Thursday, 3 October 2013

The important things.


I surprised even myself when I walked away from the National Gallery of Victoria and the only thing I could think about was a painting from 1822.  That’s not a typo. Eighteen twenty-two. 

Normally I’d be super keen to check out the modern and contemporary art on display if I got the chance to go through a major collection like the NGV, and at first I was.  The collection was as impressive as I expected.  Being able to be in a building with artworks from masters like Picasso, Max Ernst, Jeff Koons, Man Ray, Rothko and Lee Kranser is awe inspiring.  It was flipping my switch, so to speak.  I was happy with my experience, taking in the glory of the modern masterpieces and being grateful to be seeing them. 

For some people, this is the kind of art you have to walk past to get to the good stuff; the old, gilded framed ‘classic’ masterpieces.  Realistic paintings of icons and metaphoric poses of animals and brooding, windswept figures.  I appreciate it.  I get it.  Art has a very long history and not all of it appeals to everyone.  That’s cool.  I do like looking at the skill and technique of these kinds of paintings and sculptures, but they don’t excite me the way modern and contemporary art does.  But then again, there’s always an exception to the rule.

After moving through a huge hall filled to the brim with centuries-old works I came across a small collection of works by John Constable.  For those of you who are a little rusty on your 19th Century landscape artists, Constable is considered one of the best.  He was an innovator in the way he represented the natural world.  He had an undeniable talent for combining truthful and natural representation of the world around him with compositional skill which communicated his own emotional response to that place.1  He’s an impressive and very important artist, just normally not my cup of tea. 

John Constable
Clouds, 1822
Oil on paper and cardboard
National Gallery of Victoria
At the very top of the view2 of Constables, there was a painting of some clouds.  It was made in 1822, and was originally a study for part of another larger painting.  Constable was almost obsessed with the sky.  Clouds (1822), was part of a series of about fifty very detailed studies of different weather conditions around Hampstead in England.3  It’s quite a striking image to be seen with the other regular-looking landscapes.  It has no land references whatsoever.  It’s all cloud and beautiful blue sky.  I think the most interesting thing is that the meaning I read from it was due in part to the position in which it was hung.  I don’t want to make it sound like the only reason I liked it was because of the installation, the painting is absolutely stunning, but its position gave it added meaning.

In a room full of romantic bronze figures, biblical scenes, and foreign landscapes there was this little porthole to the outside world.  Because Clouds is nothing but the sky, it doesn’t reference its native England.  It felt like a snapshot of the beautiful Australian sky just outside.  In that moment, I was reminded that I was deep inside a climate controlled, concrete bunker where stuff is made to last forever.  Constable was speaking to me saying, “Dude, pictures of nature are good, but go outside, it’s all real!  There is no substitute!”  Okay, John Constable probably never called anyone ‘dude’, but the intent was there.  It was a wonderful reminder of the beauty of the world outside, and that we shouldn’t take it for granted.  Through exquisite execution, he is saying that no matter how well we represent the world, that’s all art will ever be, a copy.


The fact that it’s a preparatory exercise being exhibited as a finished work means that it doesn’t operate like the other landscape paintings surrounding it.  It reads more like a contemporary work subtly inserted into a room of antiquity.  Clouds isn’t a representation of a specific geographic location, it could be anywhere in the world, which means that there’s a far greater chance that each viewer will have a connection to it, reminding them of familiar outside spaces.  In this way, the very general image becomes very specific to each viewer.

When I began thinking of the beauty of nature outside the gallery, I was also reminded of the wonders of nature inside the gallery with me, my family.  It was a very serene and grounding experience.   Life’s made better by sharing it with others, and in my case, my kids.  Through the most frivolous thing in the world, art, Constable seems to have the uncanny ability to remind us of the most important things in life.  This humble statement from a master painter made my trip to the NGV so much more than just a visit to another gallery.  Thanks John.

 ____________________________________________________

1   Nga.gov.au. 2013. CONSTABLE : impressions of land, sea and sky. [online] Available at: http://nga.gov.au/Exhibition/CONSTABLE/Default.cfm [Accessed: 2 Oct 2013].

2   I just invented the collective noun for a group of Constable paintings.

3   John Constable: English 1776 - 1837. n.d. [Gallery didactic]. Felton Bequest, 1938, 455-4. National Gallery of Victoria, Melbourne.