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Realism,
Surrealism and Celebration:
The Paintings of Alex Colville in the
Collection of the National Gallery of Canada
by Patrick A. E.
Hutchings
Senior Lecturer in Philosophy
University of Western
Australia
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Notes
1 From Irving Layton's 'Boys in October', The Oxford Book of
Canadian Verse, p. 308.
2 One is of course paraphrasing very freely indeed here from
Aristotle's Poetics, ch. 4. But see especially the Lane
Cooper translation (Boston, Ginn,1913), '...we...delight to
contemplate ...forms as represented in a picture with the utmost
fidelity...' (p.10).
3 Compare: e.g. The Norman Rockwell Album (N.Y., Doubleday,
1961). It would be pusillanimous to deny
the pleasure that one takes in Rockwell's work, and
disingenuous as well. But the pleasure of it, and the previous note
notwithstanding, this kind of thing is not art in a paradigm
sense.
4 The Romantic Tragedy: The Romantic account of evil and tragedy
turns essentially on a simple notion of man's alienation from
Nature, but it is difficult to find even one Romantic who managed to
carry the whole analysis through in these simpliste terms.
Perhaps Morris does it in News from Nowhere, and even Marx
himself in his concept of the time when the State has withered
away; but there are whole interlocking sets of notions of
alienation which need thorough exploitation before we can say
anything useful about all this.
It is interesting to notice, though, how the author of Émile can
set up in that book the ideal of the simple unalienated child of
nature, and in the same year, in Le Contrat social make another
alienation the essence of any common, political life (op. cit. ch.
VI).
The Marx who wrote the paper on 'Alienated Labour', (in Economic
and
Philosophic Manuscripts of 1844, Moscow, Modern Languages
Publishing House; London, Wishart, 1959) would have seen eve to eve
with Thoreau who wrote this apostrophe to his fellow citizens:
'It is very evident what mean and snarling lives many of you live,
for my sight has been whetted by experience; always on the limits,
Irving to get into business and Irving to get out of debt, a very
ancient slough, called by the Latins aesalienum, another's
brass...' (Walden, 'Economy').
But Marx would not have sympathized with Thoreau's absolutely
personal policy of withdrawal from the mortgaged life. The accounts
which Thoreau kept, including the $32.03 for items 'All experiments
which failed', were meant for examples, if negative ones, but they
do not profess to tell us everything about the universal laws of
history; 'History' presides over the Reading Room of the British
Museum, not over Walden Pond. On the other hand, neither Marx nor
Rousseau can present such well-audited accounts nor, certainly, such
modestones.
It is interesting to notice that, from the beginning, the more simpliste
Romantic notions have not thrived in North America; there has
not been much demand for either of the Rousseaus, the Contrat
social one or J. J. Émile. And this lack of
enthusiasm goes back at least as far as Chateaubriand, who failed to
find in Louisiana the noble savages of whom Jean-Jacques dreamed at
Montmorency:
...je ne suis point. comme Rousseau, un enthousiaste des
sauvages; et quoique j'aie peut-être autant à me plaindre de la
société que ce philosophe avait à s'en louer, je ne crois point
que lapure nature soit la plus belle chose du monde. Je l'ai
toujours trouvée fort laide, partout où j'ai eu l'occasion de la
voir. Bien loin d'être d'opinion que l'homme qui pense soit un animal
dépravé, je crois que c'est la pensée qui fait l'homme.
Avec ce mot de nature, on a tout perdu...('Préface de la
Première Édition d'Atala') (Chateaubriand, Atala, René, Le
Dernier Abencérage, edition of Melchior de Vogüé, London,
Dent; N. Y., Putnam, 1912, p. xx).
And again, such New Jerusalem building as has been attempted with
some success in North America has owed more to certain Evident
Truths, to Common Sense and to the Protestant and Yankee
doctrines of work, than to the Romanticism either of
alienation-redeemed (Émile), or of the
higher-alienation-embraced (Contratsocial).
The woman with the wash-basket is a much more representative
North American figure than the Noble Redman, or the ecstatic mystic
of the volonté générale, and there is not even a symbolic
figure in the North American stock to stand in for this second idea.
North America has been sceptical both about Jean-Jacques' diagnosis
and about Rousseau's medicine, whether his own bottling or Marx's,
and Robert Frost puts it with the exact note of native irony: The
communist looks forward to a day of order without law, bless his
merciful heart. (In Robert Frost, 'The Constant Symbol'.)
5 Physics II 8:199a.
6 Genesis 11119, (Vulgate).
7 R. Ironside and J. Gere, Pre-Raphaelite Painters, London,
Phaidon, 1948, pl. 27.
8 The obvious comparison between Colville's paintings and colour
photographs occurs to everyone no doubt, but it is very elegantly
put by Gene Baro in his report of the Dunn International Exhibition,
London, 1958. 'Colville masters the poetic camera'. The camera
certainly never masters Colville. (Reference: Arts, Vol. 38,
1958, p. 53. See illustration of Colville's Dog, Boy and St John
River, p. 52.)
9 John Canaday, Embattled Critic (N.Y., Farrar, Strauss &
Co., 1962), 'The Delightful Disconcerter' , pp. 107 II. This essay
is adapted from Horizon, January 1962.
10 Canaday, op.cit. illustration at p.109.
11 cf. Patrick Waldberg, Surrealism, translated by Stuart
Gilbert. (Skira, 1962), plate of The Human Condition II
atp.82.
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