cycle; woods and fields and little rivers

 

With apologies to Paul Gorman, whose beautifully written accounts of bike rides partly influenced this article, although Paul actually knows about cycling and I don’t; this is essentially a surrogate fast walk.

setting off

I thought I’d take to the roads early (just before 7.30 am) because it was a beautiful morning that was forecast not to become a beautiful day, and because, even in 2021 there’s not much traffic on the road early on a Sunday morning. A recent bout of not atypical heavy rain and not unprecedented (one of the overused words of the last 18 months of so) but still definitely unusual-in-May extreme hailstorms left the roads shining in the morning sun and the fences strung with light-catching water droplets; it was very pretty.
Once out of the village, the landscape here is so flat as to look almost Dutch, aside from the Lomond Hills; still half buried in morning mist. In fact, despite living here most of my life, this was really the first time I had considered that this must be what is meant by the ‘Howe of Fife’ and indeed a quick googling confirmed it; “The term ‘howe’ is derived from an old Scots word meaning a hollow, valley or flat tract of land.” The Lomonds themselves, and Bishop Hill on the far end (not visible from my viewpoint) are really not particularly big, but almost give the impression of mountains from the vantage point of the plain below.

the Howe of Fife looking towards East Lomond

The nice thing about rural cycling is that, although much faster than walking, it doesn’t disturb anything much around you, and on a quiet morning (on my 8-10 mile cycle I was passed by one car, one proper cyclist and rode past one dog walker and a jogger) like this, nature seems not to pay much attention to you. It turns out that this area is infested (not the right connotations, but there were so many of them) with Yellowhammers, looking almost canary-like in the spring sunshine, plus innumerable sparrows, blackbirds and the odd village idiot-like pheasant shouting in the middle of a field.
The natural landscape is pretty enough on its own, but because, presumably, of the sort of person I am, I love the unexpected moments of geometry caused by human interference (ploughed furrows deep in shadow in one field, strips of plastic sheeting over rows of berries* in another) and of course the semi-wildlife, like a paddock with three huge, but mellow looking bulls that made me think of the work of Rosa Bonheur.

local bull

Although her work – and her life – is 19th century in almost every respect, Bonheur is a potent figure for the 21st century. Brought up in an egalitarian Christian-Socialist sect by Jewish parents, Bonheur was a troublesome child who developed a love for animals and for painting and as a young woman studied animal anatomy (in abattoirs) and dissected animals at a veterinary school as well as studying live animals. She was openly lesbian at a time when it was, if not illegal, certainly frowned upon by the French government; so much so that she had to request permission from the police to wear trousers, as cross-dressing for women was forbidden by law (until 2013!) Her official reason was that it was better clothing for attending sheep and cattle markets, where she made studies, but although that was certainly true, she was generally known among her friends for her masculine clothing and short hair; both very much against the conventions of the time. Nevertheless, she went on to become a mainstream success and in her own way an establishment figure, both in France and (especially) in the UK, where she met Queen Victoria and painted some anachronistic Highland scenes; she may have been revolutionary by nature and personality, but she seems to have been quite conservative by taste and inclination; never underestimate the complexity of people.

*I mean, maybe berries? Despite growing up in the countryside and actually on farms for a fair bit of childhood, I’m none the wiser about that

Rosa Bonheur – Ploughing in the Nivernais (1849)
geometry imposed on nature
and again; with plastic

Looking at the scenery, the wildlife, the roads, you have to wonder; why would anyone not care about this? I don’t mean the Howe of Fife, or Fife, or Scotland, or Britain, or Europe, or the world (although those too); just wherever you happen to be; place. Landscapes should and must change, as we change; not just the geometries and geographies we impose on them, like the furrows and plastic (though it would be nice to do away with the plastic itself), but everything. 500 years ago the Howe of Fife was covered in forest and the monarchs of Scotland hunted wild boar here. A thousand years ago, a Scotland that was different in shape, size and culture was being ruled by Alexander I, then near the end of his life, having recently lost his wife Sybilla of Normandy, the French child of Henry I of England; Alexander would be succeeded by his brother David, then Prince of the Cumbrians; by James’s time all of these details would seem strange. Two thousand years ago, the Howe of Fife was part of southern Caledonia, that is the land to the north of the river Forth; at least the Romans, still fifty years from their attempted conquest, called it Caledonia, whether the inhabitants of Caledonia had any name for the landmass in general, as opposed to their own local chiefdoms, isn’t recorded.

