Monday 7 December 2020

Write... Edit... Publish... December 2020 : Unmasked

 



For this month, Write... Edit... Publish... is  taking a much needed break and getting its collective breath back. No winners, no comment counts, no prize badges this month - no pressure. This posting is for the spirit of community only - which is what has kept me going through this annus horribilis. The online and offline support of my various communities. A huge thanks to the WEP members for all that you did.      


Mind. Mandate. Missteps.


Sometimes it’s not the people who change, it’s the mask that falls off. ~ Haruki Murakami.

 

This year has forced nearly all of us to wear masks, like it or not. Masks are often associated with extreme attributes - positive and/or professional (health workers/firemen/anonymous benefactors) or massively negative (robbers). The pandemic has shown how uneasy we are when we cannot access facial cues to communicate, for all that eyes are said to be the windows to the soul. A mask is really a trade off - between power, protection and concealment, and we're not always outwardly comfortable with the balance struck. 


But the mind wears them often enough, though the physical body may not be comfortable with one. Even as it morphs into a grasshopper it wears that of a pigeon or a bulldog, sometimes multiple layers without batting an eyelid. It armours itself in a myriad ways, sometimes playful, sometimes deadly serious, nearly always effortless. But let’s talk through the physical masks first.


Credit Rock art in Lascaux, France.

The oldest existing masks date to Neolithic times, around 9000 years old, made by the very first civilised humans at the cusp of the nomadic hunter-gatherer and settled agrarian lifestyles in modern day Judea. However, anthropologists conjecture that masking goes back into a far deeper past. Palaeolithic cave art, in Lascaux for instance, shows masked humanoid figures dating back many millennia.  Even as this post was being researched, news broke of the ‘Sistine Chapel of the ancients’ rock art’ in the Amazon rainforest, which includes drawings of the same sort of bird-masked figure from 12,500 years ago. 

So our ancestors and masks go back a long time indeed. But actual evidence is thin on, rather under, the ground. Because like the first musical instruments, the first masks created by ancestral humans were possibly made of organic materials such as skins/hide and wood. These do not endure unlike the stone masks of Judea, and even if the remnants of these ancient masks were to be found, they would most probably be in an unrecognisable state. 

Masks may be used for ritualistic/religious/ceremonial purposes, for protection (in hunting, sports, combat), for entertainment (theatre, dance) or simply for ornamentation. It’s thought that ritualistic uses of masks were the earliest and the mask gave the wearer a specific persona of unimpeachable social, moral or divine authority. Death masks were used to honour and protect the dead person from evildoings by mischievous beings, think of the famous golden mask of Tutankhamun (1238 BCE)  or the Mycenaean mask of Agamemnon (16th century BCE). Ancient Greek theatrical traditions made extensive use of masks as did Roman festivals such as the Saturnalia.  


In medieval times, masks allowed people to escape the class constraints during festivals, adding an element of mystery and intrigue to the wearer. The Carnival of Venice, famed for its elaborate masks dates back to the 13th century, though it was discontinued for a couple of hundred years in between and revived again in 1979. Masks continue to be popularly worn for modern day festivals such as Mardi Gras in New Orleans and the Rio Carnival in Brazil. 


Nearly all societies across the world show mask usage at some stage of their history. And of course, currently a vast number of communities across the world have a mask mandate in place. Of piquant interest is the beaked mask, invented in 1630, to protect plague doctors hired by city councils against infection during epidemics. But these are all visible masks. Of far greater interest and seriousness are the invisible ones.


***


Death removes the mask from every face. ~ Vincent van Gogh.


Mask of Egyptian Mummy by Vincent van Gogh.
Chalk on paper. Van Gogh Museum

Sometimes, even death fails to remove the mask – from a face, from a mind, from an entire life. Sometimes, the evidence that’s left behind is not even recognisable as a mask. 

So much of Vincent's life, and the motivation for his death by suicide, is not known. His mental illness, at the time said to be epilepsy, was never formally diagnosed as such. All we have is his profuse output of art. And we have his prolific correspondence - does that have the clues? While Theo kept his brother's letters, unfortunately, Vincent kept very few, he moved around too much and led too unsettled a life to bother with preserving papers. So the correspondence essentially tells a one-sided story, a greatly detailed one but nevertheless incomplete.  

From the beginning, the relationship between Theo and Vincent has been presented as a precious, tight-knit  bond of mutual, fraternal love. For his entire life, Vincent relied on his brother for financial and emotional support. Theo kept Vincent's letters out of a deep regard, Vincent's artworks were kept/hung in Theo's homes, his first-born son was named Vincent. Theo followed Vincent to the grave within six months  in early 1891. A pile of books and papers have been written on the premise of an almost-sublime, super supportive relationship between the brothers, starting with the first biography by Irving Stone.  Johanna van Gogh Bonger, Vincent's sister-in-law and Theo's widow, reinforced this impression by interring Theo's remains alongside his artist brother's in Auvers-sur-Oise in 1914, more than a decade after the brothers' deaths. 


