MAResearchPaperIngolvHelland1.docx
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MAResearchPaperIngolvHelland1.docx
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MAResearchPaperIngolvHelland1
HockneyThroughthePrismofChardin
-AnExpositionofPaintingandMateriality
IngolvHelland
MaFineArt
CamberwellUniversity
ingolv@
ResearchQuestion
HowdoesthematerialityofthesubjectmattersignifyinthepaintingsandpraxisofChardin?
Abstract
HockneyisknownformakingsweepingclaimsaboutthenatureandoriginsofEuropeanpainting.ChardinisbothadmiredbyHockneyand,inthe1977portraitMyParents,recruitedtohelpstakethelatter’sclaimsaboutpainting.ButChardinisanenigmaticpainter.Bylookingatthechangingattitudesinrenaissancepainting,weshallattempttoestablishacontextforexaminingChardinasapainter.ThroughacloserexaminationofTheRay,aChardinpaintingtheLouvre,weshallattempttoconnectChardintopaintingingeneralandhispraxisinparticular.
KeyWords
Chardin,Hockney,Painting,Space,Materiality
HockneyThroughthePrismofChardin
-AnExpositionofPaintingandMateriality
InDavidHockney’s1977portraitofhisparents,MyParents,weareencounteredbyatintedemeraldsurfacewithbrilliantblues,greensandpersuasiveredsintheshadows,reminiscentofDavid’sOathoftheHoratii.Howdoesitoperateasapainting?
ThisistheveryquestionHockneyseekstoaddressinleavingaseriesofclues,atrailofpebblesthatleadsustoadeterminedstanceonpaintingandart.Itisapaintingofhiselderlyparentsflankingastudiotable-apainter’simplement.Onthetableisavaseoftulipsandamirror.OnthebottomshelfarethecompletevolumesofProust’sRemembranceofThingsPastandabookonChardin.Hisfather,seatedontheleft,isreadingAaronScharf’sbookArtandPhotography.
ThemirroronthetableisacentralkeytodecipheringHockney’sintentions.Itisliterallythereflectivespaceofthepainting.Earlierversionsofthispaintinghaveaclose-croppedreflectionofHockney’sheadinthemirror.Evidentlydissatisfiedhereplacedthisself-portraitwithanother.Inthefinalversionwefindinthereflectivespaceofthemirroraninteriorwallofhisstudio.Onthewallweseecroppedsectionsofanearlierself-portraitwithstudiointeriorandareproductionofPierodellaFrancesca’stheBatismofChristfromNationalGallery.Thefactthathereplacedhisownself-portraitwithstudiointeriorisstronglysuggestiveofhisintentiontoportraynothisownperson,buthimselfasanartistandpainter.
Likewise,presentingthedellaFrancescareproductionnexttohisself-portraitsemmstosignifymorethanastrongaffinityforthispainting.DellaFrancescawasnotonlyanotedquattrocentopainter,butalsoamathematicianconsideredanauthorityonperspectiveandgeometryinhistime(Pioch.2002).HewasverymuchoneoftheinnovatorsofpictorialspacemovingEuropeanpaintingawayfromitsByzantineconstraintsandintothefieldofdescriptivespace.Thesearethefirststepsoftheartistfromapurelynarrativeillustratortoanobserver.Theartistengagesthespaceoccupiedandseekstotranscribethatengagement.Thepaintermovesintophysicalspaceandtreatsthetranscriptionoftheworldweinhabitasasignificantsourceofartisticaspiration.
Thetabledepictedisamixingtableorstudiopallet-onwheelstomovearoundthestudiofrompaintingtopaintingwithdrawerstokeepthetubesofpigmentandglassesofmediumcloseathand.TheplacementofProust’sRemembranceofThingsPastandthebookonChardinonthebottomshelfsignifiesadesirealsotokeepthesecloseathandwhenpainting.LiketheQuattrocentiProustisalsointerestedindescriptivespace.Hetreatsthesurroundingsweoccupyastheconduittoourinnerlife.Thethoughtsandstructuresofthehumanmindareinextricablylinkedtotheroomsweinhabit.Thecook,Francoise,laboursoverthestove,herpotsandpansandserialabuseofscullerymaidsareallapartofthearchitecturethatrevealsitselfinthisroughyetsubtlepersonality,andultimatelyculminatesinanendlessseriesofsumptuousdishesonthedinnertable(Proust.1989).RemembranceofThingsPastisanexpositionoftheintimateconnectionbetweenourmemoryandthespaceswemovethrough.Everypersonisacompositeoftheplacesheorshehasbeen.Artisadesiretounderstandthosespacesandhowtheyaffectus.Artissimultaneouslyaconsequenceandapartoftheworldweinhabit.
ChardinwasverymuchadmiredbyProust.ThefamousTeaandMadelinesceneintheopeningofthefirstbook,Swan’sWay,canbereadasanodtoChardin.ItisbynomeansinsignificantthatthisiswhereProustfirstintroduceshistheoryontherelationshipbetweenmemoryandspacesweinhabit(Proust.1989).Theysharethisinterestinintimateandenigmaticdomesticspacesandrealizethesignificancethesespaceassumeinshapingourunderstanding.Theyarethemicrocosmsthatallowustoobservetheworldatlarge.Chardindefiedhis18thcenturycontemporaries,thelikesofVernet,andtheiraspirationstonarrativeallegories.Hedefiedtheinstitutionalisedhierarchyofsubjectmatter,simplytodescribetheordinaryspacesweinhabit.Perhapsthevaseoftulipsismeanttostrengthentheaffinitytointimatespacesinanodto17thcenturyDutchstilllifepainting,thevanitas.