These back roads are quiet, but although nature is everywhere, it’s deceptive, hardly a natural landscape at all. It has been shaped by generations of human beings, by agriculture and the politics of land ownership, no less in King James’s day, when forests belonged to the King and had their own laws, than now. It reminds me both of my childhood love of Tolkien and of a line from The Fellowship of the Ring; where Bilbo says “I want to see the wild country again before I die, and the Mountains; but he [Frodo] is still in love with the Shire, with woods and fields and little rivers.” Tolkien loved both the wilderness and the smaller, more familiar (Oxfordshire-like) scenery of the Shire, but in his landscapes change is almost always bad; both on the larger scale of the desolation that evil brings to Mordor and the fiery chasms opened in the earth when the Dwarves delve ‘too deep’, and on the local level where the Shire is ruined by the arrival of industry. Michael Moorcock writes perceptively in his I think overly scathing (“The Lord of the Rings is a pernicious confirmation of the values of a morally bankrupt middle-class ‘Epic Pooh’, in Wizardry and Wild Romance, Gollancz, 1987, p.125), but often right and always funny essay about Tolkien, Epic Pooh (1987) about the essential conservatism of much of heroic fantasy fiction, and the points he makes are even more relevant today. The climate emergency will – regardless of the political will to do so – at some point need to be dealt with, as the pace of change outstrips the ways in which our society functions, and it’s important that the necessity to move forward doesn’t become an attempt to turn the clock back; always attractive in ever-nostalgic Britain. What Tolkien only reluctantly accepts – or accepts in a tragic way that fits with the more fatalistic (and Christian) aspects of his vision – is that change is inevitable. In Moorcock’s own heroic fantasy fiction, he not only takes change for granted, it becomes the backdrop against which his series of heroes who make up ‘the Eternal Champion’ fight their never-ending battle for equilibrium in a multiverse where change – in itself neutral – is the only constant:

“Then the earth grew old, its landscapes mellowing and showing signs of age, its ways becoming whimsical and strange in the manner of a man in his last years – The High History of the Runestaff”

(quoted from Count Brass, 1973, but appears lots of other places too)

the Lomond Hills after the mist burned off

The landscape of the Howe of Fife is not yet – the odd wind turbine aside – whimsical and strange, but there was a certain surreal quality in the way the beautiful spring morning (which felt more like early spring than early May) followed days of hailstorms and thunder. Surreal anyway to someone old enough to remember when seasons seemed to have a set pattern. In another twenty or thirty years will British Christmas cards still have snow scenes on them, even though most of the heavy snowfall seems to happen now in March or even April? Human culture is perhaps slow to catch up with the changes it creates; bearing in mind that the traffic on the roads today is light because even after decades of change there’s a convention that people don’t work on a Sunday, for the most archaic of reasons – but I’m still glad of it. These kinds of thoughts, and Rosa Bonheur too, were partly on my mind because this week there were elections which, although not regime-changing, were important. The results were locally, fairly positive, nationally (Scotland) pretty much as expected and extra-nationally (UK: not quite international, yet at least) a bit disappointing. The collapse of any real kind of left-wing movement has been happening over a long period of time and I suppose at this point all you can say is that people in general don’t want one; or not enough of them to make it happen. On the other hand a general liberalisation has taken place that possibly just makes it seem unnecessary to large numbers of people. And of course, the left eats itself, as always; yesterday I saw online a list of “people that socialism needs more of” (working class people essentially) and “people it needs less of” (non-working class people, basically), whereas surely the whole point is, it needs all people, if it’s going to work. But whatever.

the remains of yesterday’s rain

A nice thing about cycling is that, aside from looking around, you can’t really do very much. It clears the mind in a way that car travel, with its technical aspects and its music or radio, doesn’t usually do. It would be possible to listen to the radio while cycling, but probably not very sensible; and in an election week the lack of human noise is very welcome. After watching/listening to/reading political propaganda and analysis before and after an election it becomes clear just how versatile “the media” seems to be. This week I’ve seen people criticise it essentially to suit their own viewpoint; it’s too right/left wing, too politically correct, too reactionary, too critical, not critical enough. Which makes it seem as though the UK media is pretty good at covering all bases. But TV, radio and the newspapers are a distorting mirror at best. Witness the way that the ‘working class’ – whether positively or negatively – is treated as a monolith. The viewpoint of the media (understandably, given most of its staff and ownership) is middle class; and therefore on TV, on the radio and in newspapers the middle class becomes the norm from which everything and everyone else (both working class and upper class) are observed and commented upon. “Reality TV” features the rich or the poor as something other, something to be looked at and entertained by. But it’s a norm that ignores the facts. The working class, insofar as there is still such a thing (I am of it and I’m not even really sure) is technically the norm, in the sense that it’s the majority, just as it always has been. The UK is (albeit in a less precise way than a century ago) a pyramidal structure, with monarchy and government at the top, the middle class – bigger and both richer and poorer than before, but still identifiable – in (yep) the middle, and the working class as the wide base, incorporating a layer of underclass which fluctuates depending on which government is at the top (it’s bigger now than it was a decade ago). How do you change that false picture the media presents? You don’t really; not without changing the society. Marx and Engels wanted the means of production to belong to the workers; in the late 19th and early 20th centuries that stood for something real and meaningful, but while its egalitarian spirit is eternally relevant, in the 21st century the statement itself needs so many qualifications as to be almost meaningless. What are the means of production? Producing what? Who are the workers? The working class of Marx’s day would barely recognise the working class of today – and they might well look at our lifestyle and be encouraged that the struggle wasn’t in vain. And of course it wasn’t, but that doesn’t mean that the post-industrial 21st century is really much more fair than in the industrial age, certainly capitalism is even more rapacious and entrenched than ever before, and as callous too. The more things change, the more they stay the same, as the tedious saying goes.

