Showing posts with label #van Gogh. Show all posts
Showing posts with label #van Gogh. Show all posts

Saturday, 25 April 2026

V is for... Vivid ... n ... Visit

 



Hello and welcome! to another A-Z series on M-i-V... 

All through April I'm posting on the broad theme of Museums & Monuments Across the World - mostly those I've been to and a few on my bucket list that I haven't been able to visit yet. Museums are one of my favourite ways to get to know a culture, they sum up what those peoples want to preserve and pass onto their grandchildren, the facets they want to show their foreign visitors, how they perceive, present and preserve their own storyline and that of their interactions with the world. Come museum hopping with me!

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. 

Wednesday, 21 October 2020

Write...Edit...Publish... + IWSG October 2020 : Grave Mistake

 

Cutting straight to the chase without the usual preliminaries, in keeping with the spirit of WEP Lite...






Blind Mole in a Black Hole


To be or not to be, that is the question…

~ Hamlet, William Shakespeare.

 

Mistakes. Grave ones. Yes, the mind makes them. The shape-shifting wondrous and wondering mind, capable of morphing from a homing pigeon to grasshopper and bulldog, capable of holding the most unimaginable thoughts, the most inexplicable, avantgarde visions, the most speakable and unspeakable ideas – that exact same mind can summersault and do a strange blind-mole-in-black-hole on itself. The same mind, which can drive the body to achieve peak success, can also torment it and goad it to blow its brains out or immolate its living self on a pyre. It can, in one catastrophic, grave moment, destroy its own housing and so annihilate itself.

 

Suicide - it’s as old and as human as civilisation itself. The first recorded suicide note goes back to 1900 BCE to Ancient Egypt (even this started in Africa, why am I not surprised?) – it is housed in a museum in Berlin and its title translates as The Dispute with His Soul of One Who is Tired of Life. Attitudes to life and death and the taking of life, whether by own hand or by some other means, were different in antiquity – some would call it more callous, some fatalistic, some maybe relaxed. It was not abhorrent in many societies. The pagan world was generally less hassled about suicide than we are now.


For instance, some Ancient Greek states allowed citizens to end their own life with a state sponsored cup of hemlock, if the said citizen dotted the ‘i’s and crossed the ‘t’s correctly in the application form. In general, suicide was frowned upon if it was uneconomic for the society, such as slaves or criminals prior to trial (criminals forfeited their property to the state). But suicide was perfectly acceptable if the alternative was a dishonourable death. 


In North Western India, Rajput women followed the practice of Jauhar, a ritual mass immolation, when defeat in battle became inevitable for their menfolk, so as not to be taken alive and abused by the enemy.  The first Jauhar is said to date back to Alexander’s time when some north western tribes committed mass suicide to avoid certain capture by him. Similarly insurgent Jews in Masada committed mass suicide rather than face capture and enslavement by the Romans in 74 CE. Famous individual suicides from antiquity include Cleopatra VII and Seneca the Younger.


With the rise of Christianity, attitudes towards suicide hardened and the practice became unacceptable. Suicide became stigmatised. The church excommunicated those who attempted it and the bodies of successful suicides were not permitted burial on consecrated grounds.  That started changing again during the Renaissance and by 18th/19th century the cause of suicide had stopped being perceived as sin and instead shifted to insanity, though it remained illegal in most of the world. Suicide was decriminalised in most countries in the 20th century. However, there is still much stigma attached to it.


***


It is better to burn out than to fade away.

~ Kurt Cobain.


Sylvia Plath, Virginia Woolf, Ernest Hemingway, John William Godward, Mark Rothko, Robin Williams, Sushant Singh Rajput. Is there something within the artistic temperament that predisposes it to suicide? Does the creative brain come hardwired with the seeds of its own annihilation? There have been reams of studies out to prove or disprove this premise. No definitive answer, though. What has been established is a connection between mental health and suicidal behaviour. Our understanding of so called ‘insanity’ has deepened. But it has also become equally clear that mental disorders are not the only cause, the reasons are varied and many. We now know that there are signs of suicidal tendencies long before the person takes any definitive action to end life. Suicide prevention is possible if communities are sensitive - they listen and act proactively.  

 

Worldwide, there are around 800,000 lives lost to suicide annually. These are only the recorded deaths, many are suppressed due to the stigma or to avoid legal issues, so likely the actual figures are much higher. A majority are males, it is estimated that twice as many men take their own lives as women.  Not all have any history of mental health issues and/or substance abuse, although it is thought that in more than 50% of the cases depression/mental health/drugs have a role. Other causes of suicide include financial distress, romantic and academic/professional disappointments, terminal disease. In nearly all of the cases, the suicide is to avoid the resulting torment rather than to end life per se.

 

In the last decade or so, suicides among younger people have shown a disturbing, upward trend globally. The current pandemic has created its own horrific spike as well – in India for instance, suicides have risen among the youth in all segments due to job losses and academic uncertainties, for all that the public has been obsessed with the particular high profile suicide of Bollywood celebrity Sushant Singh Rajput recently. 


In some ways, a suicide of this kind opens up a whole can of worms about the wider society it happens in. What it has revealed about Indian society is not pretty. What is even more regrettable is that there were hardly any serious conversations on any of the underlying issues, instead the whole spiralled into a misogynistic witch hunt, trial by social media and an avalanche of hashtags. 


It is not just the suicidal mind that makes grave mistakes, unfortunately. The mindless public in many cases makes equally grave ones. A picking over of things in which all sense of privacy and decency are lost. Shameful!


***


Each one of us leaves an unfinished life.

~ Mary Oliver.


But that’s neither here nor there. Because this here is not about an error of the present, but one of the long ago past. A grave mistake that robbed the world of a genius. Whose mistake was it? And how did it come to be made? We still don’t know (WC 1000. FCA.)

