Monday, January 30, 2006
Saturday, January 28, 2006
Friday, January 27, 2006
Tuesday, January 24, 2006
Shine on thee in thy solitary walk;
And let the misty mountain winds be free
To blow against thee: and in after years,
When these wild ecstasies shall be matured
Into a sober pleasure, when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling-place
For all sweet sounds and harmonies…
Sunday, January 22, 2006
Der Winkel von Hahrdt
Hinunter sinket der Wald,
Und Knospen ähnlich, hängen
Einwärts die Blätter, denen
Blüht unten auf ein Grund,
Nicht gar unmündig.
Da nämlich ist Ulrich
Gegangen; oft sinnt, über den Fußtritt,
Ein groß Schicksal
Bereit, an übrigem Orte.
Friday, January 20, 2006
Tuesday, January 17, 2006
Giuseppe Ungaretti’s poem ‘Mattina’ (‘Morning’) may be the shortest great poem of the last century:
As Alistair Reid says in his anthology Italian Landscape Poems, this is ‘a landscape poem with no landscape in it, no history, and no person but the narrator’. Ungaretti began his career as
Alistair Reid tried out several English versions of the poem in an attempt to capture its many possible meanings, but perhaps it hardly needs to be translated. Patrick Creagh made no attempt in the Penguin Modern Poets edition of Ungaretti’s verse (1971), saying that ‘Mattina’ is untranslatable. Nor does it feature among the more recent Carcanet Selected Poems translated by Andrew Frisadi, although Frisadi does have a stab at it in the introduction.
Sunday, January 15, 2006
For rock albums, iconic images of the band/artist have usually been so important that any landscapes are relegated to something like the Renaissance parergon, a secondary feature. To the extent that rock is the ‘sound of the city’, rural or wild landscapes would normally be inappropriate. However, one band who specialised in landscape settings were Echo and the Bunnymen (see for example the images on Villiers Terrace.com). The covers of their albums Crocodiles and Ocean Rain retain a theatrical quality, with colourfully lit landscapes serving as backdrops for the band. But Heaven Up Here and Porcupine are dominated by sublime landscapes: the windswept beach and the frozen glacier. The band actually recorded their video for ‘The Cutter’ in
In his book Rip it up and Start Again: Post Punk 1978 – 1984, Simon Reynolds notes that the Bunnymen were not alone in using dramatic landscape imagery. The Blue Orchids, who toured with the Bunnymen, eschewed a band photograph in favour of a simple sunset on their album The Greatest Hit. And in the early eighties many British bands were using rather nebulous elemental lyrics: ‘Under a Blood Red Sky’, ‘The Whole of the Moon’, ‘Fields of Fire (400 Miles)’. Perhaps it was in part a reaction to the bleak urban imagery that had dominated songs by The Clash, The Fall and Joy Division.
Saturday, January 14, 2006
How can a contemporary artist paint a landscape without making it ironic? To take just one of artist wrestling with this issue, consider Kate Bright, who paints mountain landscapes and images of water using acrylics and glitter, like Black Ripple (2001). In an interview on the British council site she says
The glitter, from the moment I picked it up, was screaming to be sunshine on water. It was like water in my hand. I earnestly want to capture that in a painting. In a way, it's about the impossible notion of possessing the sublime. I seem to be trying to make these contemporary landscape paintings that aren't really to do with anything that has been done in landscape painting before. Apart perhaps, from Christmas cards painted by people with their feet, which unfortunately, you can't find anymore. There is always this thing with glitter, all the references to kitsch and camp, which those Christmas cards had. But at the same time they are genuinely endearing, in an 'old lady-ish' way. There is a sweetness to them. As a kid it became the Christmas card, loosely painted with a splash of glitter on, the epitome of Christmas.
But in my work, the same language doesn't apply. This is always something I have to mention about my work - that it's not about kitsch or irony. It's completely. I want to say heartfelt, but heartfelt is still so kitsch. Perhaps they are romantic, or dare I say genuine. Irony is like saying 'look at me, I am crying, but not really. These are not real tears, I am being quite clever (fake crying) and you have to pat me on the back for that'! But the paintings are not like that at all. They try to be like beautiful mountains and lovely sunshine on water. They really are trying to be like that. I know they don't really achieve it, they are never quite what I want them to be. I have this idea in my head that I want them to be a certain way and something happens in the process so they end up different. Have I failed or not? They surprise you. Or perhaps I surprise myself. I was always thinking that my paintings might be seen as someone painting in vain. Is it impossible to capture that moment when, awe struck, you witness some natural phenomena?
