The art of John Atkinson Grimshaw, 1836–1893

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Spirit of the Night (1879).

Few people recognise the name of John Atkinson Grimshaw today but anyone who’s bought a birthday or greeting card in Britain will have seen his Spirit of the Night fairy painting, one of a generic series he produced in the 1870s that remains very popular despite the painter’s obscurity. Grimshaw would probably be surprised by this, the fairies were a brief diversion (I like the camp Classicism of Endymion on Mount Latmus), his real enthusiasm was for depicting the gold and amber tints of an English autumn. When he wasn’t painting fallen leaves in quiet streets he was capturing the moonrise or a smoky Victorian twilight in pictures of such spectral delicacy they could easily be used as illustrations for stories by Arthur Machen. This site devoted to the artist has many more, including the fairy paintings; perfect viewing for damp and gloomy evenings.

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Autumn Morning.

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A Golden Beam.

Previously on { feuilleton }
The art of Karl Friedrich Schinkel, 1781–1841

Gay for God

thevessel.jpgSo, another week, another gay sex scandal in America… Schadenfreude levels are going through the roof with all this happening days before a critical midterm election. Latest culprit is Pastor Ted Haggard, president of the 30-million-member National Association of Evangelicals who yesterday was denying that he paid for sex with a male escort and bought drugs (yet he still resigned; er, okay…) but now seems to be fessing up, perhaps prompted by incriminating voicemails being passed to the press.

Pastor Ted claims to have the ear of the White House and has been very vocal in the past about the iniquities of gay sex. Here’s a random sample from the NAE website:

May 17, 2004

A Special Message From Pastor Ted Haggard, President

Today, homosexual couples are marrying in the Commonwealth of Massachusetts. The crisis concerning marriage is now a real and present danger to our society. Join with the National Association of Evangelicals for an important 90-minute Church Communication Network (CCN) broadcast this Sunday evening, May 23rd, 6:00-7:30 PM Mountain Daylight Time. Hear some of the nation’s leading experts on the crisis of homosexual marriage and its detrimental impact on America’s families — Dr. James Dobson, Chuck Colson, Bishop Wellington Boone and Tony Perkins — as they inform, educate, and call the Church to action.

Business-as-usual, in the world of the god-botherers, and there’s more of the same drivel here. But Pastor Ted has gone beyond mere preaching in the past, as this eye-popping Harper’s article reveals:

Pastor Ted soon began upsetting the devil’s plans. He staked out gay bars, inviting men to come to his church; his whole congregation pitched itself into invisible battles with demonic forces, sometimes in front of public buildings.

Seems like the sinful gay men may have done some inviting of their own. Then there’s this:

He called the evil forces that dominated Colorado Springs—and every other metropolitan area in the country—”Control.”

Sometimes, he says, Control would call him late on Saturday night, threatening to kill him. “Any more impertinence out of you, Ted Haggard,” he claims Control once told him, “and there will be unrelenting pandemonium in this city.”

This may be coincidence, but any reader of William Burroughs’ work will tell you that Burroughs patented the term “Control” as a name for abstract forces (human or otherwise) attempting to dominate the world. Burroughs’ work, of course, contains a lot of gay sex, often used as a means of combating that same Control.

The Harper’s article has a great description of Haggard’s World Prayer Center:

The angel’s pedestal stands at the center of a great, eight-pointed compass laid out in muted red, white, and blue-black stone. Each point directs the eye to a contemporary painting, most depicting gorgeous, muscular men—one is a blacksmith, another is bound, fetish-style, in chains—in various states of undress. My favorite is The Vessel, by Thomas Blackshear (above), a major figure in the evangelical-art world. Here in the World Prayer Center is a print of The Vessel, a tall, vertical panel of two nude, ample-breasted, white female angels team-pouring an urn of honey onto the shaved head of a naked, olive-skinned man below. The honey drips down over his slab-like pecs and his six-pack abs into the eponymous vessel, which he holds in front of his crotch. But the vessel can’t handle that much honey, so the sweetness oozes over the edges and spills down yet another level, presumably onto our heads, drenching us in golden, godly love. Part of what makes Blackshear’s work so compelling is precisely its unabashed eroticism; it aims to turn you on, and then to turn that passion toward Jesus.

