An interesting, erudite and enlightening book. And I didn’t come to it hoping for the best: Laura Cumming “has been the art critic of The Observer since 1999”. The Observer is the Guardian-on-Sunday, and is more of the same. Only more so: it’s even more pretentious and more politically correct than its weekday partner. And sure enough, Cumming uses that special dialect of English known as Guardianese:
Jan Van Eyck was here. It is not strictly accurate in terms of tense, of course, for Van Eyck has to be right here now as he paints his story on the wall. (ch. 1, “Secrets”, pg. 20)
But it’s endurable Guardianese and I managed to read the whole text as I looked at all the pictures, which ranged from the heights of genius, like Van Eyck, Dürer and Caravaggio, to the depths of dreck, like Philip Guston, Wyndham Lewis and Egon Schiele. I don’t think much of Van Gogh or Artemisia Gentileschi either. Gentileschi led a more interesting life than other female self-portraitists like Adélaïde Labille-Guiard (1749-1803) and Élisabeth Vigée-Le Brun (1755-1842), but she didn’t paint as well.
And though I like Velázquez, I don’t like Las Meninas (c. 1656), his study of a moment of life in the Spanish court, with the painter himself included. But Cumming has some interesting things to say about it, setting it into its historical, cultural and biographical context. And you’ll see Caravaggio’s The Taking of Christ (c. 1602) in a new way when you learn that the figure on the right holding up a lantern is Caravaggio himself:
He is on the very outskirts of the picture, struggling to see and make the gospel story visible, this artist evangelist. But his light also aids the soldiers he appears to accompany. Is he not in some sense their accomplice? (ch. 4, “Motive, Means and Opportunity”, pp. 65-6)
Careful thought goes into great art and it takes an intelligent critic to draw it out. Cumming does so with skill and subtlety and sets a good example for people with lazy eyes like me. I found myself looking ahead in the book, trying to understand the pictures better before I read what she had to say about them. I didn’t do it very well, but I’ve learnt the error of my ways. I just wish she would learn the error of her ways in terms of “in terms of” and other items of Guardianese, because it would make the text worthier of its subjects. And the text didn’t convert me to the greatness of Rembrandt and Goya. Their genius remains veiled: I just don’t like them. Not so for Van Eyck, Dürer and Caravaggio. I thought they were geniuses before I read this book and I understand them better now that I have.
But to understand them even better, we’ll have to use science and genetics. White European males have supplied a disproportionate share of greatness to art, just as they have to literature, science and mathematics. There’s something to explain there, though I’m sure that Cumming would be horrified at the suggestion of male and European superiority. She certainly doesn’t hint at it here, but her choices speak for themselves: Frida Kahlo is one of the rare exceptions to the white-male-European rule. And I don’t think she was a good artist, though she was a powerful one. Self-portraits have a special power and this book helps you understand it better.