Finally,itisbynomeansinsignificantthatHockney’sfatherisportrayedreadingAaronScharf’sArtandPhotography.HockneyhassincethenclarifiedhispositionentirelyinpublishingSecretKnowledge.Inthisbookhemakestheconnectionbetweenthedevelopmentsinthefieldofopticsinthe15thcenturyandrepresentationalpainting(Hockney.2001).Furthermore,heseemstoarguethatthisisnotmerelyalooseconnection,butanecessarycondition.Figurativepaintingissomehowinextricablytiedtotheuseofoptics.ThisbookiswidelyreadasanattemptedvindicationofPopArt’suseofphotography.Itcanalsobereadasadeepfeltinsecuritysurroundinghispraxisasapainter.EitherwayHockneymakesadeterminedstanceastotherelevanceofsourcematerialinpainting,whichbegsthequestionofhowitsignifiesintheworkofart.Istheremovalthroughthecameralenssignificantinourattempttodescribetheplacesweinhabit?
Hockneycertainlyseemstoimplythatpaintingwassomehowpredicatedonthisopticalremovaland,somehow,tieittosuchanemblematicpaintersasChardin,consideredbymanyoneoftheultimatepainter’spainter.
Hockney’sreferencetotheQuattrocentiisausefulpointofentryintotheworkofChardin.ThegreatshiftinthefieldofpaintingisfirstclearlyarticulatedbyAlbertiinhistheoryofistoria.Itstatesthatthepictoralcontentisgivenbytheinterrelationshipofthedepictedobjectsand,inturn,theirconstituentplanes(Alberti.1967).Thisisacompletebreakwithtraditionalpictographicstorytelling,replacingitwithnewspatiallydefinednarrative.Gradually,theattentiontothespatialcomponentinthenarrativeshiftstoanincreasedinterestinthematerialityofobservation.Thisshiftismostapparentinportraiture,culminatinginthepapalportraitsofbothTitianandRaphael.Herewefindanacuterelationshipbetweenthechoicesinmediumandhandlingandtheobjectstheydescribe.FromthedarkwashesofTitian’smysteriousshadowstothebrightcontrolledimpastoofRaphael’sbrilliantlights,weseetheevidenceoftheincreasinginterestinthematerialityoftheobject.ThisnewpreoccupationwiththematerialityofobservationisdulynotedbyVasari:
Paintingsarelikedtousbysharingourspaceandmateriality…wedonotmerelyconfrontthembutoccupythemwithourthought,adjustingourattentionandfollowingtheconnectiontheyaffordus.Thesetwoconditions,sharedmaterialityandthestructureofadjustmentandresolution,arethemselvesintertwined(Vasari.1907:
p178).
Initially,theQuattrocenti’smainconcernwascompositional,enteringintothepictureplane.BythetimeofVasaritheinterestoftheartistshiftedtoincludeinhabitingthespaceoccupiedbythepictureplane.Themeansofinhabitingthisspace,the‘sharedmateriality’,isfoundinthedevelopingawarenessandsignificanceattributedtothechoicesinthestructuralapplicationofthepaintonthepaintedsurface,‘thestructureofadjustmentandresolution’.ThusweseeAlberti’swarningthat‘thepainterwhodoesnotfollownaturefallsintobadhabitsofhistrade’(Alberti.1967),echoedinChardin’sassertionthat‘theeyemustbetaughttolookatnature’(citedinDiderot.1995).
MuchlikeHockney’sportraitofhisparentsTheRay,Chardin’spaintingintheLouvre,wasintendedasastatementofartisticpurpose.Initiallypresentedin1728foradmittanceintotheAcadémieRoyaledePeintureetdeSculpture,itwasatonceabrilliantdisplayofChardin’sprodigiousskillsandadefiantstanceagainsttheveryinstitutionhewassubsequentlyadmittedinto.18thcenturyFrenchpaintingwasverymuchbuiltonthefoundationsofAlberti’sconceptofistoria.Thevariousgenreofpaintingwereorganisedintoahierarchy,withhistorypaintingattheverytopasthemostnobleofartisticexpression.IntheFrenchAcademyrigorousstudiesofnatureweresubjecttotheelevatedpurposeofpictorialnarrative.WithTheRayChardinsoughttoMarxtheirHegel.
Chardinutilizedthefamiliaritywith17thcenturyDutchstilllifepainting,thevanitas,tobringtolightamoreimmediatepurposeinpainting.Inthevanitasthepainter’sobservationsservethepurposeofasymbolicnarrative,tomanifestthetransientnatureoftheverymaterialitsetsouttodescribe.Throughnormativecompositionaldevicesthevanitasmovesfromtheobjectintoaspaceofreflectiverepose.Thespectatoriselevatedfromthespaceoftheobjectsd
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