Herbert Read on art

"Sailboats off Kitsilano" by Nellie McClung

Nellie McClung at the Art Gallery of Vancouver, 1993

Herbert Read writes:

Tolstoy's famous definition of the process of art is expressed in these words: 'To evoke in oneself a feeling one has experienced, and having evoked it in oneself, then by means of movement, lines, colours, sounds, or forms expressed in words so to transmit that feeling that others experience the same feeling -- this is the activity of art.

'Art is a human activity consisting in this, that one man consciously, by means of certain signs, hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them.'

Herbert Read, The Meaning of Art, Pelican Books, London, 1950, pages 185 - 186.

Herbert Read on Celtic Art

Herbert Read writes:

Celtic art is one of the most intrinsically interesting phases in the whole history of art. By various historical accidents, the extreme Northern parts of Europe – Ireland, Scotland, Iceland and Northern Scandinavia – became the preserve of an indigenous prehistoric style. This style, which originated in the Middle Rhine area, was brought to the British Isles by the retreating Celtic tribes, and here preserved  its characteristics whilst successive waves of tribal invasion swept across the rest of Europe.

The development of European art during the so-called “Dark Ages” (A.D. 400 to 1000) is extremely complicated, and Celtic art is involved in the general uncertainty. But in spite of the rarity of survivals from the period, it seems certain that the early Celtic art of the pre-Roman period survived as a continuous tradition in Ireland until a new influence appeared in the North in the form of Christianity. In Britain, the introduction of Christianity was a very slow process, lasting over a period of 200 years at least. There is but slight evidence of the prevalence of Christianity in Britain during the Roman period; its real history in this country begins with the mission of St Ninian, a disciple of St Martin of Tours, who built a church at Whithorn, Wigtownshire, in A.D. 412. Not long after, Ireland was converted by St. Patrick, and during the sixth century the process of conversion spread to Wales, to the Picts in the north of Scotland, and then to the Saxons in England. During the sixth and seventh centuries this northern church became the shelter of Christianity in Europe; and at this period, one of the most important and significant for the whole development of art in Europe, direct contact was established between the North and the East.
. . . .

The whole range of Celtic art therefore divides itself into two distinct periods – the early, pre-Christian period, deriving its style direct from Neolithic Age, and the later post-Christian period, during which the stylistic influences from the east were incorporated. Dr. Mahr… has subdivided this post-Christian period into (1) the Vernacular style, from the seventh century to the appearance of the Vikings about 850; (2) the Hiberno-Viking style from 850 to 1000, the period of Viking domination in Ireland; (3) the last animal style, from 1000 to 1125; and (4) the Hiberno-Romanesque style, 1125 to the Anglo-Norman Conquest.

The ornament of the early Celtic period is linear, geometric and abstract; the type most familiar is the interlaced ribbon or plaited ornament vulgarized in present-day ‘Celtic’ tombstones. It is seen in all its purity in the Book of Kells, the eight-century manuscript belonging to Trinity College, Dublin.
. . . .

Into this gloomy and abstract field of art the symbols of Christianity come like visitants from an exotic land. In a prickly nest of geometrical lines, two birds of paradise will settle, carrying in their beaks a bunch of Eastern grapes. David comes with his harp, and the three children in the furnace; Adam and Eve, and the sacrifice ofIsaac, are represented in panels reserved among the ba ns of abstract ornament; and finally the stone is dominated by Christ in Glory and the company of angels. Such stones still stand where they were erected centuries ago in Ireland and Scotland; and no monuments in the world are so moving in their implications; they symbolize ten thousand years of human history, and represent that history at its spiritual extremes, nearest and farthest from the mercy of God.

Herbert Read, The Meaning of Art, Pelican Books, London, 1950, pages 85-88.

from Herbert Read

 

2010

"...the Greeks were wiser than we, and their belief, which always seems so paradoxical to us, that beauty is moral goodness, is really a simple truth. The only sin is ugliness, and if we believed this with all our being, all other activities of the human spirit could be left to take care of themselves. That is why I believe that art is so much more significant than either economics or philosophy. It is the direct measure of man's spiritual vision. When that vision is communal, it becomes a religion, and the vitality of art throughout the greater part of history is closely bound up with some form of religion. But, gradually, as I have already pointed out, for the last two or three centuries that bond has been getting looser, and there does not seem to be any immediate promise of a new contact being established."