the flatness of the Howe

People of course do want change; the right kind of change anyway. And elections are one way of securing it. But this week people who were asked on TV for their reasons for voting gave ‘change’ as a reason for voting for parties who have been in power for 14 years (Scotland) and 9 years (UK) – which seems at best like wishful thinking or at least suggests a lack of exciting or convincing alternatives, to say the least. Arguably of course, a vote for the SNP in Scotland is a vote for a bigger change than just who currently sits in parliament, but familiarity breeds indifference and at this point it’s probably good for their cause that they are no longer the only party in favour of an independent Scotland. And in a depressing kind of way, circumstances have aided them too. In 2014 it was easy, personally speaking, to vote against independence on several grounds; a disliking of Nationalism as a principle, so closely related as it is to xenophobia and intolerance. As someone who was very happy to belong to the EU too, independence seemed (laughably in retrospect, though still not wrongly) to endanger Scotland’s membership, since the UK and not Scotland was the member. And there were niggles about the economy, not because Scotland couldn’t function outside of the UK – one of the most irritating arguments for the status quo; I think it’s pretty obvious that it could and can – but because the Salmond leadership seemed to be saying (ie he was saying) that he wanted nothing to change regarding the currency etc. Which would seem to put Scotland in the surreal position of being a supposedly independent nation which has its economy regulated by the Bank of England. Why the Bank of England would accept that, or anyone on either side of the border would want it is mysterious, to say the least. But anyway, here we are in 2021; nationalism and xenophobia look like being worse and more virulent in the UK than outside of it. We are already out of the EU and, while an independent Scotland being a member state is far from a foregone conclusion, the UK rejoining is definitely not about to happen anytime soon. And Covid-19 has given the economy a beating that will take a lot of recovering from, whatever we do. So why not independence? I would of course prefer to have a democratic socialist party in charge of it, but not having a rabidly inept right-wing one would be a step in the right direction.

apparent rural idyll

Without wishing to get bogged down even more in the minutiae of British politics, the story of the Labour Party (it’s probably not quite dead yet; it always has a far more cyclical life than the Conservative Party) is an instructive one. There’s always been a tug of war between the left and centre elements of the party, but since the 90s there’s always been the dubious argument that veering to the right is the way to win votes and power. But although New Labour was definitely uncomfortably right-wing for a supposedly socialist party, that wasn’t what brought it success. It was the ‘new’ part; drawing a line under history and saying ‘the past ends here and this is what we stand for’ was a big, optimistic step at a time when British politics – as now- had become stagnant and unappealing. The Corbyn left managed something similar, with a younger demographic, but for all its radical ideas, it was immediately familiar to anyone over a certain age. Much as Blair and co’s propaganda looks vapid and empty in retrospect (because it essentially was), not invoking Marx or even socialism was a key to their success, not because of where they or their supporters sat on the political spectrum (I think it’s true that the majority of the British public probably don’t think of themselves being especially political), but simply because people will, every now and then, give new ideas a chance, if they look exciting enough and if they’re bored or disgusted enough with the status quo; It’s worth bearing in mind. None of which has nothing obvious to do with this road on this morning, with the patches of bluebells under the trees, which might be left over from the great forest of King James’s time; where wild boar hid, evading the men and the dogs, before they were hunted to extinction.

 

 

courbet’s birthday – the case for conscious iconoclasm

 

Gustave Courbet was born 101 years ago today, but although he remains one of the key figures in nineteenth century art and the roots of modernism, this isn’t about his painting.

During the Franco-Prussian war, Courbet, by then in his 50s and an elder statesman of French art, proposed that the Column erected in the Place Vendôme by Napoleon to commemorate his military victories be pulled down as a symbol of aggressive imperialism, and moved to a location that both neutralised and cast light on its true meaning; he suggested the military hospital, the Hotel des Invalides.

