{"id":55163,"date":"2018-10-04T12:35:21","date_gmt":"2018-10-04T11:35:21","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=55163"},"modified":"2018-10-04T12:54:31","modified_gmt":"2018-10-04T11:54:31","slug":"woven-literature-and-painting-intertwined","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=55163","title":{"rendered":"Woven: Literature and Painting Intertwined"},"content":{"rendered":"

\u2018The footprint of books is everywhere in history, and their visual depiction is \u2013 quietly but insistently \u2013 everywhere in art\u2019.<\/strong><\/p>\n

The stock saying that a picture paints a thousand words is well-worn. However, Jamie Camplin and Maria Ranauro are breathing new life into this notion with their recent publication,\u00a0Books Do Furnish a Painting<\/em><\/a>.<\/p>\n

In a vast project, containing a veritable gallery of one hundred and sixty-five illustrations which take the reader on a comprehensive tour of the past five hundred years of painting, Camplin and Ranauro explore the dynamic relationship that exists between the written word and visual art. Specifically, the two authors consider the depiction of books in famous paintings.<\/p>\n

What, at its most fundamental level, is the book? What is its function in our daily lives and in the wider world? And why is it an important artistic object, or indeed an object for the artist\u2019s eye? These are the questions that frame Camplin and Ranauro\u2019s discussion of the painted book. The book as an object is considered from varying yet converging perspectives: as a religious symbol, as a domestic and homely object, as a figure for cosmopolitanism and world-wisdom, and finally as an emblem of refined knowledge, learning and cultural sophistication.<\/p>\n

Medieval and Renaissance painters like Fra Angelico, Hugo van der Goes, Raphael, Sandro Botticelli and Albrecht D\u00fcrer, later artists such as Johannes Vermeer and Rembrandt, and even twentieth-century artists like Marc Chagall, Andr\u00e9 Derain and Stanley Spencer have all depicted scripture and religious texts in their pictures to show the sacred wisdom and devotional learning of their painted subjects. Reading, before anything else, was a holy act, initially reserved for the literate few \u2013 scholars and intellectuals, priests, monks and members of the nobility. To depict a religious text in a painting was therefore to present a visual emblem of the word of God.<\/p>\n

\"bottdurer\"<\/a>Albrecht D\u00fcrer,\u00a0The Four Apostles<\/em> (1526); Sandro Botticelli,\u00a0The Madonna of the Book<\/em> (1483)<\/strong><\/p>\n

The domestic reader \u2013 a role that many of us fulfil today when we open a paperback in the comfort of an armchair or wrapped up in a duvet \u2013 came into being with the development of the Gutenberg printing press whereby books could be mass-produced and commercially distributed for widespread public readership. In paintings by Jean-Etienne Liotard, Pietro Rotari and Robert Braithwaite Martineau we see young women displayed in the private, contemplative act of enjoying a good book.<\/p>\n

\"frenzy\"<\/a>Jean-Etienne Liotard, Lady in Turkish Costume Reading\u00a0<\/em>(1752);\u00a0Bernard D’Agesci,\u00a0Lady Reading<\/em>\u00a0(1780)<\/strong><\/p>\n

Not all artists treated the subject of women and books with this kind of tenderness however: after J. D. T. de Bienville’s suggestion in 1771 that reading could lead to mania and hysteria in women, depictions by Bernard d’Agesci and Antoine Wiertz show the female reader in the throes of a frenzy. Such paintings belie a patriarchal paranoia about the corrupting influence of literature on impressionable young women but, thankfully, later artists come to celebrate the presence of the book in domestic life. Sir John Lavery, Vanessa Bell, Pierre Bonnard, Henri Matisse and Pablo Picasso all portray the \u2018woman with book\u2019 as the very image of the intelligent, educated, modern female sensibility.<\/p>\n

\"Doc5\"<\/a>Pierre Bonnard,\u00a0La Lecture<\/em> (1905)<\/strong><\/p>\n

Reading can take place anywhere: in the home, on the train (that\u2019s you, commuters), aboard a plane, on a park bench, by the sea. Joe Wright of Derby, Arthur Devis, Pompeo Batoni and Luca Carlevarijs all paint aristocratic young men and families who have brought the book as a tool and symbol of education out into the world on their travels. Later, in paintings by Gustave Courbet, Edouard Manet, Augustus John, Winslow Homer and Sir John Lavery, we see books being read by sprawled figures in country scenes, and in works by Edvard Munch, Guy P\u00e8ne du Bois and Edward Hopper, the book is seen as a transitional, versatile object, enjoyed in public spaces like the bar, the city square, the diner and even the brothel.<\/p>\n

\"manet<\/a>Gustave Courbet,\u00a0A Young Woman Reading<\/em> (1868); Edouard Manet,\u00a0On The Beach<\/em> (1876)<\/strong><\/p>\n

