Page 62 - Studio International - July August 1974

that there is a relationship between dwelling in Fournier Street is formed Georges Rouault at the City Art brushwork of his master and with the
what they believe to be true and the into strips and frames which reflect Gallery, Manchester, 4 June-28 July idea of recording in a completely
reality they question with their work. the angles of their self-portraits. The Arts Council, in accordance with spontaneous manner pictorial
They took a long look at the structure Then the fun begins. A tribute to her a policy of showing major exhibitions conceptions that are almost non-
that manipulated and mystified the madjesty (sic). The Union Jack outside London and in collaboration objective. His fellow pupils were
artist for the public. Like Valery they discreetly suggested in smoke, with the Manchester City Art Gallery, Matisse, Marquet, Lehmann,
asked 'what is greater than the art of clenched fists and more portraits of is presenting for the benefit of Evenepoel, Manguin, Piot and others.
Leonardo?' and replied 'the mind the boys. Then over the border in Mancunians and others the second Like Matisse, Rouault was concerned
of Leonardo'. They challenged the double exposures. Biomorphic faces, and final European showing of some with the expressiveness of colour,
commercial stranglehold which with an ear on the cheek and tartan 200 odd works by Rouault, a though, unlike Matisse, never at the
insisted that art has to be a material cornices. We never can agree how somewhat thinner representation of expense of the subject. He insisted on
object. But there were practical drunk we like our art to be. A Gordon's the output of that unbalanced a fusion of colour and thematic
problems, and these remained the for me. Then the cold light of dawn. Catholic painter than the show at the expression.
same stumbling blocks that led to the The sculptures slumber amongst the
disillusionment of previous relics of a drunken orgy. A full ashtray,
movements. I have been repeatedly empty bottles, half-empty bottles, a
told that is is unprofessional to spilt glass, a cane, a knotted
mention one of the most important handkerchief and a mysterious card
reasons— economics. It is sad that with the figure 1. The four main
this argument has materialized in the photographs, which come from their
context of Gilbert and George. Of Human Bondage series, are
Because it is also what they mean by supplemented with other photograph:
Art for All. Now can you buy a living of stains on a surface which suggests
sculpture ? Slavery is dead. They greatly magnified skin. What are we
deserve this accusation less than many seeing ? This seems a long way from
artists. Economics is a cancer which the shy youths sowing their wild oats
eats the meaning of all contemporary in romantic bliss. Or even the
art. slightly naughty but good healthy

Georges Rouault De Profundis c 1945 (detail) Oil on canvas, 0.655 0.51 mm.
Tate in 1966. The early works in the show such as
Georges Rouault once described Coriolanus in the House of Tullus
himself as 'the ivy of eternal misery Aufidius, painted fora competition at
that clings to the leprous wall behind the Ecole des Beaux-Arts, set
which rebellious mankind conceals Rouault firmly in the French
its vices and virtues'. The making of an Romantic and Baroque tradition as
art such as his, an art totally represented by Géricault, Delacroix,
concerned with the miseries of our Daumier and Moreau, and he didn't
human state, must have been an abandon the expressive and objective
extremely painful process, yet pictorial form of these earlier masters
Rouault was suffering for God, and as as in 1903 he abandoned his dark and
Thomas a Kempis tells the faithful in overworked oil paintings of boring
his Imitation of Christ, 'there is no and biblical subjects for a series of
Gilbert & George Dark Shadow No 9 1974 19 part photosculpture, 212 x 166 cm.
one in this world who does not have prostitutes and clowns (from 1904, in
The progress or, depending on your drinking binge. Are they treading the some trout le or distress, not even a 1907 and again during the 1930s)
standpoint, loophole, that primrose path to the everlasting king or a Pope ... yet there is someone and judges (from 1908). These
conceptualism found, was the bonfire ? Are they dangling on the who is happier than others and that is sadness-behind-the-painted-smile
marketing of documentation as knife-edge of orgies, sadism, the man who is able to suffer for God'. images usually have heavy dark
art. In Gilbert and George's hands self-destruction and alcoholism — Rouault was born into the faith contours enclosing areas of violent
the documentation has a just like everybody else ? which allows one to be happier than colour. One isn't sure whether to take
nostalgic air of mementos and Perhaps we can escape their others in a house in Paris in May 1871. it that these pictures executed in
souvenirs. But there is another aspect implications. Perhaps they believe The house at the time was being watercolour, or watercolour and
to the documentation, and that is the in a solution for artists, but human bombarded by government troops gouache on paper, or card, express a
large photographic sculptures. beings have to find another way. I fighting the insurgent Communards. plain loathing for vice, hypocrisy,
Documentation is really too humble am not an artist so I have to find John Russell concludes from this cruelty etc., or whether the emotion
a word ; they are photographic another way to live. What is more moderately interesting art-historical which led to the making of these
landscaping on a monumental scale. difficult to swallow is a less interesting fact that from the moment of birth forceful marks is a little more
In other words — art. The five works or rather less potent way. (The patter Rouault was presented with the fact subtle. Bernard Dorival, who
currently on show at Nigel of tiny criticism.) which is the central theme of his selected the exhibition, writes about
Greenwood's gallery are part of a And so with you. But, you might say, career: Homo homini lupus, man is one rather beautiful portrayal of a
series called Dark Shadows. (They what about Art for All?The message wolf to man. It was not until 1890 prostitute entitled Nude at her
said it.) Each piece contains about seems to have something to do with that Rouault definitely decided to Mirror as follows : 'As a Christian,
twenty separately framed photographs Faustus. If you want everything you become a painter. He joined the Ecole Rouault doesn't approach the subject
either of patterned images or the can have it, you just sell your soul to des Beaux-Arts and studied under with contempt, like Degas, not with
boys themselves. The feeling of the the devil. Perhaps they are telling us Gustave Moreau. Up till that point sarcastic amusement like Toulouse-
photographs changes drastically that the idealism which made us influenced only by his grandfather's Lautrec : his attitude is one of grief
between each piece. With patterns respond to them is nihilistic. It admiration for the then unfashionable and indignation, but he passes no
colouring their inscrutable faces and consumes us before we can consume Daumier, Courbet and Manet, and judgement, and his anger is softened
occidental emotions. Two pieces it. People and life, the here and the with five years experience as a by infinite pity. This does not prevent
represent order, control and a touch of now are what matters. stained glass maker, Rouault became him, however, from depicting the full
angular tension. The cornice of their Lynda Morris acquainted with the rapid flowing horror and ignominy of these