In fairness to the artist, I think that’s supposed to be annointing oil they’re pouring. Blackshear’s paintings are certainly preferable to the dreadful figurines on his site, the kind of things that give kitsch a bad name. His eroticism is of the unspecified variety that one sees in Frank Frazetta’s work and which was also present in the fascist sculptures that Arno Breker produced for the Nazis. Breker was gay but Hitler managed to overlook that inconvenience, just as the evangelicals probably overlook the ambiguous qualities in Blackshear’s paintings. As Kenneth Clark says in The Nude: A Study in Ideal Form, all nude art is erotic. Or maybe that’s just “Control” speaking through us lousy perverts?

To return to Pastor Ted, I’m curious now to see how the “gay is a lifestyle choice” contingent deal with this one. The wingnuts who deny a biological component to gay attraction are going to have to accept that their noble leader willingly entered into a sinful relationship rather than being driven there by even the slightest genetic impulse. In Colorado at the moment it seems that Control has the upper hand.

Update: latest news is that Pastor Ted bought crystal meth (an addictive compound very popular among gay men when used during sex) out of curiosity. More than once. At $100 a shot. That’s an expensive curiosity habit you have there, Ted. Oh and the escort gave him a massage but they didn’t have sex, no sir. The current Congressman for Colorado is the egregious Marilyn Musgrave, a woman who recently made Rolling Stone‘s list of “10 Worst Congressmen“, and “an evangelical Christian who married her Bible-camp sweetheart”. Marilyn is down on the gay in a big way:

Once in Congress, Musgrave introduced a constitutional amendment to outlaw gay marriage — which she calls “the most important issue that we face today” — nearly a year before a Massachusetts court approved civil unions. “She doesn’t like the idea of one gay person,” says Rep. Barney Frank of Massachusetts. “So obviously the idea of two of us hanging out makes her very unhappy.” For her opposition to gay marriage — as well as her push to legalize concealed weapons — Musgrave received an endorsement from the KKK in May.

I wonder what she has to say about Pastor Ted’s curiosities?

And there’s more from the party of gay hate, with the news that the Republican National Committee has accepted donations from the president of a gay porn distribution company, Marina Pacific Distributors. I think this is what’s called sending a confusing message to the voters. Coming next (as it were), President Bush is caught being fellated by a chimpanzee in the Oval Office. Maybe.

Previously on { feuilleton }
The election Google Bomb
Why doesn’t America believe in evolution?

Rogue’s Gallery: Pirate Ballads, Sea Songs, and Chanteys

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The great Hal Willner is doing his eclectic thing again. A marvellous collection of folk ballads. Nice cover as well, from Howard Pyle’s celebrated pirate paintings.

Disc: 1
1. Cape Cod Girls—Baby Gramps
2. Mingulay Boat Song—Richard Thompson
3. My Son John—John C. Reilly
4. Fire Down Below—Nick Cave
5. Turkish Revelry—Loudon Wainwright III
6. Bully In The Alley—The Old Prunes
7. The Cruel Ship’s Captain—Bryan Ferry
8. Dead Horse—Robin Holcomb
9. Spanish Ladies—Bill Frisell
10. High Barbary—Joseph Arthur
11. Haul Away Joe—Mark Anthony Thompson
12. Dan Dan—David Thomas
13. Blood Red Roses—Sting
14. Sally Brown—Teddy Thompson
15. Lowlands Away—Rufus Wainwright & Kate McGarrigle
16. Baltimore Whores—Gavin Friday
17. Rolling Sea—Eliza McCarthy
18. Haul On The Bowline—Bob Neuwirth
19. Dying Sailor to His Shipmates—Bono
20. Bonnie Portmore—Lucinda Williams
21. The Mermaid—Martin Carthy & the UK Group
22. Shenandoah—Richard Greene & Jack Shit
23. The Cry Of Man—Mary Margaret O’Hara