Place Vendôme, 1871

He also suggested that a new monument be made from melted down cannons and dedicated to the people, both French and German, and the peaceful federation of the two nations.
During the brief period of the Paris Commune the next year, the revolutionary government followed half of his advice and issued a decree that the Vendôme column should be demolished – and replaced by a figure representing the Commune itself.

It was duly pulled down, but the Commune was too short-lived for its replacement to be built, and the suggestion that the Place Vendôme column be moved elsewhere was ignored. Instead, when the Commune was overthrown and the government reinstated, Courbet was imprisoned (ironically, he had by then fallen out with the leaders of the Commune too, disagreeing with their more repressive measures) and after his release was charged with the expense of rebuilding the column (he fled France to avoid paying), which remains in the Place Vendôme to this day. Which is a shame. Had Courbet’s original suggestion been followed, the column would have been both a memorial to Napoleon and the might of his armies as it is now, but also to the real meaning of military glory; death, pain and horror.

Courbet and the Communards (not THE Communards; Jimmy Somerville was not present) with the ruins of the Vendôme column, 1871

In the past week, statues have been toppling (notably the statue of slave traders Edward Colston in Bristol and Robert Milligan in London; and it’s good I think; Britain is full of statues and memorials and it’s only right that, rather than seeing them simply as decoration, we should see them as history, and ask who they are and why they are there. And their removal is history too; and I hope that in removing the layers of time and dust and whitewash between us and the past, we can take into account that removing and ignoring parts of history that – for whatever reason – we don’t like, is and always has been part of the problem. A statue that glorifies one man while ignoring the countless, now unfortunately mostly nameless, people he exploited and whose lives he destroyed is an abomination and a symbol of so many things that are wrong with this country; so it should be used to educate and illuminate that sordid corner of history, and to ensure it isn’t forgotten.

Edward Colston’s statue – Ben Birchall/PA Wire/PA Images

I don’t know the best way to do that, but as a matter of course I think that – at the very least – the monuments that litter the country should be looked at, evaluated, explanations added that tell people what history really means. History is the lives of people, not something abstract, and not just those people who pleased the authorities or the populace enough to be celebrated and commemorated – what was the context? Why are we supposed to still care, where does that part of history fit in with where we are now? In a post-modern age it’s not too much to ask that our landscape becomes post-modern too. If statues and monuments of individuals are to mean anything more than personal glory for their subject it doesn’t seem too much to ask to have a basic overview in whatever form (plaque/recording/who knows?) – who is it/what did they do/why are they here* – and the latter two things may only be tenuously linked. In the case of (since he’s in the news) Edward Colston, a few lines can tell a story that I think is worth telling; Edward Colston (1636-1721)/businessman responsible for the slavery of an estimated 84,000 African men, women and children, 19,000 of whom died in transit to the West Indies, many of whom were sadistically branded with his company logo/statue erected as a reward for investing his fortune in British charities, churches and hospitals. The wording would be important and require more thought than I’ve given it here though. I don’t think this would condone anything, but it explains something about history, what the empire was, how it worked and why things are as they are now, in a way that a name and birth/death dates doesn’t.

*immediately you have to admit that this could become absurd; but it needn’t

A statue isn’t a museum, but I don’t see any reason why they shouldn’t do the same job as one; not just preserving, but educating. There’s a parallel argument here too about museums and the repatriation of items stolen from different peoples; and it’s hard to see a good argument against repatriation in an age where the contents of a museum a thousand miles away is as easily accessible to most people as the contents of one a hundred, or fifty miles away. But that’s another discussion.

Importantly, this isn’t – to me at least – an argument for less public art, but for more. Heroines and heroes are not necessarily those people whose fame was great enough to warrant erecting statues of them within living memory. The heroes, as they were then considered, of the Napoleonic wars, or the British Empire, or of World War Two, may not be – and mostly shouldn’t be – our heroes now – but it’s never too late to remember other figures, who exemplify what we retrospectively see as the virtues of their age (deciding who you would memorialise is irresistible; was very glad to see Sylvia Pankhurst memorialised myself). And though some argue (such as Rachel Holmes in this article that I mostly agree with) that there are too many statues in the UK, I don’t think so. The more our history is clear to see and to question, the healthier it is. Hiding it, or limiting public memorials to people we all approve of (impossible) seems the worst kind of self censorship. That said, it gives me some kind of patriotic pride to note that, despite the number of memorials to forgotten military people and monarchs in my own capital city, the best-known statues there are to a writer (albeit one whose role in Scottish history is both illustrious and ambiguous, depending on your political point of view) and  and a dog (ideologically pretty okay).