But it's more complicated than it appears. Consider Vincent's letters to Theo during the latter's engagement and wedding - both these periods are marked by some hitch in Vincent receiving his allowance and/or word from Theo, which the artist puts down to 'sheer chance.' But was it really?  Did Theo just...forget?

If the brothers were indeed so close, then why did Theo not visit Vincent more often at Auvers?  The family made one trip to see Vincent there. Theo always seems to visit his beloved brother only after the crisis point - the ear already mutilated, the shot already fired. Of course, Arles and Saint Remy were a good distance, a day's journey away from the capital, so not easily accessible, trains were far slower than they are now. The expense must also have been a consideration. But Auvers? Paris was just 20 miles away! He could have gone every other weekend if he so chose.  Vincent made a couple of visits to his brother's family that fateful year, but Theo does not seem to reciprocate.   

Theo is primarily defined as Vincent's supportive, emotional rock, so it's easy to overlook the fact that he worked at the well known art dealers Goupil & Cie, from where he sold hundreds of paintings. Theo moved among the elite, he persuaded the owners to exhibit some of the Impressionists and painters of the Barbizon school, he advised artists, buyers, sellers and opinion leaders - in short, he had a serious impact on the contemporary European art scene. Why then did he fail to sell all but one of Vincent's paintings? Did he try too hard? Or not hard enough? We know from Jo's letter that Vincent was unhappy with the way his paintings were stored in the Paris apartment. How does that gel with the common impression of the high regard Theo had for his brother's work? Did Theo, in his heart of hearts, believe them to be 'worthless' too, as did the rest of the world? 


That summer was marked by much uncertainty and tension for both the brothers. The work relationships between Goupil & Cie and Theo had deteriorated as the sons-in-law of the Goupil family - Valadon and Boussod, took on an increasingly active role in the running of the firm. Theo wanted to break away and start his own business, his brother-in-law, Andries Bonger, backed out twice after promising support, the infant Vincent was ill - a lot was going on,  and so Jo was impatient with Vincent when he visited Paris early July. It's known that Vincent was overwhelmed, apparently by too many visitors, too much stimulation, and cut his visit short. 


Evidently, things between Theo and Vincent were changing as the former established his own family and future directions. The prospect of financial insecurity and the loosening of the emotional ties troubled Vincent, which he wrote to Theo and Jo after the visit. Did they just misread the signs? Were they not mindful enough? Would a visit from Theo have prevented Vincent from taking his own life? Was his writing back a reassurance a misstep?...But then, it's easy to conjecture remedies in hindsight. 