                                            -- Herbert Read
                                            The Meaning of Art, page 190

                                            Pelican Books

                                            London, 1950 

From Patrick Kavanagh

Patrick Kavanagh

I am always shy of calling myself a poet and I wonder much at those
young men and sometimes old men who boldly declare their poeticality.
If you ask them what they are, they say: Poet.

There is, of course, a poetic movement which sees poetry
materialistically. The writers of this school see no transcendent
nature in the poet; they are practical chaps, excellent technicians.
But somehow or other I have a belief in poetry as a mystical thing,
and a dangerous thing.

A man (I am thinking of myself) innocently dabbles in words and rhymes
and finds that it is his life. Versing activity leads him away from
the paths of conventional happiness. For reasons that I have never
been able to explain, the making of verses has changed the course of
one man's destiny. I could have been as happily unhappy as the
ordinary countryman in Ireland. I might have stayed at the same moral
age all my life. Instead of that, poetry made me a sort of outcast.
And I was abnormally normal.

                --Patrick Kavanagh
                   Author's Note, page xiii
                   Patrick Kavanagh, Collected Poems
                   Martin Brian & O'Keeffe, London, 1972

Motel Raphael, August 2011

Fire destroys the famous Motel Raphael, August 2011. No longer can you dream of the Motel Raphael as a last resort, a safe harbour in the homelessness of modern life...

From a poem by Patrick Kavanagh

Living room at 4350 Montclair Avenue

. . . posterity has no use
For anything but the soul

        --Patrick Kavanagh
        "If Ever You Go to Dublin Town"

Jean Paul Gaultier exhibit at the Montreal Museum of Fine Arts, August 2011 (2)

Jean Paul Gaultier exhibit at the Montreal Museum of Fine Arts, August 2011 (1)

For some of us, the Jean Paul Gaultier exhibition currently at the Montreal Museum of Fine Arts is of only peripheral interest. Gaultier doesn’t need my review of his work, he’s wealthy and well known, but I also wonder if this work belongs in a museum? Probably not. However, it is a lot cheaper for a museum to present haute couture from France than traditional “art.” I am not too sure why this exhibition was presented in the summer months as it might have little appeal to tourists who would correctly think they would be seeing "art" in a museum, not a fashion show from France. And, at first, it has the aura of the worst of French society and the fashion industry, exclusivity, insularity, smugness, self-righteousness, and self-satisfaction.


It was not before I had seen half of the show that the clue into this exhibition of Gaultier’s work dawned on me. There were the creepy talking mannequins, the pointy bras popularized by Madonna, and the kind of costumes you see in fashion magazines that are not for actual wearing but are the folly and pretense of fashion designers like Gaultier. Gaultier is well known and lives in an exclusive world, one to which most of us don't have access.

But there is a clue to Gaultier's exhibition. It is that Gaultier has done what all great artists try to do, he has perceived the zeitgeist, he knows what will be popular before the public knows what they are want, and he explores the collective psyche of French society. In this exhibition, Gaultier has opened the collective unconscious and manifested it in his designs. This is not to say that Gaultier is a “great artist,” but only to state that he has done something remarkable, something that is of interest. These items of clothing express the collective unconscious of the French nation, each is an expression of some archetypal aspect of the French psyche.

Gaultier’s exhibition is all about the psychic content of French consciousness and it is an expression of archetypes. The exhibition disturbs some of us because psychic content can be disturbing. And what is it that Gaultier pulls up into consciousness? It is about glamour, extroversion, colour, pretence, and appearance without depth. But it is also about fun, costume, and wearing our psychological complexes in public.
Gaultier’s show is a carnival of appearance, it shows a life of great variety and imagination, it is a celebration of life, and a celebration of superficial folly signifying very little to the average viewer. It is not my world but I can appreciate what Gaultier is doing because if you compare Gaultier’s vision to a possible exhibition of what comprises the American psyche--the growing spiritual emptiness of American society, the lack of culture in much of America, America as the military police of multi-national corporations, and of all the other stereotypes that have at least an essence of truth to them--then Gaultier's vision has a significance that may have been missed. His vision is, at the least, the expression of psychic content--the collective unconscious, archetypes, dreams--and it is both fascinating and an affirmation of life.

On the Champlain Bridge (2)

Backyard at Belmore

At Pierre Elliot Trudeau Airport, Montreal

On the Champlain Bridge

Hotel Dieu Hospital, Montreal

from the last election

This is what people think of their former heroes, a caricature, with a little Hitler moustache for that je ne sais quoi effect.

wedding day at Alexis Nihon Plaza

the wolves have turned their backs to us

Belmore on May 23, 2011

Construction of mega-hospital