Van Gogh: from the dark into the light

Van Gogh: from the dark into the light

After encountering the artists of the Hague School in the Rijksmuseum, I walked across Museumplein to the Van Gogh Museum where I found further evidence of the connections between these painters. There is so much to absorb at the Van Gogh Museum, and elements of the story are so familiar, that I focussed on the early years of Vincent’s career during which he painted darker landscapes and studies of peasant life in the countryside that reflected his admiration of the Brabizon realists and the influence of members of the Hague School.

Later, in the rooms dedicated to his work in Provence, I felt as if I had emerged into sunlight and colour. Continue reading “Van Gogh: from the dark into the light”

Out and about with the Hague School

Out and about with the Hague School

I guess we’re all familiar with the way in which the French Impressionists shook up the art world in the 1870s by depicting landscapes and scenes from modern everyday life often painted outdoors using bright, pure colours applied with rapid, often visible brush-strokes.

What I didn’t know – until I found some of their paintings in the Rijkmuseum last month – was that at the same time a group of Dutch painters were similarly intent on representing the changing modern landscape of their country and daily life of its people; artists who, like their French counterparts, were keen to capture the sensation of the moment, and shifting patterns of light on the landscape by working in the open air.

The key difference lay in the Dutch artists’ initial preference for muted colours. Painting under the grey skies of the Netherlands the group became known as the ‘Grey School’, then later as the ‘Hague School’. Continue reading “Out and about with the Hague School”

The meaning of trees: the way we see the world

The meaning of trees: the way we see the world

Is the rowan tree still there in the garden of the house where I grew up? The thought occurred to me as I listened to the second of five talks by Fiona Stafford on The Meaning of Trees, broadcast last week in BBC Radio 3’s Essay strand (and available as a podcast download). Stafford had begun by explaining the Rowan’s popularity as a tree for suburban gardens – it’s easy to grow, is good on all kinds of soil, is low maintenance, and doesn’t grow too large.


For gardeners the tree has several benefits.  It’s a tree for all seasons – a kaleidoscope of changing colours  throughout the year, from creamy spring blossom and pistachio summer green to autumn’s bright scarlet berries.  It’s popular with bird-lovers because it’s a favourite of blackbirds and thrushes.  The result is that rowans found in suburban streets and gardens all over Britain.

Yet this is a tree that first flourished in wild upland areas.  And, as Fiona Stafford suggested, it’s long experienced something of an identity crisis, bearing a confusion of names at various times.  ‘Rowan’ reflects the Viking influence in Scotland, since the word derives from the Old Norse reynir,meaning red. The tree’s popular name Mountain Ash is a double misnomer: although it had its origins in highland areas, the tree is now just as common in the south.  Moreover, it is not related to the Ash (the confusion arose because of the similarity between the pinnate leaves of the two species). Then there’s the Old English name of cwic-beám, which survives in the name quickbeam (where ‘quick’ = life). Fiona Stafford considered various explanations as to why, from Anglo-Saxon times, the tree should have acquired its association with life. Perhaps it derived from its use as charm for infertile land, or from the therapeutic value of the berries (they make an excellent gargle for sore throats, apparently), or maybe it was something to do with the quivering leaves.

So the rowan comes in many guises: white ash, mountain ash, quickbeam, whispering tree, witchwood. As Fiona Stafford explained, this shifting identity suits a tree that is at once safe and suburban and a tree sacred to antiquity, renowned for its protective powers. She spoke of how the rowan figures prominently in Irish, Scottish and Scandinavian traditions, its berries considered the food of the gods. It features in old Irish poems, and has many associations with magic and witches. Its old Celtic name is ‘fid na ndruad‘ which means wizard’s tree. It also crops up in poems by Seamus Heaney, such as ‘Song’:

A rowan like a lipsticked girl.
Between the by-road and the main road
Alder trees at a wet and dripping distance
Stand off among the rushes.

There are the mud-flowers of dialect
And the immortelles of perfect pitch
And that moment when the bird sings very close
To the music of what happens.

This is the second series on The Meaning of Trees presented by Fiona Stafford, Professor of Literature at Somerville College Oxford. Like the first, this one explored the symbolism, economic importance,  and cultural significance of five trees common in the UK. While the first series considered the yew, ash, oak, willow and sycamore, in the second Stafford discussed the rowan, pine, poplar, hawthorn and apple.