\"winslow\"<\/a>Winslow Homer,\u00a0The New Novel<\/em> (1877)<\/strong><\/p>\n

Ultimately, the book is an enduring symbol of knowledge: the presence of academic and educational texts in works by Arcimboldo, Jan Davidsz de Heem, Ludivico Carracci, Caspar Kenckel, Vermeer and Jonathan Richardson represents\u00a0the breadth of human learning, of man\u2019s desire to know about the world. Subjects painted by Manet, Paul Gaugin, Edgar Degas, Egon Schiele, Pierre-Auguste Renoir, Paul C\u00e9zanne and, later, Alice Neel, sustain this tradition \u2013 education and intelligence encapsulated within the little painted pages of the handheld books.<\/p>\n

\"cezanne\"<\/a>Johannes Vermeer,\u00a0The Astronomer<\/em> (1668); Pierre-Auguste Renoir,\u00a0Claude Monet <\/em>(1872); Paul C\u00e9zanne,\u00a0Gustave Geffroy<\/em> (1895)<\/strong><\/p>\n

So, books\u00a0are\u00a0<\/em>everywhere in paintings \u2013 but what about paintings in books…?<\/p>\n

In Teju Cole\u2019s\u00a0Open City<\/em>, his protagonist visits the American Folk Art Museum to see the eerie portraits by John Brewster:<\/p>\n

\"John<\/a>John Brewster,\u00a0Mother with Son<\/em>\u00a0(1799)<\/strong><\/p>\n

‘Each child stood in a doll-like pose, and was brought to life by an incisive gaze. The effect was unsettling. The key, as I found out, was that John Brewster was profoundly deaf, and the same was true of many of the children he portrayed’.<\/p>\n

\u2013\u00a0Teju Cole,\u00a0Open City<\/em><\/strong><\/p>\n

Karl Ove Knausgaard, in\u00a0Min Kamp 2<\/em>, contemplates Anselm Kiefer\u2019s terrifying battle painting,\u00a0Varus<\/em>:<\/p>\n

\"the-medical-minute-alcoholism-cancer-and-stress-tolerance\"<\/a>Anselm Kiefer,\u00a0Varus<\/em>\u00a0(1976)<\/strong><\/p>\n

‘Have you seen that picture by Anselm Kiefer? It\u2019s of a forest. All you can see is trees and snow, with red stains in places, and then there are some names of German poets written in white. H\u00f6lderlin, Rilke, Fichte, Kleist. It\u2019s the greatest work of art since the war, perhaps in the whole of the previous century. What does it depict? A forest. What\u2019s it about? Well, Auschwitz of course. Where\u2019s the connection? It\u2019s not about ideas, it reaches right down into the depths of culture, and it can\u2019t be expressed in ideas’.<\/p>\n

\u2013\u00a0Karl Ove Knausgaard,\u00a0Min Kamp 2<\/em><\/strong><\/p>\n

In an autobiography attributed to her life-long partner, Alice B. Toklas, Gertrude Stein speaks of visiting an admirer and collector of C\u00e9zanne:<\/p>\n

\"Still<\/a>Paul\u00a0C\u00e9zanne,\u00a0Still Life with Apples<\/em>\u00a0(1894)<\/strong><\/p>\n

‘The name C\u00e9zanne was to him a magic word. He had first learned about C\u00e9zanne from Pissarro the painter. Pissarro indeed was the man from whom all the early C\u00e9zanne lovers heard about C\u00e9zanne. C\u00e9zanne at that time was living gloomy and embittered at Aix-en-Provence’.<\/p>\n

\u2013\u00a0Gertrude Stein,\u00a0The Autobiography of Alice B. Toklas<\/em><\/strong><\/p>\n

And, in his novel\u00a0Baader-Meinhof<\/em>, Don DeLillo makes reference to Gerhard Richter\u2019s photographic paintings of Andreas Baader, founder of the Red Army Faction, lifeless in his cell having committed suicide:<\/p>\n

\"gerhard_richter_man_shot_down_1\"<\/a>Gerhard Richter,\u00a0Man Shot Down<\/em>\u00a0(1988)<\/strong><\/p>\n

‘The two paintings of Baader dead in his cell were the same size but addressed the subject somewhat differently, and this is what she did now \u2013 she concentrated on the differences, arm, shirt, unknown object at the edge of the frame, the disparity or uncertainty’.<\/p>\n

\u2013\u00a0Don DeLillo,\u00a0Baader-Meinhof<\/em><\/strong><\/p>\n

One thing is clear: literature and art are inextricably bound up with one another. The relationship is not always a happy one, but it is a reciprocal one; books borrow from paintings; paintings borrow from books; each encroaches on the other\u2019s space; each contains endless references to the other\u2019s narratives. Camplin and Ranauro\u2019s study is essential reading for anyone wishing to understand the long, interwoven histories of paintings and books.<\/p>\n

Thames & Hudson<\/a>
\nJamie Camplin<\/a>
\nMaria Ranauro<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018The footprint of books is everywhere in history, and their visual depiction is \u2013 quietly but insistently \u2013 everywhere 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