The ultimate cause for his suicide lay somewhere between his financial insecurity, the perceived hopelessness of his disease and the changing dynamics with Theo's household. Where exactly? We shall never know. That's one mask that never came off even after the tragedy was played out and the actors went home.


~~~*~~~


Since we're unstructured I haven't kept to the word count, thank you for your patience and time! 

Time isn't kind to books!  It's 
fragile and falling apart now. 
Still a worthwhile read. 

This concludes my series on Vincent - I have loved revisiting his art and life story, which I first read as an adolescent decades ago. Especially enjoyed digging into all the research done since then and their results, made available to fans like me through technology. The digital archive of his letters I visit frequently, it's my go to van Gogh fix, as is the Van Gogh Museum site. 


WEP is back in Year 2021 with some scrumptious prompts. See you there! Meanwhile, wish you a tranquil advent season and as Merry a Christmas as possible under these current circs. To your safety, continued good health and great writing outcomes!  


  




24 comments:

  1. Thank you.
    I have loved traveling through Vincent's life, creativity and sadly his death with you. I have learned and my heart has ached. Again.

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    1. He is heartbreaking and inspirational at the same time, isn't he?

      Thank you for all the support this year. Much appreciated always, but particularly in current times.

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  2. Lots of mask stories through the years and interesting history. "The tears of a clown" is what I always think of in regards to what folks show on the outside versus what's stirring inward. Your dive into Vincent's history shows the duality of creativity and madness. All masked indeed. Take care!

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    1. Folks rarely show what's on the inside, artist and ordinary chaps alike. You take care too, and have a good year end.

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  3. Family relationships are often much different than what shows to the outside world. I have a very large family but the only person who ever made me feel like 'family' was my grandmother. Life is harsh that way. If family rejects your work, it's most difficult to find the path to self acceptance.

    Have a wonderful holiday! And prayers that we all have a fabulous New Year!

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    1. Yes, agree. Families are the first point to provide us with affirmations. If they don't accept and love the artist's work, then s/he is probably primed for rejection later on.

      I'm sorry to hear that you had a difficult childhood, but very glad your grandmother showed you what families are. Grandmas are very special people.

      Seasons greetings to you too. And echoing your prayers for New Year 2021!

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  4. An excellent conclusion to your journey through van Gogh's life, and another clever tie in with the prompt. I have learned so much from you this year and look forward to what you'll share in the new year. Merry Christmas.

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    1. Thank you. I have been deeply moved by your posts this year. Wishing you a great December and a gentler year 2021.

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  5. Somehow I missed the earlier parts of Van Gogh's life. I will have to go back and find them.

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    1. Sorry Kristin, I forgot to include links to them at the end of the post.

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  6. That was a fascinating post, with lots of new for me information. Thanks, Nila.
    I also agree with Renee. My family is pretty distant too. Furthermore, I don't think relying on your relatives for financial or emotional support is the right way to go. Not for years and years. Even if they are willing to help in the beginning, people get tired of the burden and withdraw. It's OK for a few weeks, maybe, but for longer periods - no. You have to build your own future, not cling to someone else.
    Maybe I'm not sympathetic enough to Vincent's plight, but I can't blame Theo for stepping back and living his own life. Vincent should've learned to rely on himself. He was a grown man, not a child, after all, and his illness or his talent didn't change that fact.

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    1. Thank you Olga, your take is always so unique and different. I totally agree with you in that financial dependence on a sibling/relative is a no-no - but that's a very modern, 20th century construct. The concept of family, family loyalty, financial responsibility and dependence were completely different in the 19th century. Family bonds were much thicker in Vincent's time than they are today. In fact, in some societies, including India, the undivided family still exists and the more well-off siblings are expected to give a leg up to others who may be struggling. Both my grandfathers' households included male siblings/relatives who did not contribute to the family coffers financially (some for their entire lives). That generation and even my father's generation found it perfectly acceptable to take on the financial responsibility of their unemployed/unemployable relatives. This attitude has only eroded in our generation as more people have started to live in nuclear families.

      Am not blaming Theo for making the choices he did about career and marriage - of course he had every right to do so. Vincent himself felt keenly about being a drag on his brother, he economised wherever he could, looking for cheaper rooms and bargain furniture, going without things, sometimes even food. His sense of financial failure was acute and definitely a factor in his suicide, we just don't know by how much. I don't think Vincent was happy being a parasite - it's just that his way of making art was not acceptable to his contemporaries and he couldn't find a different way. Theo has been presented to the public as an unfailingly supportive emotional anchor and financial benefactor, sometimes he feels too good to be true. Or even human :) That's all I am saying. Btw, all the 'presenting' has been done based on evidence provided by Theo's widow and Theo's descendants. :)

      Including a couple of links re family and family economics, which I found rather interesting -

      https://www.forbes.com/sites/laurashin/2014/02/28/when-you-have-a-lot-more-or-less-money-than-your-siblings/?sh=7544df10cc9e

      https://www.theatlantic.com/magazine/archive/2020/03/the-nuclear-family-was-a-mistake/605536/

      Wishing you perfect health and a great, stressfree 2021.

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  7. Thank you, Nila. I always learn something new. I love that Van Gogh sketch of the Tutankhamun mask and the tie-in to the prompt. All the best for the Holiday season and into 2021.

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    1. Season's greetings to you too, and the very best for 2021.

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  8. Thanks Nila. I came by the other day but my phone wouldn't let me comment. I'm sorry to see the Vincent series wrapped, but I'm sure you'll find a way to write more in the future! All the very best for new beginnings in 2021!

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    1. Thanks Denise, I think I have the essay bug out of the system now for the time being. :) We'll see. A merry Christmas to you and family and a happy new year 2021.

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  9. Another fascinating bit of history! Thank you for the research and the excellent presentation.

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    1. It's a super interesting subject to research! Thanks for being here.

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  10. An interesting piece. Including the part of Vincent Van Gogh seems to be the perfect ending for this year's WEP :)

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    1. Yup, van Gogh is perfect for everything. :) Thanks. Season's greetings to you.

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  11. I'm sorry it's taken me so long to get around to reading this. My kids have had a lot going on this month, and it's all kept me occupied.

    This was an excellent read, as always. You do so much with the prompt here, and I've learned a lot about history that I didn't yet know. Vincent's relationship with his brother is interesting and complicated, and I enjoyed reading about it here. Thank you for sharing!

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    1. No need for apos, it's a super busy time. Hope all is well with you and family, Laura.

      Indeed the brother's relationship was complex, in fact all Vincent's relationships were uber fraught really, with all family members and the women he was romantically involved with. Even his friends. From the volume of his correspondence, he was clearly a great penpal but not so great a room/house mate. :)
      Wishing you and yours a Merry Christmas and a happy new year 2021.

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  12. Hi Nila - I always want to absorb your posts ... haven't done so well here - but have noted to sit and read properly in the next couple of days. You've really explored Vincent's background for us - and I've been meaning to read Irving Stone's novels ... so thanks for that prompt. Looking forward to have that time to absorb ... and yes a happy new year - I'm just glad it's arrived finally! All the very best to you - after your difficult year ... with thoughts - Hilary

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    1. Hi Hilary, and a very happy new year 2021 to you. A different and a gentler one for all of us, hopefully.

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