Probably the Emperor Claudius, 1st century AD

But anyway; time and memory and history are complex, fluid things. There’s a life size bronze head, probably of the Emperor Claudius, in the British Museum which, for whatever reason was removed from its statue and thrown into the river Alde nearly 2000 years ago. The most attractive theory is that the statue was destroyed during Boudicca’s rebellion of native British tribes in AD 61 – and while we can never know if this is true, knowing that the statue existed and that it was dismembered tells us more about Imperialism, resistance and human history than if it had simply been melted down and erased from the world.

The year before Courbet’s birth, Shelley, like Courbet a socialist of sorts, published Ozymandias.

I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”.

 

 

“Ane doolie sessoun” covid-19 and the art of isolation

 

At some point in the late fifteenth century, the poet Robert Henryson (who lived in Dunfermline, not too far from where I’m writing now), began his Testament of Cresseid with one of my favourite openings of any poem:

Ane doolie sessoun to ane cairfull dyte
Suld correspond and be equivalent.

Robert Henryson – The Testament of Cresseid and Other Poems, my edition Penguin Books, 1988, p. 19

I don’t think I knew, word for word, what he was saying when I first read it, but I did get the meaning: essentially that miserable/sad times (‘doolie’, which I guess would be ‘doleful’ a few hundred years later; not sure what it would be now) call for tragic/sad/grim (“cairfull”, literally ‘full-of-care’) poetry, and the words, with their mixture of strangeness and familiarity (people in Scotland have not talked like that for many centuries, but I think that being attuned to the accents and patterns of speech here still makes it easier to understand), stayed with me. The poet goes on to talk about the weather; apparently it was an unseasonable Lent in Fife that year, when “schouris of hail can fra the north discend/that scantlie fra the cauld I micht defend.” Despite impending climate disaster, Fife weather hasn’t changed beyond all recognition it seems; It was only two weeks ago – though it seems far longer now – that I was caught in a hailstorm myself.

my own photograph from April 2006

The season is still doolie however; not because of the weather, but because of the pandemic sweeping the world, one unlike any that Henryson would have known, but which probably wouldn’t have surprised him; one of the key elements he brought to the Troilus and Cressida story in The Testament of Cresseid is its heroine being struck down by leprosy and joining a leper colony.
the cover of my copy of his poems has a drawing from a medieval manuscript, of a figure which would have been familiar to most readers at the time; a leper with a bell begging for alms.

Maurice Utrillo

In fact, with dependable cosmic irony (or if you are less fatalistic, normal seasonal progress), the weather, since ‘stay home’ has been trending online and quarantine officially recommended, has been beautiful here. The streets are fairly, but not yet eerily, quiet. So this particular dyte (the old word that Henryson used referred to his poem but I think stems ultimately from the Latin dictum and can apply to any piece of writing) may not seem especially gloomy (and may in fact be quite sloppy), but it is certainly careful in the sense that Henryson intended. It’s quite easy – and I think reasonable – to be optimistic about the state of the world in April 2020, but not I hope possible for anybody with any sense of empathy to not be concerned about it.

There are some silver linings to the current situation (major caveat: so far); as well as, inevitably, bringing out the worst in some people, a crisis also brings out the best in many more. And a whole range of major and minor plus points, from a measure of environmental recovery to time to catch up with reading, have emerged. For me, one of the nicest things to come out of the crisis so far is – thanks to social media – the way that arts institutions, while physically almost empty, have begun to engage online with a wider range of people than those who are likely to, or physically able to visit the galleries themselves.

Algernon Newton – The Outskirts of Kensington

 

It has been said that Edward Hopper is the artist who has captured this particular moment, and it’s true that his vision of loneliness in the metropolis particularly mirrors our own age of social media and reality TV, in that it is voyeuristic* – we are not looking at ourselves, or at an absence of people, we are looking at other people whose isolation mirrors our own. If there’s something about this particular pandemic that sets it apart from the Spanish flu of 1918-19 or the great plague of 1665 or the Black Death of 1348-9, or any of the devastating outbreaks of disease that sweep the earth from time to time, it’s that online we are (a ridiculous generalisation perhaps, but if you’re reading this chances are you have internet access at least) sharing the experience of isolation; surely in itself a relatively new phenomenon, at least on this kind of a scale. When Daniel Defoe wrote in his fictional memoir of the 1665 plague (and it’s worth remembering that, although he was only five when the plague swept London, he would have had the testimony of many who had survived as adults as well as whatever shadowy memories he himself had of the period)

Passing through a Token-house Yard, in Lothbury, of a sudden a casement violently opened just over my head, and a woman gave three violent screeches, and then cried “Oh! Death, Death, Death!”in a most inimitable tone, and which struck me with horror and a chilness in my very blood. There was nobody to be seen in the whole street, neither did any other window open; for people had no curiosity now in any case; nor could any body help one another

Daniel Defore, A Journal of the Plague Year, 1722, my copy published by Paul Elek Ltd, 1958, p. 79-80

he was depicting a situation which many people could no doubt relate to; after the fact. What we have now is a sense of shared helplessness in real time; this has never existed, quite in this way before. Assuming some kind of return to normality, we (not entirely sure who I mean exactly by ‘we’) will know each other better than we ever have; something to have mixed feelings about no doubt.