Klimt -pine-forest

Gustav Klimt, Pine Forest, 1901

Before the discussing rowan, now flourishing in suburban gardens, Fiona Stafford had begun her series with another domesticated species – one that has found a place in almost every room of the house – and in providing key ingredients of many household products. Stafford was talking about the pine.  She began:

The year is 1975.  The summer is scorching, and people are starting to strip.

She’s talking about the new wave in furniture:

In the kitchen we have pine tables, dressers, cupboards; in the bedroom pine headboards, wardrobes and drawers; in the bathroom there’s more pine for the cabinets, towel rails, shelves and brush-holders.

Everyone, Stafford exclaimed, is going pine mad.  How true!  This was the era of Habitat and local artisans retailing reclaimed and freshly-stripped pine (or, with effort, you could do it yourself).  We, too – a young couple setting up home in our first flat – were part of this pine revival that was, in Stafford’s words, ‘a reaction against the polythene, plastic and polyester space age’.  Instead of lino and Formica that mimicked wood, we wanted the real thing.

A native of Scotland, economically the pine is the world’s most important tree.  There are not only the obvious uses in the furniture, building and paper industries, but also its medicinal properties in treating bronchitis and pneumonia for millennia and its resin, used to manufacture glues, gums, waxes, solvents and fragrances.  It’s the ultimate versatile tree, providing the base oil for emulsion paint, turpentine for cleaning brushes, pitch for waterproofing ships’ timbers – and licorice allsorts.

Drowned pine forest

The drowned pine and oak forest of Borth

The pine has been a British native tree for over 4000 years, with dark pine forests entering legends and fairytales.  Fiona Stafford told how, after the ferocious February storms, a prehistoric  drowned forest of pine and oak from between 4,500 and 6,000 years ago was revealed when thousands of tons of sand were stripped from beaches in Cardigan Bay.  At Borth the remains were exposed of a forest that once stretched for miles before climate change and rising sea levels buried it under layers of peat, sand and saltwater. The trees echo the local legend of a lost kingdom, Cantre’r Gwaelod, drowned beneath the waves.

Pines on the Mediterranean

Wind-tossed pines on the Mediterranean coast at Giens, near Hyeres

Stafford spoke of the pine’s time-old ‘tendency to help and to heal’, now revealed in a new sense as scientists discover that pine scents create a cooling, aerosol effect as they rise. So a pine forest can actually create cloud cover – a natural mirror that reflects sunlight back into the stratosphere and away from the overheated earth.  But there was one use of pine not mentioned by Fiona Stafford – one to which I am addicted.  The seeds of the tree – called pine nuts – when harvested make a wonderful addition to many dishes, as well as being an essential ingredient of pesto sauce.  Stafford did, however, mention the heady scent of pine trees which I particularly associate with the Mediterranean.

Mont Sainte-Victoire by Paul Cezanne, 1887

 Paul Cezanne, Mont Sainte-Victoire, 1887

Cezanne, The Great Pine, c.1896

Paul Cezanne, The Great Pine, c.1896

Something else overlooked by Stafford, but which I would have to mention in any discussion of pines, are Paul Cezanne’s paintings of pine trees which frame Mont Saint Victoire in his many paintings of that mountain.  Most powerful of all – and one of my absolute favourite paintings – is his portrait of The Great Pine.


A hawthorn in the Yorkshire Dales

“There is a Thorn—it looks so old,
In truth, you’d find it hard to say
How it could ever have been young,
It looks so old and grey.
Not higher than a two years’ child
It stands erect, this aged Thorn;
No leaves it has, no prickly points;
It is a mass of knotted joints,
A wretched thing forlorn.