It is a delicate balance and there will be different views as to whether Kate Bright succeeds in retaining visual pleasure and a connection with nature. However, as Barry Schwabsky wrote in ArtForum (Summer 2001) of one snowy landscape, its “amalgam of intricacy and generalization is surprisingly effective in creating a sense of encompassing scale. You could almost lose yourself in this place, for all your awareness of the flimsy artifice. Could it be that this painting is not about the sublime becoming kitsch but instead constitutes an effort to reclaim from kitsch the sublime that's embedded there?”
Friday, January 13, 2006
Wu Hong was one of the Eight Masters of the Nanjing School. The most famous painter in Nanjing at the time was Gong Xian (Kung Hsien) (1618-89). He too was a Ming patriot who generally tried to avoid depicting the sky (a symbol of imperial authority) and whose Thousand Peaks and Myriad Ravines (not in the exhibition) suggests a clouded, dark, desolate future under the Manchu. However, his later work is lighter in tone, reflecting the more peaceful, prosperous times under the first of the Three Emperors.
Wednesday, January 11, 2006
Monday, January 09, 2006
- Sir Arthur Bliss’s ‘The Ballads of the Four Seasons’ based on the poems of Li Po
- John Cage’s ‘Solo for Voice 49 (relevant) - The Year Begins To Be Ripe’, which makes use of text by Henry David Thoreau.
- Goethe’s ‘Gefunden’ (‘I walked in the woods’), set by Richard Strauss
- Baudelaire’s ‘Harmonie du soir’ set by Claude Debussy
- Ralph Vaughan Williams’ version of Housman’s ‘On Wenlock Edge the wood's in trouble’, from A Shropshire Lad.
- The spring poem ‘When daisies pied and violets blue’ from Shakespeare’s Love’s Labours Lost set by, among others, Igor Stravinsky
- Milton Babbitt’s version of the Gerard Manley Hopkins poem, ‘That Nature Is a Heraclitean Fire and of the Comfort of the Resurrection’
- Josef von Eichendorff’s poem ‘Forest Maiden’, used by both Hugo Wolf and Robert Schumann.
- Elliott Carter’s setting of Walt Whitman's verse in ‘Warble for Lilac Time’
- ‘Nature, the gentlest mother’, one of Aaron Copland’s Twelve Poems of Emily Dickinson.
Sunday, January 08, 2006
It is interesting to compare the Dartmoor Sounds project with Alice Oswald’s much-praised poem Dart (2002). The poem uses local voices recorded by Oswald over two years as part of the Poetry Society’s Poetry Places scheme (most of the projects in this scheme were not directly connected to landscape, but there were some other Environmental Projects). In reproducing natural sounds and the conversation of people working on or enjoying the river, her writing deliberately aims for a written soundscape, (“a sound-map of the river” as she says in the poem’s introduction). However, the words of those she met are mediated through her poetry - we cannot tell how closely they resemble what was ‘actually’ said. In an interesting interview for the BBC she says that it was important to talk to people but forget some of what they said before writing the poem. Oswald emphasises that “all voices should be read as the river’s mutterings.”
Friday, January 06, 2006
Postscript February 2015
Looking back at this very short post I see that all it's audiolinks are now dead and the sounds of Dartmoor can no longer be heard. What you can still read on line is a retrospective assessment of 'Sounding Dartmoor' by its leader John Levack Drever. The project encompassed directed soundwalks, field recording, that website which has now disappeated, a multi-channel sound installation in a local gallery and a CD. Interestingly, 'during the Sounding Dartmoor study period (2000-2002) the prevailing Dartmoor soundscape encountered a number of impinging issues: the MOD noise survey, the foot and mouth outbreak and the imminent fox hunting ban.' The MOD survey was quantitative and didn't question local inhabitants, providing a contrast with Drever's highly paticipatory approach. The foot and mouth outbreak brought a deathly silence to local farms. The sounds of fox hunting were about to pass into history.
while I am at it I will also append here a useful definition of soundscape that Drever quotes in his essay. It is from the introduction to Emily Thompson's book The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900- 1933 (2002):
'Like a landscape, a soundscape is simultaneously a physical environment and a way of perceiving that environment; it is both a world and a culture constructed to make sense of that world... A soundscape’s cultural aspects incorporate scientific and aesthetic ways of listening, a listener’s relationship to their environment, and the social circumstances that dictate who gets to hear what. A soundscape, like a landscape, ultimately has more to do with civilization than with nature, and as such, it is constantly under construction and always undergoing change.'