*not a criticism; visual art is voyeurism

Edward Hopper capturing the 2020 zeitgeist with 11 am (1926)

The current appeal of Edward Hopper’s paintings of lonely figures is humanistic and easy to explain. His art, with its depiction of strangers quietly sitting in anonymous places, people who paradoxically we can never know and never know much about, but who we can easily relate to, is profoundly empathetic.  It belongs to a long tradition of quiet loneliness or at least alone-ness that stretches back, in Western, art to the seventeenth century and the art of Vermeer (it’s easy to forget as the children of it, but the idea of art reflecting the individual for reasons other than wealth and status is an essentially Protestant one*) through artists like Arthur Devis (though I’m not sure he intended the quiet melancholy in his paintings) and Vilhelm Hammershoi (who did). In fact, Hammershoi’s beautiful turn-of-the (19th-20th)-century paintings are if anything even more relevant to stay-at-home culture than Hopper’s diner, bar and hotel-dwelling urbanites. With Hopper, we are often watching – spying on – his characters from the outside as if through a pair of binoculars, with Hammershoi we are shut in with them, like ghosts haunting their silent rooms.

*really the only ‘lonely’ figures in pre-Protestant European art are Christ himself  (think of the utter solitary misery of the crucified Jesus in Grunewald’s Isenheim altarpiece) and of course Judas, or those who like him, have separated themselves from Christianity. There is a terrifying solitary quality in some depictions of saints during martyrdom, but for their contemporary audience it was essential to bear in mind that they were not spiritually alone (note: this may be a completely false assertion)

Vilhelm Hammershoi – A room at home with the artist’s wife (1902)
voyeuristic Hopper: Night Windows (1928)

But if Hopper’s most discussed and shared works now are those where we seem to catch, as we do from a train window, a momentary glimpse of a life that is utterly separate from our own. It’s a feeling I associate with childhood and (very) specifically, with travelling through Edinburgh in the winter and seeing glimpses of people at windows and the high ceilings in Georgian houses in the new town when Christmas decorations were up. Who were all these people?

 

                                                                                             But there are Edward Hopper paintings too – including some of my favourites, like Early Sunday Morning (see below) – where the only human presence is the artist, or the viewer, where Hopper could claim (though I have no idea if he would have) like Christopher Isherwood, I am a camera with its shutter open, quite passive, recording not thinking.* But recording, for a human being, is thinking. And the picture of a place-without-people is rarely as simple as it seems; even in the case of an actual photograph; someone had to be there to photograph it, and had their human reasons for doing so. The tradition of landscape painting exemplifies this; landscapes may be mythical, romantic, realistic, but they have been recorded or edited or invented for a variety of complex human reasons. The landscape painting of earlier eras was often self-consciously beautiful, or psychologically charged (Caspar David Friedrich is the classic example; landscape as a personal, spiritual vision; in some ways in fact his work, with its isolated or dwarfed human figures, is kind of like a romantic-era Hopper), but the fact that the urban landscape is itself an artificial, human-constructed environment gives it a different, poignant (if you are me) dimension.

*Christopher Isherwood, Goodbye To Berlin, in The Berlin Novels, Minerva 1992, p. 243.

Edward Hopper – Early Sunday Morning (1930)

 

The appeal of the empty urban landscape in art is perhaps hard to explain to those who don’t see it, but I think it’s worth examining. There is a utopian tradition beginning with (or at least exemplified by) the ‘ideal cities’ produced in Italy in the late 15th century that is in a strange way misanthropic (or at least anthro-indifferent) in that the tranquil geometric perfection of the imaginary cities can only be made less harmonious by the introduction of human figures. But it’s also important to note that these cityscapes actually pre-date landscape painting for its own sake in western art by a few centuries. I don’t think it’s much of an exaggeration to say that in the medieval and renaissance period, the urban landscape had a far greater claim to represent paradise than the natural one. The garden of Eden was a garden after all, not a wilderness, and even the word paradise denotes a walled enclosure in its original Persian meaning. We might think now of paradise existing beyond the realms of human habitation, but in ages where the landscape was mainly something perilous to be passed through as quickly as possible on your way to safety, the controlled human landscape had a lot to be said for it.