Disc: 2
1. Boney—Jack Shit
2. Good Ship Venus—Loudon Wainwright III
3. Long Time Ago—White Magic
4. Pinery Boy—Nick Cave
5. Lowlands Low—Bryan Ferry w/Antony
6. One Spring Morning—Akron/Family
7. Hog Eye Man—Martin Carthy & Family
8. The Fiddler/A Drop Of Nelson’s Blood—Ricky Jay & Richard Greene
9. Caroline and Her Young Sailor Bold—Andrea Corr
10. Fathom The Bowl—John C. Reilly
11. Drunken Sailor—Dave Thomas
12. Farewell Nancy—Ed Harcourt
13. Hanging Johnny—Stan Ridgway
14. Old Man of The Sea—Baby Gramps
15. Greenland Whale Fisheries—Van Dyke Parks
16. Shallow Brown—Sting
17. The Grey Funnel Line—Jolie Holland
18. A Drop of Nelson’s Blood—Jarvis Cocker
19. Leave Her Johnny—Lou Reed
20. Little Boy Billy—Ralph Steadman

Previously on { feuilleton }
The music of The Wicker Man
Davy Jones

The apocalyptic art of Francis Danby

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The Deluge (1840).

In the days before cinema and the likes of Roland Emmerich, people had to visit galleries or see touring exhibitions of huge paintings for their fill of artistic cataclysm. I discovered some of these works on my first visit to the Tate Gallery (now Tate Britain), aged 13. I was there to see favourite pictures by the Pop artists and Surrealists and so was completely unprepared for the room of three John Martin paintings and the awesome (and enormous) The Deluge by Francis Danby (1793–1861). These were pictures that never appeared in conventional art histories although subsequent scouring of libaries revealed at least one book devoted to Martin’s scenes of Biblical destruction. Danby, on the other hand, remained obscure, and for years this single painting was the only work of his that I’d seen.

Over the years I’ve come to prefer The Deluge to many of Martin’s paintings. His figures are larger and the draughtsmanship is better, the composition is more developed and the technical qualities (despite complaints in the article below) are superb. Like many painters of this period, Danby had great skill at rendering the translucence of water and the gorgeous texture of the waves in this painting was one of the first things to strike me (something that’s impossible see in books or online reproduction). Closer examination reveals detail of a kind that Martin usually buries or ignores, from the tiny ark sailing away on the horizon, to the lion clutching desperately at a branch to escape the water. Most curious of all, in the far right the painter has stranded a pair of anomalous Biblical figures, a glowing angel and what appears to be a drowned giant. The Deluge is probably Danby’s most accomplished work so it’s good to know it remains on public display.

The following article is seventeen years old and remains the only newspaper or magazine feature I’ve seen about Danby’s work to date.

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An Attempt to illustrate the Opening of the Sixth Seal (1828).

Darkness Visible

Many of the sombre, apocalyptic works by the nineteenth-century painter Francis Danby have become darker still as the paint and varnish have deteriorated over the years. But now some have been successfully restored for a retrospective of his work.

Andrew Graham-Dixon
Saturday, February 11th 1989
The Independent

FRANCIS DANBY’S The Upas, or Poison Tree in the Island of Java, the smash sensation of the annual British Institution exhibition of 1820 and one of the most ambitious narrative paintings of its time, has languished in the obscurity of the V&A’s basement for more than a century. Recently restored, it is the focal point of the Danby retrospective that has been mounted jointly by the Bristol City Museum and Art Gallery and the Tate Gallery. The Upas Tree marked Francis Danby’s London debut, and in some style. Measuring 66in by 99in, Danby’s gloomy canvas was an enormous calling-card, his way of announcing that here, from provincial Bristol (via Ireland, his place of birth), was a young painter to be reckoned with.

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