75 Piero di Cosimo. The Immaculate Conception
76 Piero di Cosimo. The Finding of Vulcan on Lemnos
Compare these two paintings by Piero di Cosimo (1462–1521?), and in particular the central figure. In so far as she is the same woman with the same face, one could say that she is the same subject — no matter whether real or imaginary. Yet to say this is to limit the whole concept of the subject to the relationship between the painter and the painted image. It ignores what the painter is trying to say, and it dismisses the effect of the painting. The subject, instead of bringing into being or affirming an agreement between the painter and the spectator, is now reduced to a mere description of what the painter’s hand is cataloguing. Such a view of what constitutes the subject of a work of art suggests a man so used to working alone that he has forgotten the possibility of agreement with anybody else. One is again reminded of the loneliness of a lunatic who, at the same time, is sane enough to know that it is useless to explain.
Certainly Van Gogh painted new subjects. But they were not ‘inventions’. They were what he naturally found as a result of his self-identification with others. All new subjects have been introduced into painting in the same way. Bellini’s nudes, Breughel’s villages, Hogarth’s prisons, Goya’s tortures, Géricault’s madhouse, Courbet’s labourers — all have been the result of the artist identifying himself with those who had previously been ignored or dismissed. One can even go so far as to say that, in the last analysis, all their subjects are given to artists. Very few, such as he has been able to accept, have been given to Picasso. And this is his complaint.
When Picasso has found his subjects, he has produced a number of masterpieces. When he has not, he has produced paintings which eventually will be seen to be absurd. They are already absurd, but nobody has had the courage to say so for fear of encouraging the philistines for whom all art, because it is not a flattering looking-glass, is absurd.
Let me give some examples of when he has failed to find (or be given) his proper subject.
77 Picasso. The Race. 1922
The Race was painted in Picasso’s so-called Classic period. (Many artists went ‘classic’ at this time as if to forget the barbarism of the eight million dead of the war.) It was also the time, as we have seen, when Picasso was ‘impersonating’ various styles. There is to some extent a consciously absurd element in this painting. Yet where is the absurdity? Surely it lies in the fact that two such monumental giantesses are running so wildly, with such abandon. If, with their massive, formalized, marmoreal limbs, they are to be credible at all, they must be statuesque. By making them run like hares Picasso disconcertingly destroys their very raison d’étre. The same thing happens stylistically: the figures are drawn with a kind of ponderous simplified logic of classical light-and-shade; yet the perspective which makes the nearest hand smallest and the farthest hand largest upturns that same logic and makes it absurd. There is also a similar reversal in emotional terms. Such figures are a caricature of all that is imperturbable, calm and timeless. Then suddenly they are set fleeing with an urgency that amounts to panic.
Perhaps this was precisely Picasso’s intention, but I doubt it. He was impersonating; he was also interested in the Surrealists and their cult of the irrational; he probably wanted to make a picture that looked odd and was disturbing. But what he has achieved is a painting that cancels itself. It is true that at first it communicates a kind of shockbut this shock, by its very nature, precludes its communicating anything else. It is like seeing a candle blow itself out.
Because we know how directly and unintellectually Picasso works, it seems very unlikely that this was his real aim. And it seems far more likely that, having these monumental giantesses in his head (he had been painting them for two years), he tried to say something with them which they weren’t capable of ‘containing’. And thus his purpose or the compulsion of his feelings destroyed his subject because it was the wrong one.
In the 1927 Figure, it seems that the subject (a nude woman) has been so destroyed that it is no longer identifiable. Yet if one goes on looking, one finds the clues — the tiny pin-head at the top, the arm going up to it, the breast and nipple displaced towards the bottom right, the mouth of the vagina, like a cut, almost in the centre of the picture. Although superficially the picture may look like a Cubist collage, there is no interest here in structure or the dimensions of time and space; it is obsessionally, impatiently sexual. But its sexuality is without a subject. It is as though this picture were crying out for a Leda and the Swan, or a Nymph and Shepherd, or a Venus, to be given a form. But there is nobody to call that form into being, nobody to name it and separate it from Picasso by believing in it. What Picasso is expressing here becomes absurd because there is nothing to resist him: neither the subject, nor his awareness of reality as understood by others. Without such resistance the whole of Shakespeare’s Lear would be no more than a death-rattle.
78 Picasso. Figure. 1927
The Woman in an Arm-chair is less distorted. Nobody can fail to see that this represents a woman. People may pretend to themselves that they can’t disentangle the figure, because it constitutes such a violent attack on their sense of propriety; but recognizing the attack, they also recognize the figure. Nevertheless, the painting is as absurd as the last one, and the subject has again been destroyed — although in a different way. The motive of the painting is no longer straightforwardly sexual, but far more bitterly and desperately emotional. It is for this reason that the physical displacements of the body are far less extreme, but the overall effect more violent. There is no Venus behind this picture; rather one of the Seven Deadly Sins, feared, resented, and yet undismissible. It is absurd because, removed from the medieval context of Heaven and Hell, the violence of the emotion conveyed and yet not explained and not related to anything else, destroys our belief in the subject. It is perfectly possible to believe that Picasso felt like that, but we cannot share this feeling with him because it cannot be understood or evaluated on the evidence of what he shows us. We have no way of telling whether it is noble anger or petulance. All we can recognize is that he is disturbed. What disturbed him we do not know — because he has not been able to find the subject to contain his emotion.
79 Picasso. Woman in an Arm-chair. 1929
In Girls with a Toy Boat the problem is different. It isn’t now a question of Picasso being driven by a feeling or emotion which he cannot house in a subject; here he gives himself up to his own ingenuity, and the absurdity arises because he appears to ignore the emotive power of the forms with which he is playing. He is planning a new (and momentary) human anatomy, as schoolboys plan rockets or perpetual-motion machines. His method of drawing is very precise and three-dimensional, so that it would be quite easy to construct one of these figures out of wood or paper. This tangibility increases the absurdity. Such ‘real’ breasts, buttocks, and stomachs attached to such machines are bound to make us laugh in order to release the tension of the emotion provoked by the sexually charged parts and then belied by all the rest. A similar inconsistency is implied by the action. If they are children playing with a boat, why have they women’s bodies? If they are women, why the toy boat? It may seem naïve to ask such a logical question of a painting in which a head can peer over the horizon as though over the edge of a table. Of course Picasso was joking, trying to shock, playing at contradictions. But this was because he didn’t know what else to do. And the comparatively untransformed sexual parts, so inconsistent with the rest, are an indication of this indecision. Within three months of painting this picture, he was painting Guernica; it is worth comparing these figures with one of the figures there.