Ideal City c.1480s, previously attributed to Piero della Francesca

Like the Renaissance ‘ideal city’, the beautiful post-cubist-realist paintings of Charles Demuth have a sense of perfection, where the severe but harmonious geometry of his industrial buildings seems to preclude more organic shapes altogether.

Charles Demuth – My Egypt (1927)

But if Demuth shows an ideal world where human beings seem to have designed themselves out of their own environment, the ideal cities of the renaissance, with their impossibly perfect perspectives are something  more primal and dreamlike; prototypes in fact for the examinations of the inner landscape of the subconscious as practised by proto-surrealist Giorgio de Chirico and his actual-surrealist successors. De Chirico’s eerie ‘metaphysical’ cityscapes are essentially the ideal renaissance cities by twilight, and artists like Paul Delvaux used the extreme, telescoped perspectives of the early renaissance to create their own prescient sense of urban displacement. Why the kind of linear perspective that sucks the eye into the distance should so often be, or feel like, the geometry of dreams is mysterious – one plausible possibility is that it’s the point of view that first forms our perception of the world, the low child’s eye view that renders distances longer and verticals taller; we may be the hero (or at least main protagonist) in our dreams, but that definitely doesn’t mean we dominate them.

Paul Delvaux – Isolation (1955)

The use of isolated human figures, as in Delvaux and Hopper’s work, gives us a ‘way in’ to a picture, something human to either to relate or respond to (although Delvaux – like Magritte in Not To Be Reproduced (1937) – emphasises the loneliness and again the ultimate unknowable nature of human beings in Isolation by showing the figure only from behind), but the cityscape that is devoid of life, or which reduces the figures to ciphers, has a very different appeal.

Rene Magritte – Not To Be Reproduced (1937)

Whereas the unpopulated landscape may suggest a prelapsarian, primordial or mythical past, or an entirely alien realm altogether, empty streets are just that; empty. These are utilitarian environments designed specifically for human beings and their patterns reflect our needs. A meadow or hillside or mountain with no visible sign of human life may be ‘unspoiled’; towns and cities, by this definition, come ‘pre-spoiled’, and the absence of people raises questions where a natural landscape usually doesn’t; Where are the people? What has happened?

That said, nothing about Hopper’s Early Sunday Morning, Algernon Newton’s paintings of Kensington (or Oguiss’s Paris, or indeed the beautiful photographs of the city in Masataka Nakano’s Tokyo Nobody (2000)) really suggests anything ominous or post-apocalyptic, but even so, the absence of life is the most noticeable thing about them. Whether intended or not, this gives a picture a psychological depth beyond that of a simple topographical study. As with the use of musical instruments within a still life painting (whether there to express the fleetingness of time, or the lute with a broken string to denote discord etc) the inclusion of something with a specific purpose (roads, paths, buildings) apparently not fulfilling that purpose, creates a response as complex as – though very different from – the feeling of looking at those lonely figures in Hopper and Hammershoi’s paintings. Not so different in fact, from the feeling of leaving your home in the spring of 2020 and walking down the deserted street outside.

Takanori Oguiss

These paintings can have a slightly uncanny quality reminiscent of (or vice versa) the eerie opening scenes (the best parts) of movies like The Omega Man (1971) and 28 Days Later (2002) or John Carpenter’s classic Escape From New York (1981) where, emptied of people, any sign of life in the city becomes, not a sign of hope, but threatening and full of sinister power. Things will hopefully never reach that point in the current crisis, but as it is, avoiding people in the street is for now the new norm; for the first time I can remember, my natural reserve feels almost like a plus.

Algernon Newton – In Kensington (1922-3)

Those 15th century ‘ideal cities’ were part of the flowering of the renaissance, and, as with every other aspect of it, they were the product of people looking backwards as much as forwards. The actual, non-ideal cities that were lived in by the artists who painted the pictures were largely organic, messy, medieval conglomerations, regularly visited by outbreaks of disease. The ideal city’s emptiness is not only harmonious and logical, it’s clean. And like the classical sculptures, bleached white by time and weather, which were to prove so influential on that generation of artists, the aspiration is towards a kind of sterile perfection which never really existed until long after the culture that created the buildings and the art, had disappeared to leave a ghostly husk of its former self.

Algernon Newton – Spring Morning Camden Hill, 1940

The deserted city or townscape more or less disappears from art from the 15th century until the later years of the industrial revolution, when urban life itself became the subject for modern art. And it makes sense; the reversal in European culture which saw city life become perilous and the countryside as a means of escape was a slow one, and the solution (never more than a partial one) was in building programmes, urban renewal and harmonious town planning; Empire building and colonial expansion fuelled the growth of urbanisation and were fuelled by it; to imagine an empty city at the height of Empire was to imagine extinction. If the idea of empty streets, If there was any remaining collective memory of empty streets in the late 19th century, it was probably an echo of the kind of scenario that Defoe had written about*; less graced by the muses of harmony than haunted by the dead.