Wednesday, 19 August 2020

Write...Edit...Publish... + IWSG August 2020 : Long Shadow


Write...Edit...Publish... is sticking to its Lite version for now...and I am sticking to the essay format...




Breath and Shadow


A human being is only breath and shadow. – Sophocles. 


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The mind is a shape shifter. Like a shadow – squat at midday, long by sunset. One minute it is a grasshopper, all chirpy multitasking cheerfulness, juggling a million thoughts per second, leaping off one to the other, unable to stick with just a single. The next it is a bulldog, just lugubrious folds and salt-of-earth tenacity, focussed sharp and a serial stickler for one at a time.  Yet again it is a pigeon, slicing through the fluff and zooming home to what matters.  As mercurial as a drop of water on a lotus leaf, huddled into its own rounded self, concise and self-contained and tiny, unable to wet anything yet reflecting a whole skyscape of clouds above it.

The mind can contain a whole skyscape of grief and loss and stressful pandemics, yet go about working cell by cell on spreadsheets, or writing word by word, an essay sparked by a prompt. It can imagine the universe is its oyster, it can blithely go about seeing multiverses in a grain of sand.  Smoothly glide back and forth along the continuum of time from history and art history to sci-fi and fantasy. Between truth and fiction, between the abstract and concrete, between the painfully personal and the monumentally universal. There is no end to its skittering about.

Today it’s vaulted back to the first seat of Western higher learning, to Athens. That’s where the history of the cast shadow in Western art goes back to - ancient Greece. They were the first to develop and use ‘a geometry of light’ and cast shadows in art. Apollodorus, an Athenian artist, introduced a shading technique called skiagraphia (lit shadow-painting) to create the impression of volume, depth and space on a flat plane. However, in the Allegory of the Cave, Plato set up a shadow-reality dichotomy that continues to influence all spheres of Western culture even today. That Greek perception of shadow was negative – associated with ignorance, illusory, unreal. 

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A counterpoint can be found in the Natural History  in which Pliny the Elder, the Roman historian, recorded the Greco-Roman origin myth of Western art: a young woman – the clay modeller Butades’ daughter, who captured her lover’s shadow on a wall as he slept on the night before his departure as a romantic keepsake. This was a far more positive angle, a love story, but it could not throw off the Cave’s, um…long shadow. Cast shadows in art dwindled from the classical period onward, with their dodgy impression of ugly, gloomy, negative, deluding the viewer with trickery and deception. Shadows in art remained a no-no for centuries. Till the Renaissance upended everything. 


***


Darkness is the absence of light. Shadow is the diminution of light. – Leonardo da Vinci.

The grasshopper meanwhile, as is its wont, has leapt down a rabbit hole. What exactly were the Easterners doing to their shadows? Eastern art, the Chinese, Japanese and Indian traditions are deep and ancient, but they always were more stylised than Western art. No space for cast shadows there historically. From the Renaissance onward Western art explored the exact representation of experienced reality through linear perspective, shading and shadows.  Eastern art by and large remained moored in tradition however, and experiments with realism came later, mainly due to European colonisation. But the converse is also true, Eastern art diffused into Europe and inspired Western artists too. In particular, Japanese art crossed the oceans and left its indelible mark on one particular, much celebrated artist.

A landmark Renaissance work, where  linear perspective and cast shadows were first used, was a fresco in the Basilica of Santa Maria del Carmine in Florence. The artist, Masaccio (1401-28) was one of the pioneers in Renaissance art - he used cast shadows masterfully. 

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In another Masaccio artwork – St Peter Healing the Sick with His Shadow, the shadow of the saint dominates the core message, but visually the shadow does not hide the sick. 


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The vocabulary of shadows continued to develop through the work of later artists - Caravaggio, Bernini, Gianlorenzo and others.  By the time of Rembrandt and Vermeer, the techniques of perspective, chiaroscuro and cast shadows were quite established. And then Impressionism with its soft brush strokes, stunning colours, subtle movement and shimmery reflections  shredded all the rules again.

***

Like a shadow, I am and I am not. – Jalaluddin Rumi.


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An evolution of light. Looking at the body of work this artist left in his short career, there seems to be a progression from the shadows into light, both literally and figuratively. In his early works, he used chiaroscuro to marvellous effect. His palette and perspective changed radically midway when he came to Paris. There he encountered two forces which would change his art. One, the Impressionists, and second, Japanese woodcuts. His palette became lighter, brighter, more colourful. His perspectives became flatter, and his art avant-garde,  by repurposing the ancient.

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Japanese art was a major inspiration for Vincent, he wanted to find a take-off point for a more modern, more stylised vibe, and Japanese prints – with their bold patches of colour, prominent contour lines, lack of horizons and shadows, truncated frames and focus on nature – fitted admirably. He went south to Arles looking for the “clearness of atmosphere” and “colour effects” of Oriental prints. Even his idea of an artist’s commune was based on Japanese monks living and working together. His painting of his bedroom at Arles is the epitome of the Japanese influence – bold colours, a subtly distorted perspective and removal of all cast shadows. 


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Unfortunately, what happened on canvas did not translate into personal life. The more his external work exploded with colour and creativity, the greater was the turmoil in his inner workings. The artists’ commune did not materialise, Gauguin came and left after a major disagreement. Vincent had a series of mental breakdowns. His neighbours petitioned for him to be removed on account of ‘insanity.’ An abject sense of failure dogged him. Like some Gothic horror story come eerily to life, for every burst of brilliance on the easel, his life seemed to become a couple of shades darker, regress into the terrible shade of mental illness. Despite his efforts, he was wholly unable to shake that off. Till all that remained was a shadow, without breath.


WC - 1051
FCA


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