This is the opening stanza of Wordsworth’s poem ‘The Thorn’, cited by Fiona Stafford as an example of the fearsome reputation of the hawthorn, regarded throughout history as so unlucky that its blossom should never be brought into the house or displayed. Indeed, I remember when I was a child, my mother, who hailed from rural Derbyshire, would be horrified if we came back from a walk with hawthorn in amongst a bunch of wild flowers). This fear probably derived from the erroneous belief that Christ’s crown of thorns was of hawthorn. From the belief flowed the idea that to bring any part of the tree into a house – but most importantly the flowers – would result in someone in the house dying. Attacking or cutting down a hawthorn tree was a bad idea for the same reason. As Stafford remarked in her talk, ‘Some terrifying force seems to lurk within this formidable tree – or rather in the minds of those who feel so threatened by its deeply feminine beauty’.

In spring, the hawthorn bursts into beautiful ‘May’ blossom. Every year, in Stafford’s words, ‘almost overnight the hawthorn turns white; huge heaps of flowers seemed to be dropped along the branches as if by some careless cook. For David Hockney, this is ‘action week’.  At his landmark exhibition in London a couple of years ago, a whole room was filled with ‘these huge, disturbing, custard-coated forms’ – a massive celebration of the magical, shape-changing hawthorn’.

Hockney, May Blossom on the Roman Road, 2009

Hockney, ‘May Blossom on the Roman Road’, 2009

Despite the hawthorn’s association with bad luck, the tree’s main association is with May, its blossom crowning May queens and adorning maypoles.  Its alternative name of May or May blossom reflects the fact that the flowering of the hawthorn is a sign that winter is over and spring is underway (although, given the British climate, May blossom might appear in April or as late as June).  Interestingly, the old saying ‘Ne’er cast a clout ’til May be out’ (a warning not to be precipitous in shedding any clouts or clothes) refers, not to the month of May, but to the understanding that summer has not arrived until the May blossom is out.

May blossom on Wenlock Edge, May 2007

May blossom on Wenlock Edge, May 2007

Coincidentally, Paul Evans, one of the finest observers of the natural world writing at present, has this week devoted his Country Diary in the Guardian to the hawthorn.  I think the piece merits being reproduced in its entirety:

The last May blooms like a bride on Windmill Hill. White in the evening light as the sky begins to clear from a cool, drizzly day, she stands as a lightning rod, still dazzling with energy from the recent storm. From lightning, according to myth, she originated. Her branches are filled with corymbs of five-petalled flowers, each with a ring of red, match-head stamens. Her earthily erotic musk draws flies for pollination and sends them into a trance. A sacred tree to European peoples, her wood was used in wedding torches in Greece, as protection against hauntings and evil spirits in Germany, and in magical healing for warts, toothache, rheumatoid arthritis and childbirth.

Crowns of mayflower were found on the dead of Palaeolithic cave-dwellers long before they were used as bridal wreaths in Greek and Roman weddings dedicated to Maia and the Virgin Mary. In Celtic culture, lone bushes like this one were places of fairy power and protected for fear of reprisals. There is something in this. I have long admired this particular tree: impenetrable and cloud-shaped, it flowers late and produces a big crop of scarlet haws. It is frequently full of birdsong and the hum of insects, and has a distinctive presence up on top of the hill as a kind of beacon. It would feel like sacrilege to interfere with it and I can well believe its beauty could turn to malevolence. Most May trees or hawthorns in the landscape have gone smudgy, their petals fading and dropping in the rain.

Paths and lanes all around are sprinkled with the white confetti of the great wedding of May, and now the month and its tree are nearly over. The next wave of rose relative flowers – bramble and dog rose – is about to break out of hedges and scrub. Until then, this tree says it all in dazzling simplicity: flowers and thorns, beauty and pain – the marriage of May.

The hawthorn, as Stafford rightly stated, has changed the entire face of Britain: it’s a palimpsest of old land practices. This hardy tree, when cut and laid, is in many ways responsible for our very idea of the British countryside because of its usefulness for hedging. When much of Britain was enclosed in the eighteenth century, the new fields were marked by hawthorn tree hedges, shaping the landscape into the familiar patchwork of fields. Fields bounded by hawthorn hedges form a deeply-ingrained mental image of the English landscape – which is why the uprooting of old hedgerows in modern farming practice can be such a psychological shock. More than that, the loss of hawthorn hedgerows has also had an impact on wildlife, contributing to the decline of many species of bird.  In his poem ‘The Thrush’s Nest’, John Clare observed the close affinity between hawthorn and thrush:

Within a thick and spreading hawthorn bush
That overhung a molehill large and round,
I heard from morn to morn a merry thrush
Sing hymns to sunrise, and I drank the sound
With joy; and often, an intruding guest,
I watched her secret toil from day to day –
How true she warped the moss to form a nest,
And modelled it within with wood and clay;
And by and by, like heath-bells gilt with dew,
There lay her shining eggs, as bright as flowers,
Ink-spotted over shells of greeny blue;
And there I witnessed, in the sunny hours,
A brood of nature’s minstrels chirp and fly,
Glad as the sunshine and the laughing sky.