Thursday, January 05, 2006
Postscript September 2015
This looked cutting edge a decade ago... However, only the last of those links still works. The New York site includes a page with links out to other soundmaps but sadly none of the original links work. Here is one that does seem to exist in a different guise: Soundmapping of Cologne.
Wednesday, January 04, 2006
Myself Portrait-Landscape (1890) is an example of a ‘new’ type of hybrid painting Rousseau felt he had invented. Hardly new, one might think, and it is easy to see the signifiers in the landscape as a poor substitute for the more subtle qualities of portraiture by a skilled painter. Trying to combine portrait and landscape can be viewed as a naïve error, like an amateur photographer trying to get ‘both in’ to a picture. But perhaps the strangeness of Rousseau’s vision lends both portrait and landscape a dreamlike quality pointing to the way we see people in our imagination.
An earlier work, Carnival Evening (1886), was Rousseau’s first painting for the Société des Indépendants exhibition. Far from being obviously ‘primitive’ it is an intriguing Symbolist landscape, although what gives the painting its arresting quality is not the mysterious characters and the moonlight, but the strange, sinuous shapes of the trees. The same could be said of his other early work: familiar-but-strange trees dominate Promenade in the Forest (c1886) and Rendezvous in the Forest (1889).
When Rousseau came to paint jungles he famously used as his source the tropical foliage on view in the Jardin des Plantes, in
When he turned to the landscape around
Tuesday, January 03, 2006
‘… and now, fair
Thou art the garden of the world.
Even in thy desert what is like to thee?
Thy very weeds are beautiful, thy waste
More rich than other climes’ fertility:
Thy wreck a glory, and thy ruin graced
With an immaculate charm which cannot be defaced.’
The sculptor Richard Westmacott described this painting as ‘the most magnificent piece of landscape poetry that was ever conceived.’
John Gage has discussed the use Turner made of poetry – both by established writers and his own work (see J.M.W.Turner: ‘A
Portenteous lurid thro’ the gathering storm;
Thick drifting snow on snow,
Till the vast weight bursts thro’ the rocky barrier;
Down at once, its pine clad forests,
And towering glaciers fall, the work of ages
Crashing through all! Extinction follows,
And the toil, the hope of man – o’erwhelms.
Turner’s poetry didn’t really need to describe the landscape itself so it is not surprising that the main purpose was to draw out moral points, as in the last line above. However, there are some examples of purely descriptive verse, as in these unpublished lines to complement a view of Minehead, Somersetshire (c1820) (‘welkin’ is an archaic term for the sky):
Blue claims but little share in the sky,
While distant hills maintain the powerful dye
In all its changes, even the russet down embrowned
By sun, or rock or mossy crownd;
And as [?] sunk hamlet smoke assumes a tone
That, true to nature, art is proud to own…
This poetry is clearly still very much that of a painter and it is hard to argue that it could stand alone without the image. Gage downplays the temptation to compare Turner’s verse to his celebrated Romantic contemporaries, seeing him rather as one of the many artist-poets at that time: Henry Fuseli, Sir Thomas Lawrence, Henry Tresham, Richard Westall, Thomas Gisborne, Charles Lock Eastlake, Martin Archer Shee…
Monday, January 02, 2006
A Rustic Scene: lines from Virgil’s Georgics evoking the autumnal equinox
et medium luci atque umbris iam dividit orbem,
exercete, viri, tauros, serite hordea campis
usque sub extremum brumae intractabilis imbrem;
The Valley with a Bright Cloud: lines from Shakespeare’s As You Like It:
Finds tongues in trees, books in ye running brooks,
Sermons in stones, and good in everything.
Early Morning: lines from the poem A Complaint of the Black Knight thought by Palmer to be by Chaucer but now believed to have been written by John Lydgate:
Into the wode, to hear the birdes sing,
When that misty vapour was agone
And cleare and fair was the morning.
Late Twilight: a line from Macbeth, oddly misattributed to
The Skirts of Wood: no quotation is given
The Valley Thick with Corn: a quotation from Psalm 65:
Even without the images these quotations evoke the mood of Palmer’s work. The lines for Early Morning by Lydgate were new to me and have a timeless simple beauty. As William Vaughan explains in the exhibition catalogue, these quotations became associated with the pictures sometime during Palmer’s life, possibly well after they were painted. However, the practice of exhibiting landscapes with accompanying poems was common in
It is interesting to compare the effect of these paintings with that of Chinese landscapes currently on display at the Royal Academy where poetry also accompanies the image, for example the twelve Scenes Described in Poems of Du Fu by Wang Shimin (1592-1680) or the Eight Scenes of Yangzhou by Gao Xiang (1688-1754) that are accompanied by quatrains by different authors.