*or of natural disasters like drowned villages, or man made catastrophes like the Highland Clearances.

But by the late 19th century, in Europe, plague was less a current concern than it was gothic horror, the memory of a memory, and industrialisation had – for those with a measure of financial security – rendered the city (now with drains and public transport) and the country (now sans dangerous animals and medieval lawlessness) on something of an equal footing. For the generation of the impressionists, both city and country could be celebrated, and both (as has been true ever since) could mean escape. But that impressionist cliche, the ‘bustling metropolis’, defined by Baudelaire’s “fleeting, ephemeral experience of life in an urban metropolis” – the hub of modernity, the engine of culture and progress, when the streets are empty, becomes something else, but it can never just be a collection of buildings.

Maurice Utrillo

 

Not surprisingly perhaps, it seems that to some degree, the art of the deserted street is a kind of declared outsider art; Maurice Utrillo was an alcoholic with mental health issues, and although literally at the centre of the Parisian art scene centred around Montmartre – because he was born there to an artist mother – he was nevertheless a marginal figure, and his paintings of his home town are heavy with melancholy and isolation.

Similarly, although far less gloomy, the Montmartre paintings of Maria Slavona, a foreigner – a German Impressionist painter living in Paris, are depictions of an urban landscape that, while not hostile, is enclosed and other and (to me) brings to mind the close of Philip Larkin’s Here: “Facing the sun, untalkative, out of reach.” Whether that mood is inherent in the paintings, or only in the mind of the person looking at them, is not something I can answer.

Maria Slavona – Houses in Montmartre (1898)

The German artists of a later generation found a similar sense of alienation at home. The neue sachlichkeit (‘new objectivity’) movement of the Weimar Repulblic may have been a rejection of the extremes of Expressionism and romanticism, but in its embracing of modernity it was a specifically urban movement too. The teeming street scenes of George Grosz and Otto Dix reflected the sometimes chaotic street life of Germany’s big cities in the social and economic upheaval following that followed World War One much as Alfred Döblin’s Berlin Alexanderplatz (1929) was to do in literature, but there were other views of the city too.

It was an era of political unrest, but if one thing united the political left and right it was the understanding that they were living in an essentially transitional period; that change would, and must come.

Hans Grundig was the epitome of the kind of artist hated by the Nazi party; politically a communist, he used his art to oppose the creeping rise of fascism but also to capture working class life in the city (in his case Dresden). But in Thunderstorm (Cold Night), 1928, it is the environment itself that condemns the society of the declining republic: the streets are empty and ghostly pale, the buildings, run down and near-derelict, offer little shelter and no comfort, and the people whose fate looked uncertain, are nowhere to be seen. Meanwhile, a storm approached.

Hans Grundig Thunderstorn (Cold NIght), 1928

 

Carl Theodor Protzen – Lonely Street (1932)

Carl Theodor Protzen was, by contrast, an establishment figure; a member of the Association of Fine Artists and the German Society for Christian Art, he was to become a pillar of the Nazi art community. Urban landscapes were his speciality and his depictions of Nazi building projects were to make his name, but just prior to the NSDAP’s rise to power in 1933, he was painting pictures like Lonely Street (1932) that show those same urban landscapes, but without the excitement of progress. Less bleak and doom-laden than Grundig’s city, this is nevertheless an environment which does not embrace or protect humankind; the title reflects the child’s exclusion from the harshly geometric scene in which he finds himself and, although there is no sense of exaggeration, the perspective, as in surrealism, pushes the end of the road ever further into the distance.

This perspective is seen too, in Volker Böhringer’s the Road to Waiblingen, painted in the year that the Nazis came to power. Böhringer, an anti-fascist painter, was later to become a surrealist, and the ominous (blood-stained?) road, stormy clouds and sinister trees suggest that this is  (with apologies to Waiblingen) not a road that he saw leading anywhere very pleasant.

Volker Böhringer – the Road to Waiblingen (1933)

Ever since I was a child, I’ve always loved to visualise (usually at night) a real place, say a nearby hilltop or field, as it is at that moment, with nobody except animals and birds there to see or experience it. It’s a strange kind of excitement that depends on not being able to experience the thing you’re excited about: psychology probably has a term for it – but at a time when people have never been more inescapable (not that one necessarily wants to escape them) there is something appealing about the complex landscapes we have created for our needs, but without the most complex element of all – ourselves – in them. Whether we enjoy the empty streets or not (and hopefully we don’t have to get too used to them), we should probably take the time to look at what is all around us; it’s a rare chance to see our world without us getting in the way.

Surrealist social distancing: Rue de la sante (1925) by Yves Tanguy