THE WAY IT WAS: Artist and his freedom
Mian Ijaz Ul Hassan
The Greeks had great respect for art and philosophy. When they lost faith in
philosophy and lofty ideals, their civilisation, which had shone so brightly for
centuries, almost instantly dimmed and then died forever
I wonder what the western artist must do if he cannot escape the awesome pull
and power of the market. He should, I suppose, continue to work within the
system while trying to strive against its materialistic values and its cold
heart. At least till such time that he is declared ‘jealous’ of the American
way of life and branded persona non grata, in current lingo what they call a
terrorist.
The materialistic philosophy of capitalism is inherently anti-art. Has anyone
heard of an artist dying of hunger and poverty before the barons of industry and
commerce replaced the old order, which of course had come to its end and needed
to be replaced? Most artists that are celebrated today were in their lifetime
spurned by the bourgeoisie.
The bourgeoisie first established its roots in the low countries of Europe.
Take, for instance, Holland. The merchants had played a major role in the
nationalist fight for independence from Spanish rule. They occasionally
commissioned portraits but did not have a tradition of wider artistic concerns.
Artists, as a consequence, were forced to adopt new vocations to support
themselves as it is with most of our traditional artists and master craftsmen
who encourage their young to set up shops or apply for jobs.
Rembrandt is regarded as one of the greatest Dutch painters. Only a few can
match his mastery in expressing surface textures or the manner in which he
drowns his figures in shadows, to create pensive moods and dramatic contrasts. A
shirt sleeve, a creased forehead, a gaunt face, frail hands with network of
veins, a sagging old face, speculative eyes focussed on the viewer, are richly
painted with skilful brushwork and a deep insight.
Recently a Rembrandt self-portrait, which lay undiscovered for three centuries,
because it had been painted over, was sold for 6,949,600 pounds at an auction in
London. Rembrandt painted this rather flamboyant portrait of himself when he was
28. Little did he know then that he would die uncelebrated and poor. And what
happened to the other great Dutch artist Van Eyck? In the winter that he died of
malnutrition and neglect, some of his poor neighbours, helped to collect some
coal to keep him from freezing to death. There is little consolation in the fact
that he died in a warm bed. It is difficult to imagine that the numerous
officials and wealthy burgers he painted in their rich clothes and armour could
have forgotten that he ever existed.
I must say that while we in Pakistan may forget our artists and men of letters
when they are alive, we never forget to celebrate them in their death. Good
riddance, most of them are a pain in their lifetime, anyway.
A third great Dutch painter who comes to mind was Van Gogh. He lived the last
years of his life in Paris. Throughout his career his younger brother Theo
supported him. He was never noted for being an artist in his life. Van Gogh
lived an abject poor life on dole from his brother and died a destitute.
Some years back, the Dutch established a museum in Amsterdam to honour the great
artists. If Van Gogh had been alive, he would not have had the money to visit
the museum dedicated to him. Gauguin, the French painter Van Gogh greatly
admired but with whom he parted in somewhat tragic circumstances, found himself
so lost in his own country that he finally retreated to the Polynesian Island
and settled in Tahiti.
Admittedly Cézanne, who is regarded as the father of modern painting, was a
misanthrope and a cantankerous person. An old man, he collapsed and died
carrying his canvas and easel on his back, coming down a dusty road. These
celebrated artists were unable to live by their work. A prospective client was
once sizing up Cézanne’s painting and wished he could buy one of the apples
painted on it. Anxious that the client might change his mind, Cézanne instantly
cut out the apple from the canvas and presented it to him. This is the story of
each and every painter after the old regime was overthrown and replaced by the
bourgeoisie. The image of the starving artist is the creation of the same era.
The artist had never starved before.
In ancient past the artist had worked somewhat closely with the state. The great
Pericles of Athens who had built the Parthenon for the goddess Athena, after
which the city is named, had close and warm friendship with the great sculptor
Phydias. Among other works that Phydias carved was the statue of Athena, now
lost, and the famous frieze girdling the temple, part of which still survives.
Sections of the frieze were appropriated by Lord Elgin and transported to
England, where they were kept in the custody of the British Museum. The Elgin
marbles as they are called are now being returned to Greece. It is tragic that
many of our historical artefacts especially the Gandhara statues and friezes,
which were robbed by some of our own well-placed criminals, sold and smuggled
out, will never return home.
The Greeks had great respect for art and philosophy and held their painters,
carvers, poets, actors and playwrights in high esteem. When they lost faith in
philosophy and lofty ideals, their civilisation, which had shone so brightly for
centuries, almost instantly dimmed and then died forever.
Prof Ijaz-ul-Hassan is a painter, author and a political activist