocence, their cottage was searched (not once, but twice) and some personal papers were removed. The Lawrences were also served with a military exclusion order under the Defence of the Realm Act, forbidden them to reside in Cornwall (or any other coastal region). They were given just 72 hours to leave the county.

Naturally enough, Lawrence found all this hateful and humiliating - just as I'm sure Gordon Ramsay must find the press intrusion, public gossiping, and police snooping in the name of health and safety intolerable - and doubtless Lawrence was reinforced in his initial impression of the Cornish people, which violently veered from love to hate and back again:  

"The Cornish people still attract me. They have become detestable, I think, and yet they aren't detestable. They are, of course, strictly anti-social and unchristian. But then, the aristocratic principle and the principle of magic, to which they belonged, these two have collapsed, and left only the most ugly, scaly, insect-like, unclean selfishness, so that each one of them is like an insect isolated within its own scaly, glassy envelope, and running seeking its own small end. And how foul that is! How they stink in their repulsiveness, in that way.
      Nevertheless, the old race is still revealed, a race which believed in the darkness, in magic, and in the magic transcendency of one man over another, which is fascinating. Also there is left some of the old sensuousness of the darkness, a sort of softness, a sort of flowing together in physical intimacy, something almost negroid, which is fascinating. 
      But curse them, they are entirely mindless, and yet they are living for purely social advancement. They ought to be living in the darkness and warmth and passionateness of the blood, sudden, incalculable. Whereas they are like insects gone cold, living only for money, for dirt. They are foul in this. They ought all to die." [2]       


Kernow a'gas Dynnergh


Notes

[1] D. H. Lawrence, The Letters of D. H. Lawrence, Vol. II (1913-16), ed. George J. Zytaruk and James T. Boulton, (Cambridge University Press, 1981), letter number 1187, to Lady Ottoline Morrell (25 Feb 1916), p. 556.

[2] Ibid., letter number 1155, to J. D. Beresford (1 Feb 1916), p. 520. Amusingly, Lawrence confesses at the end of this astonishing description of the Cornish: "Not that I've seen very much of them - I've been laid up in bed."