A typical Poplar Tree lined road - south of France photo by Brian Jones

A typical poplar-lined road in the south of France (photo by Brian Jones,

When, in the 1970s, we began travelling through France to campsites in the Dordogne or Cevennes, the element of the landscape that most impressed itself upon me was that of miles of poplars that lined the routes nationales as we drove south.  In her essay on the poplar, Fiona Stafford noted that many of those in northern France were planted all in one go, on the instruction of Napoleon, in order to shade troops as they marched towards the French border.  The fact that they rapidly grew tall in orderly rows meant that they were perfect for lining trunk roads, or for gentlemen – who, on the Grand Tour, had seen the ‘Lombardy Poplar’ lining roads and rivers in northern Italy and had decided to utilise them line avenues on their country estates.

Poplars by the Mersey near Sale

Poplars by the Mersey near Sale

Poplar, said Stafford, is not much good as wood these days  (it’s mainly used for matches), but is, surprisingly, the most modern of trees, being the first tree to have had its complete DNA sequenced. This breakthrough has allowed experiments in tree breeding to begin – with objectives such as combating carbon emissions, and developing bio-fuels and bio-degradable plastics.

For such a plain, column like tree there are, surprisingly, many literary references to poplars.  Among those mentioned by Fiona Stafford was ‘Binsey Poplars’, written by Gerard Manley-Hopkins as an early protest against tree-felling – an act of ‘spiritual vandalism’ – when the poplars in the water meadows at Binsey were cut down.  It was a landscape that Hopkins had known intimately while studying at Oxford, and the felling ‘symbolized the careless destruction of nature by modernity’:

 felled 1879

My aspens dear, whose airy cages quelled,
Quelled or quenched in leaves the leaping sun,
All felled, felled, are all felled;
Of a fresh and following folded rank
Not spared, not one
That dandled a sandalled
Shadow that swam or sank
On meadow & river & wind-wandering weed-winding bank.

O if we but knew what we do
When we delve or hew —
Hack and rack the growing green!
Since country is so tender
To touch, her being só slender,
That, like this sleek and seeing ball
But a prick will make no eye at all,
Where we, even where we mean
To mend her we end her,
When we hew or delve:
After-comers cannot guess the beauty been.
Ten or twelve, only ten or twelve
Strokes of havoc unselve
The sweet especial scene,
Rural scene, a rural scene,
Sweet especial rural scene.

Then there are the many artistic representations of poplars – ranging from Turner and Monet (the many paintings in all seasons of the poplars on the banks of the river Epte) and Van Gogh (who painted poplars many times in his life) to Paul Cezanne and Roger Fry.

Turner, A distant castle with poplar trees beside a river,1840

JMW Turner, A distant castle with poplar trees beside a river,1840

Monet Poplars on the River Epte,

Poplars on the Epte by Claude Monet, 1891

Claude Monet, Sunlight Effect under the Poplars, 1887

Claude Monet, Sunlight Effect under the Poplars,1887

Paul Cézanne, Poplars, 1890

Paul Cézanne, Poplars, 1890

Roger Fry,River with Poplars, 1912

Roger Fry,River with Poplars, 1912

Avenue of Poplars at Sunset by Vincent van Gogh, 1884

Avenue of Poplars at Sunset by Vincent van Gogh, 1884

Vincent van Gogh Two Poplars on a Road Through the Hills, 1889

Vincent van Gogh, Two Poplars on a road through the hills, 1889

Earlier I mentioned Cezanne’s obsession with painting the pines that framed the view of Mont St Victoire he saw every day when he climbed the hill above his home outside Aix-en-Provence.  Correct me if I’m wrong, but I don’t think he ever painted the poplars cypress [see comment below!] which rise in the foreground of that view.  Maybe they weren’t there in the 1880s, though they were present when I photographed the scene a few years ago.

