Death from above

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The apocalyptic spectacles of Romantic painter John Martin are routinely treated by art critics as kitsch, a dismissal which ignores the considerable power and perennial attraction that many of his best pictures possess. Kitsch is a bad thing, it seems, unless you’re Jeff Koons or Jake and Dinos Chapman.

Martin’s most famous work, The Great Day of His Wrath, has raised its tumultuous head again on the cover of Bombs, a recent single by Faithless. The painting depicts a scene from the Book of Revelations with city-capped mountains being upturned onto terrified sinners while lightning cuts through the sky. The video for the song is an anti-war affair by Howard Greenhalgh, juxtaposing innocuous images of everday life with weapons being fired and soldiers being attacked, often in the same shot. So a happy family skips along a beach while a mushroom cloud grows on the horizon. The moral guardians at MTV have duly banned this in order to spare the delicate sensibilities of America’s teenagers. And they wonder why people like YouTube so much? Or Google Video?

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Faithless are a bit late to John Martin’s table, Lustmord featured the painting in full on the cover of Heresy in 1990, an album whose doomy rumbles I much prefer to the duo’s lightweight soul. Better late than never, I suppose.

Previously on { feuilleton }
The apocalyptic art of Francis Danby
The Enigma of Desiderio

The art of Thomas Häfner, 1928–1985

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Lucifer (no date).

…I find nothing fantastic in so-called fantastic art, it is an aspect of reality in search of sanity beyond the normal bounds. I believe that fantastic art is related to the protective dream, that it prolongs the healing dream and finds symbols that change dread into wonder, strangeness and beauty.

As in all figurative art, fantastic art must of course be judged not only by its intentions but by the quality of the execution, and by standards that have been almost totally lost in the turbulence of changing fashions, movements and politics on the art market. This has led to a noticeable helplessness among the critics, who seem to ignore a growing tendency toward the fantastic in the hope that it will fade away and die. I do not believe it will.

Thomas Häfner

Who was Thomas Häfner? Good question, because he’s virtually invisible on the web. The painting above is scanned from David Larkin’s excellent Fantastic Art (Pan/Ballantine, 1973) and was also used as a cover image for an edition of Blaise Cendrars‘ scurrilous masterpiece, Moravagine. The Demon Woman below is a watercolour original for sale on eBay. Häfner was a member of a group of German artists who called themselves the Young Realists, formed in Düsseldorf in the mid-Fifties. Significantly, another group of young imaginative painters was active at the same time in Vienna, the Fantastic Realists, who included the great Ernst Fuchs among their number. “Realism” here can be considered as referring to a style that favoured the hard-edged realistic approach of Surrealism; Häfner’s content certainly wasn’t realistic.

These people remain neglected or unknown because art critics like to pretend there’s only one story being told in the development of art at any given time when there are usually several, often with conflicting agendas. So we’re always being informed that the dominant movement in fin de siècle Paris was Impressionism and hear little of the Symbolists who were equally—if not more—popular, productive and influential during that period.

(This laziness carries over to other areas; Debussy is continually described as “an Impressionist composer” when one of his most famous works, Prélude à l’après-midi d’un faune, was based on a Symbolist poem by Mallarmé. There are no fauns in Impressionist paintings.)

The prevailing trend in the mid-Fifties was the thin gruel of Abstract Expressionism, the complete antithesis of the kind of art being produced by Häfner, Fuchs and company. There’s a reason for the elevation of this type of work over others. Critics such as Clement Greenberg saw abstraction (which, ironically, grew out of Surrealism) as being a politically acceptable direction after the turmoil of the Second World War. The Nazis liked realism in their art, while the Soviets under Stalin and the Chinese under Mao had declared Socialist Realism to be the official art of the Communist Revolution, therefore realism of any variety was reactionary and bad. Further irony comes when the CIA agreed with this argument and secretly promoted Abstract Expressionism outside America. This has led us to the situation we have today where a Willem de Kooning painting, Woman III (1952–53), was recently sold for $137.5 million which means collecting this kind of work is now a game for billionaires. It really would be the final irony if the kind of realistic art that Clement Greenberg despised was elevated to a new popularity by over-priced Abstract Expressionism as collectors with fewer assets were forced to look elsewhere. Critics can protest all they like but these days it’s money that speaks with the loudest voice in the world of art.

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Demon Woman (no date).

Update: added some additional works:

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Marionetten (1964).

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Szene mit Schädeln (1970).

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Phantastische Waldszene (1971).

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Masken in zerfallener Umgebung (1974).

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Die Harpye (no date).

Elsewhere on { feuilleton }
The fantastic art archive

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?