| | I wrote:
> And now, to reveal more about me than I should, here is my all-time favorite painting,
> September Morn by Paul Chabas, dating from 1912.
Michael Newberry wrote:
> Now, so what is the scoop with revealing too much? I thought this is what art
> is about, about who you really are underneath all the layers of defense.
Well, in one sense I was being humorously ironic with that remark, because I do agree with you that revealing the art that one most admires is a deep window into a persons soul, much like Rand's famous observation about revealing the person with whom one chooses to sleep. Obviously, since I choose to post the picture, I was willing to present that window here, but knocking down those "layers of defense" does leave one's soul exposed.
Robert Malcom asked me to explain my reasons for admiring this painting.
My immediate gut reaction is to just let the painting speak for itself, because I find it to be a perfect expression of one aspect of life that I appreciate on an emotional level, and intellectualizing about it just detracts from that pure emotional moment. However, I can make a few comments about what I find so appealing.
Michael really hits upon something profound when he speaks of "layers of defense". In normal social settings, the idea of standing out from the background, exposing your true inner self, your essence, to others is not only an uncomfortable proposition, it is so scary to most people that it has become almost a taboo in our culture. Because if one person is allowed to do so, it acts as a challenge to others - a challenge that most people do not wish to have to confront. The excuse that people proffer for this is that they wish to protect themselves from exposure to ridicule by others. But I would suggest that often the more important reason for this visceral reaction lies in the desire to leave their defenses standing so as to protect themselves from having to confront their own true nature. Howard Roark is the ideal literary representation of a self-aware person comfortable with their own being and unafraid of letting others see his whole being. The image of standing naked is an artistic metaphor for this concept of being exposed, and it's no accident that the opening scene of The Fountainhead finds Roark standing naked on the cliff before diving into the pond below. Without knowing it while reading The Fountainhead for the first time at the age of 12, I can now look back and realize that this was what I immediately identified with when I read those opening passages; a desire to also stand exposed and be seen as I truly was. In September Morn, I find an expression of this idea of being comfortable with one's exposure. However, here it is connected to innocence whereas with Roark it is connected to defiance. Both artistic expressions speak to different parts of me.
I also like the sense of isolation. There is peace and serenity conveyed by the distant mountains, the calm water and the absence of other signs of humanity. I enjoy having time alone to reflect on my thoughts and appreciate the beauty of nature. A large print of this painting is on my wall and I can briefly escape to that feeling of serenity when I stop and take time to contemplate it. An interesting aside that may or may not apply to others is that I have what I call a split-mode of consciousness. One component of my conscious mind focuses on normal tasks such as contemplating this picture. However, there is always another component, let's call it my meta-consciousness, that has a god's-eye view of me and my relationship to my immediate environment. Therefore, while the greater portion of my awareness can be immersed in a painting, movie or music, there is always another part of me that remains on the outside as an omnipresent observer. This leads to an interesting tension when viewing a painting like this one, since, while one part of me can identify with the serenity and isolation being presented, there is another part that sees me as an observer of the scene, thereby diminishing the sense of isolation and privacy!
I like the technique used in this painting and it is my favorite among the Impressionist artists. The abstract background conveys just the right amount of detail to define the setting but not distract from the figure in the foreground. The low dawn light is used effectively to model the body and the few backlit highlights hint at the unseen side of the figure adding a sense of mystery and intrigue which pulls you into the painting. I took a look at some of Anders Zorn's paintings that Michael mentioned. Here is one that comes closest in theme and composition, and here is another. I do not like the style of Zorn's work. His female figures are generally much heavier (more Rubenesque) and the cruder brush technique forms a barrier for my enjoyment. Sometimes I appreciate an art work principally for its technique rather than it's theme, but in the case of September Morn, it is the thematic subject that is of overriding importance and Chabas' technique, while somewhat abstract, does not block my acceptance of the reality of the moment depicted.
I think the early 20th century controversy over the nudity in this painting is, let's say, interesting. This is clearly a young woman, not a child, and while the form comes close to my personal ideal of the female body type, this image is clearly (at least to me) and expression of innocence rather than an attempt at eroticism.
OK, it's your turn. If you're game, post your favorite picture with a few comments about what it means to you.
Regards,
--
Jeff
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The Fighting Temeraire tugged to her Last Berth to be broken up
I believe Simon Schama said that J M W Turner remains the most popular painter in Britain, although he was quite controversial in his day. See BBC 