Poplars and Mont St Victoire

Poplars and Mont St Victoire

Whatever their economic or utilitarian value, the thing about trees for me is their daily presence in the world around us – ‘constant as the northern star’ as Joni Mitchell wrote in an entirely different context.  Constant and yet ever-changing: they may be the most important means by which we measure the seasons.  There is, too, something almost inexpressible about how we live out our lives amongst living things which – if they can escape the chainsaw – can survive for centuries or even millennia. They are truly, in the words of a poem by WS Merwin which coincidentally appeared in Saturday’s Guardian, the way we see the world:

‘Elegy for a Walnut Tree’ by WS Merwin

Old friend now there is no one alive
who remembers when you were young
it was high summer when I first saw you
in the blaze of day most of my life ago
with the dry grass whispering in your shade
and already you had lived through wars
and echoes of wars around your silence
through days of parting and seasons of absence
with the house emptying as the years went their way
until it was home to bats and swallows
and still when spring climbed toward summer
you opened once more the curled sleeping fingers
of newborn leaves as though nothing had happened
you and the seasons spoke the same language
and all these years I have looked through your limbs
to the river below and the roofs and the night
and you were the way I saw the world

See also

The real Van Gogh: the artist and his letters

The real Van Gogh: the artist and his letters
Van Gogh: Hospital at Saint-Rémy, 1889

Another highlight of my London trip was a visit to The Real Van Gogh exhibition at the Royal Academy, the first major Van Gogh exhibition in London for over 40 years. The focus of the exhibition is Van Gogh’s correspondence. Nearly 40 original letters, rarely exhibited to the public due to their fragility, are on display; together with around 65 paintings and 30 drawings that are related to the content of the letters.

It is a brilliant exhibition, including paintings that I had never seen before, as well as exquisite line drawings, many of them included in the letters he wrote, mainly to his brother, Theo. The letters were frequently illustrated, and kept Theo up to date with the subjects that preoccupied him and the ways these might be translated into paintings.

Written mainly to his younger brother Theo, but also to other artists, the letters reveal that his attitude to colour developed through a careful reading of theoretical ideas about its use and close observation of the work of other painters. His love of nature comes across clearly in the letters and related paintings – expressive studies of olive, cypress and peach trees and luminous landscapes.

The exhibition is organised around seven themes, each of which has a room devoted to it.

1. Dutch landscape

Nature was a powerful force for Van Gogh, whether in his own childhood explorations or in the images of seventeenth-century Dutch painters who first embodied a Protestant conception of Nature as a revelation of God. However, in his early depictions of landscape he struggled with perspective – the creation of an illusion of depth
and the relative size of objects depicted in this space. Many of his landscape drawings have sharp recessional lines – a road, a ditch, some rooftops that take us back into space. In August 1882 he announced the acquisition of a new perspective frame, a device fitted with wires that gave, as he wrote, ‘a view AS IF THROUGH A WINDOW’.

Landscape and urban views were always saleable and Van Gogh’s first commission for twelve pen drawings of The Hague came from his Uncle Cornelis. If pen drawings could sell, so too should watercolours.

Van Gogh letter sketch: Rooftops, The Hague: 23 July 1882
Van Gogh Pollard Willow 1882, letter sketch
Van Gogh: Man pulling harrow, letter sketch, Drente: 28 October 1883
Van Gogh: Autumn Landscape, 1885

2. Peasant and the figure

The representation of the human figure seemed to Van Gogh to be the highest aim for an artist. Although he loved landscape he always expected to people it with figures, and generally these figures would be the peasants who worked the fields. Back with his parents in Nuenen, his first subjects were the local weavers working from home
and under threat from industrialisation. These usually showed single figures dwarfed by the complexity of the machines they operated. In a series of figure studies of peasants as well as portrait heads he worked towards an important multi-figure composition, The Potato Eaters (1885).

