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Musical Iconography and Sketches
in the National Gallery:
Street Musicians by Lillian Freiman and
Orchestra Sketch by Pegi Nicol
by Francine Sarrasin
Article en français
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The representation of a musical instrument in a picture is governed by a principle similar
to that of a "picture within a picture." The musical configuration must
then be taken in a very broad sense, providing a causal rather than formal relationship to art. A musical instrument does not always, in its physical
structure, contain the decorative qualities and sculpted elements that
would make of it a visual work of art. Instead, it establishes and maintains,
through its prime function, a fundamental link with another artistic
outlet: the making of sounds. While it is true that the general iconographic
motif of musical instruments can cover several areas or categories, it
always springs from the same source, the principle of sound. Thus, no matter how the musical theme is dealt with, its
temporal quality - the necessary
instant - is ever present.
An analysis of the two sketches in the National
Gallery of Canada provides an opportunity to reflect upon this moment
of sound as it is amplified visually in the moment portrayed in the drawing
itself.
Street Musicians by Lillian Freiman
Lillian Freiman was born in Guelph, Ontario, on 21 June 1908. She
attended the École des Beaux-Arts in Montreal and in 1925 left
Canada for France. She returned in 1938, just be/ore
World War II, and settled in New York City, where she still
lives.
It was during her long stay in Paris, from 1925 to 1938, that music began to appear regularly
in the art of Lillian Freiman. When considering her total production, (1)
one is obliged to conclude that the proportion of works representing
musicians is considerably greater than those depicting bird markets, fish
markets, various street scenes, and circus scenes, and, moreover, that
many of Freiman's musicians play the violin. The frequent representation
of this instrument may perhaps have some connection with the painter's
Russian background. The reputation of the Russian school of violin was
by then solidly entrenched, the outcome of a vast movement that took shape
around the turn of the century. (2) Is it therefore sheer coincidence that
Lillian Freiman expresses, in her own way, the revival of the Russian spirit,
and that so many of the numerous musicians in her pictures favour such
instruments?
Around 1940, the artist settled in New York City, next to Carnegie Hall,
which provided an opportunity to follow orchestra rehearsals closely.
It is fascinating to note that her approach to painting is similar to
that of a musician to music. She draws rapid sketches from life, capturing
for herself the small moments that may be seen as the tune-up before the performance. However, Lillian Freiman never improvises with the likeness
itself. Later, with more time for thought, she creates her work from the
pictorial elements already sketched. The musicians she portrays in her
groups are neither composers nor improvisers, but almost always players
or concert performers.
There is a constant parallel between Lillian
Freiman's painting and her music.
As with many of her works, the sketch of Street
Musicians (fig. 1) is on slightly tinted paper. Physically, the paper
offers minimum resistance to wear and tear, air, and time; it suggests
a somewhat fragile, vulnerable reality. Similarly, sound may also be ephemeral,
wavering, and fluid. In addition, the combined use and juxtaposition
in one work of coloured pencil, graphite, and pastel are by now so frequent
that one might speak of a choice or pictorial option, a means of expression.
Lillian Freiman handles multiple effects as if they were sound values to
be orchestrated.
Street Musicians is a study in colour
and draughtsmanship. It is noteworthy that the only solid mass of colour
is the female figure, in a dense blue, who is singing on the right side
of the sketch. The violinists - drawn more than painted - seem to prefer
to accompany the voice rather than impose their presence visually or aurally.
The secondary nature of the accompaniment is indicated by the absence,
with little pictorial justification, of scrolls and peg-boxes at the
end of the violin necks. As well, the violinist in the foreground is playing
pizzicato, (3) producing much less sonorous sounds than the smooth notes bowed
by the second violinist in the background. It would seem that instrumental
music has been reduced to the status of an accompaniment, and certainly
there is a chiasmus (4) or duality between image and sound. This effect is
produced by the utilization of visual procedures and by the type of music
played in the representation. Although the lower violinist is nearer to
us, the colour and white highlights partially fill in the spaces between
the drawn lines, and some of the colour mass (which is here the territory
of the singer) has been conceded to him, the fact remains that his violin
is producing very light sounds, just plucked. The visual mass contradicts
the presumed sound. Meanwhile, the violinist sketched in the background,
despite the absence of any painted volume (apart from one of his hands),
suggests a continuous, ample sound - a full sound. If his music, like the
song, is essentially melodic in nature, the contrast is supported by the
pictorial treatment, which opposes line and colour. This musician is linked
to the song visually by his penetration of a central blue shadow belonging
to the singer. The formation of similar, multiple ovoids can also be perceived
in the upper part of the drawing, linking him to the singer: the arm holding
the bow, the angle of his head, the shadow, the face of the singer (fig.
2). These oval shapes are related to one another by a curved line that
resembles the way a melodic line can be plotted on paper. A final point
is that the violinist using his bow and the singer are both in strong positions,
practically facing the viewer.
Next Page | lower violinist and the
singer
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