Words into images

Royal Academy show reveals a thoughtful and reflective Vincent Van Gogh.

Margaret Drabble wrote a couple of weeks ago in the NS about Van Gogh's letters, ahead of "The Real Van Gogh: the Artist and his Letters", a major exhibition just opened at the Royal Academy in London. Here, our art blogger Anna Maria Di Brina looks more closely at the relationship between that correspondence and the paintings on display at the RA.

 

More than 35 original letters, mostly addressed to Vincent Van Gogh's brother Theo, are on display in this exhibition, alongside 65 paintings and 35 drawings. Together, they offer a unique view of the artist's creativity and inner world.

"He was not the mad, tormented genius we used to think," says Ann Dumas, curator of the exhibition. "He was instead a thoughtful, reflective, highly educated man, who thought very carefully about the aim of his work. The letters give a much more rounded view of him than the clichéd image we have."

A review of the show in the Independent takes it for granted that the juxtaposition of words and images is risky, as if the viewer were being told how to experience the paintings. Van Gogh's letters, devotedly preserved by Theo's widow, are certainly full of detailed descriptions of his pictures and his thinking about them. However, instead of lessening the ability of the paintings to speak for themselves, words and colours seem to act in harmony, offering an extraordinary insight into Van Gogh's work. The letters get us to focus our attention on details that were important to the artist, with the result that we get what Ann Dumas describes as a "direct line from his mind into understanding the paintings".

Take The Pollard Willow, for example. Van Gogh's description of "a sky in which the clouds are racing, grey with an occasional gleaming white edge, and a depth of blue where the clouds tear apart for a moment", far from telling us what to see, instead offers poetic clues that enhance our pleasure in the watercolour. When, in another letter, Van Gogh points out to Theo the "very red face" in the Portrait of a Peasant Girl in a Straw Hat, something similar occurs. These remarks help us to concentrate on the sun's reflection caressing the overheated cheeks of the seated young woman.

 

Vision of Arles

"A meadow full of very yellow buttercups, a ditch with iris plants with green leaves, with purple flowers . . . A little town surrounded by countryside entirely covered in yellow and purple flowers. That would really be a Japanese dream," writes Vincent to Theo, describing his recently painted View of Arles with Irises in the Foreground.

The artist's enchantment with nature is contagious. Watching the oil painting hanging beside these lines, it is impossible not to imagine Vincent standing in an open field, the sun burning his face, enjoying the colourful view. It's almost as if we are seeing things through the painter's own eyes.

It is interesting to notice how words and sketches are juxtaposed and intermingled in the letters. The mixture highlights the fever and excitement of self-expression and creation (something one sees elsewhere, in Frida Kahlo's visual diaries, for example). The same hand writes and draws. Lines from the drawings occasionally leak out into the text. Likewise, the text, particularly when the artist is short of paper, continues on the backs of drawings. At times, the words end up becoming images themselves -- the word "joune" (yellow), for instance, handwritten on a sketch of a field of buttercups in the letter accompanying View of Arles.

Even though Van Gogh's work would resonate without any textual accompaniment, his words nonetheless open new perspectives on its meaning. But all the same, there's no chance of the letters ever getting in the way of the paintings. As he wrote in one of his last letters to Theo, "These canvases will tell you what I can't say in words."

HBO
Show Hide image

How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.