Van Gogh: Woman digging, letter Sketch, The Hague: 21 May 1883
Van Gogh: Peasant Woman Lifting Potatoes, sketch 1885

3. Paris: colour and Japanese prints

A few months after he arrived in Paris in February 1886, Van Gogh’s art underwent a dramatic change as he transformed himself into a daring colourist.  The eighth and last Impressionist exhibition was held in
that year. The most  striking painting to be seen was Georges Seurat’s A Sunday on La Grande Jatte.

At this time there was a taste for all things Japanese. The Impressionists had been attracted by the cropped compositions, unusual viewpoints and flattened perspective. Later artists appreciated their use of silhouette and strong, saturated colour. Van Gogh had first collected these prints in Antwerp and, in his second year in Paris, acquired many more, attracted by their colourful presentation of what became, in his eyes, an idealised harmonious civilisation. Van Gogh made a transcription of Plum Orchard at Kameido, intensifying the colours, making the transitions between them more emphatic and, with his active brushwork, completely changing the flat, printed surfaces of the Japanese work. Similar brushwork marked his use of the prints in the background to his portrait of Père Tanguy.

Van Gogh: Flowering Garden With Path, 1888
Van Gogh: Portrait of Pere Tanguy 1887

4. Portraits

Portraiture was more important for Van Gogh than any other genre.  “What I’m most passionate about, much much more than all the rest…is the portrait, the modern portrait.  I seek it by way of colour.”  In Arles he created a series of bold, confident portraits, and was delighted to have the opportunity to portray an ‘entire family‘ – that of the postman Joseph Roulin.

Van Gogh: Portrait of the Postman Joseph Roulin, 1888
Van Gogh: Self portrait as an artist, 1888

Van Gogh wrote of this self portrait: “something different to a photograph”

5. Arles: the revelation of the South

When Van Gogh arrived in Arles he found it, unexpectedly, covered in snow, but within a few weeks he was out in the orchards painting the blossoming fruit trees.

Van Gogh: Orchard with Blossoming Apricot Trees, 1888
Van Gogh: Olive trees, Montmajour 1888
Van Gogh: Lawn with weeping willow, drawing, 1888

6. Cycles of nature

Blossoming trees were a sign of spring and the beginning of the cycle of seasons to which Van Gogh attached great importance. In Holland he had followed the different activities of the peasants, but in Provence it was the changing colour of the landscape – white and pink in spring, yellow and golden bronze in the summer harvest, red in the grape-picking of autumn – that inspired his work as a painter. At the same time he allowed himself the freedom to use colour for his own emotional responses rather than as a realistic representation. He returned to the figure of the sower a number of times and reworked Millet’s famous image in an even more romantic manner.

Van Gogh: Garden with Weeping Willow

Van Gogh: Still Life with Plate of Onions, 1889

7. The late landscapes

For me, the landscapes that Van Gogh painted in his time in the asylum at St Remy de Provence, studies of what he could see from the window of his room – olive trees and wheat fields, the rocks of Les Alpilles – will always remain very special.

Van Gogh: Olive Trees with the Alpilles in the Background, 1889
Van Gogh: Olive trees in mountain landscape, sketch
Van Gogh: Wheat Field with Cypresses, 1889
Van Gogh: Wheat Field with Reaper at Sunrise, 1889
Van Gogh: Enclosed Wheat Field with Peasant, 1889
Van Gogh: Mountainous Landscape Behind Saint-Paul Hospital, 1889

Trees were an important subject during Van Gogh’s time at Saint-Rémy, whether olives, cypresses or pine trees. Years ago in Holland, he had seen a resemblance between the painting of a tree and that of a human being. Now in Saint-Rémy, the dark green cypresses stood clear with defined outlines, the density of their wisting branches conveyed with curling, leaping brushmarks that spread into the surrounding landscape as vehemence of movement replaced vehemence of colour.

For all the advances Van Gogh’s art had made in this last year, whether in his use of marks, his grasp of composition, or a more measured approach to colour, he still felt the sense of failure that had accompanied his first breakdowns. It was the idea of a new start that led him northwards to Auvers, near Paris, in May 1890. There, whatever his sense of failure, Van Gogh threw himself into work. In the last seventy days of his life he painted over 70 canvases, many of them his most assured works.

Van Gogh: Wheat fiels after the rain (The plain of Auvers), 1890
Van Gogh: Daubigny’s Garden, 1890

See also