Читать книгу Short Life in a Strange World: Birth to Death in 42 Panels - Toby Ferris - Страница 11

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‘The more things happen to you the more you can’t Tell or remember even what they were.’

William Empson, ‘Let It Go’

Two days after my encounter with the Icarus, I am back in Brussels and back in the museum, this time with my friend Steve Barley, who has finally arrived from Rome. Now I know how to get the chronology right, ascending to the empyrean of Bruegel as though by a winding stair or a twisting thermal. Thus we eddy from Robert Campin to Van der Weyden to Bosch to Joachim Patinir to Herri met de Bles. And so on and up.

We enter the corner room and I make a rapid audit, reminding myself. The right side of the room as you enter is Elder Bruegel; the left side is Younger Brueghel. I am here for the Elder Bruegel. Elder Bruegel is the great Bruegel. I ignore the Younger and settle to the business of scrutinizing Bruegel.

However, there is a distracting oddity. On the west wall of the room hangs the Elder’s Census at Bethlehem, a large panel painted in 1566. But on the south wall, roughly 8½ yards distant and hanging at an angle of 90 degrees to it, is another, near-identical Census at Bethlehem, painted by his son Pieter Brueghel the Younger in about 1610. It is one of at least thirteen copies the Younger made of the original, all of them faithful and well executed.

I start by trying to ignore it: it is good, but it is hack work, a cynical workshop production, a pointless replica. I am here to focus. But it happens that there is a spot, situated at the apex of a triangle the base of which is formed by the two paintings, where you can take them both in. If you had bovine eyes, the whole corner would become a giant and blurry and (to your cow mind) bewildering stereoscope.

I do not have bovine eyes or a cow mind. If I want to compare Bruegel with Brueghel, Elder with Younger, I have to swivel my head. And in reality, there is not one triangle at the apex of which you stand. Either you stand in front of the Elder and glance at the Younger, far away, or you stand in front of the Younger and look over your shoulder obliquely at the Elder. There are two triangles (at least); you move in a zone between their vertices.

And in this god-like, cow-like zone, what do you see?

In both cases, a snowbound village scene dominated by children playing and scuffling in the snow and their elders scratching out a living with their fardels and pigs’ blood and snowed-under carts, their small and wintry concerns. Around the inn in the left foreground a crowd gathers, submitting their names to the census; others straggle in across the frozen river, and across the frozen pond. Mary and Joseph are unobtrusively there: Mary, riding on an ass, nine-tenths concealed in her blue robe; Joseph likewise hidden behind a large hat but waggling a two-handed saw over his shoulder.

They are both as yet unnumbered.

For Pieter Bruegel the Elder, there was only ever one Census. It was a singular object. Unlike his son, he did not run an extensive workshop, did not bang out copies. He made few paintings, each one in his own hand.

When he died in 1569 at the age of about forty-two, his eldest son was four or five years old, his youngest, Jan, just one. In terms of art history, there is no genealogical connection between father and sons, merely a tectonic overlap. Pieter the Younger inherited a series of world-famous images (if by world you are content to understand Northern and Habsburg Europe), probably in the form of what are known as cartoons, drawings used to transfer an image to a panel. His entire career down to his death in 1636 was grounded on these images, whether he was making direct copies or spinning genre pieces from them.

He most likely saw little of his father’s original work, much of it already carted away to the great imperial collections – hence the small differences which creep in, the errors in replication, the drift.

As with his name. Pieter the Elder had started out plain Pieter Brueghel of Breda, signing his name with a calligraphic flourish on the drawings he produced as a young man. When he started painting in oils towards the end of the 1550s, he dropped the ‘h’ and began signing his name Bruegel in chiselled capitals, frequently with a ligature between the v (the Roman u) and the e, usually with the date (and after 1562 the date is generally written in Roman rather than Arabic numerals, with two or three exceptions), never with a P. or Peter – in the couple of cases where a P. was placed in front of bruegel, the paintings later turned out to be rather careless modern forgeries. ‘Brueghel’ was a bit burgher, perhaps, a bit stomping peasant; ‘BRUEGEL’ is cleaner, more Roman, befitting a Stoic observer of stomping peasants.

His sons for some reason restored the ‘h’ to the family name. Brueghel. Early in his career, Pieter the Younger aped his father’s Latinizing capitals, but reverted to small-case letters for most of his copies, and he never creates a ligature between the v and the e, although he does occasionally between the h and the e. Until 1616, he always appended his initial, ‘P-Brueghel’. After 1616, he altered the spelling of his surname once again, reversing the v (or u) and e, ‘P-Breughel’. In these ways, the Younger distinguished himself not only from his father, but from his younger brother Jan, who always signed simply ‘Brueghel’. Subsequent generations, notably Jan Brueghel’s son, Jan Breughel the Younger, retained the order of e and the u: ‘Breughel’.

Father and sons and grandsons and great-grandsons, taken together, make a blurry bruegel/Brueghel/Breughel object.

There was also a daughter, Maria Bruegel. Or Brueghel? We are not even sure about Maria: some have it as Marie. We know nothing about her. Older than her brothers, most likely, and certainly older than Jan, who was born only months before his father died. Probability suggests death in infancy. Her brother Pieter the Younger would have seven children, only one of whom would survive to adulthood.

Some children barely draw breath. My mother recollects a brother, Harry, who died before morning on the night he was born. She says she heard him crying that single night in the 1930s, in the solitary room in the west of Ireland that would constitute his universe. Crying perhaps under the baptismal hand. Harry, in the eye of God. And then he was gone.

So too Maria. Gone. The merest flicker of data in the endless ticker-taping lists of the quick and the dead.

I move between the invisible apices of my triangles, comparing Bruegel with Brueghel. It is a midweek morning in early January, raining outside the museum and largely empty inside. This is where my as yet undefined project has brought me, dead-reckoning in a room of old paintings.

I am forty-two, around the age at which the Elder died. Forty-two is the number of Bruegels on the spreadsheet. My own father has died, a year or two previously, aged eighty-four. When I was born he was forty-four. I was the second son. There are two years between my brother and me. I have also recently become a father myself, to two sons, between whom there are two years. Pieter Bruegel had two sons: the Younger, and Jan the Elder, between whom there were four years.

And so on. You do not really explain an intersection by following up or down any of its convergent, or for that matter divergent, paths. It is sufficient to note that my midlife is characterized by the interaction of multiple convergent (divergent?) vectors: my dead father, my brother, my small sons, myself, and the Bruegels. Many similar triangles.

*

The census is an unusual subject. Bruegel has painted one of the culminating moments of bureaucratic life. Bureaucracy is the science of docketing the routine comings and goings of existence – births and deaths, taxes paid and taxes owing; it is a rolling programme of work, one without end.

A census, however, is a one-off. It is a flourish of the bureaucrat’s art. You do not merely keep the ball of a census rolling: it wants planning and execution. It is, properly speaking, a project, a projection of bureaucracy. And it has an end: a Domesday Book of taxable, pressable souls.

From a distance – to the administrator or historian – a census is an exercise in control and power, not always pleasant, but always impressive in its way, like a datastream ziggurat or Hoover Dam. Seen close to, however, it pixilates into a sequence of inexact iterations. The bureaucratic ground troops do not mechanically fill in blanks. They have to keep a weather eye cocked on the confusion of crowds, have to sort quickly, roughly (there are only so many categories) but accurately. They have to fix a point in time where there are no points in time.

Bruegel’s Census at Bethlehem therefore depicts a world in transformation. The census is drawn through the village, through that mess of humanity at the inn door, like the carding of wool. The stream of individuals passes back and forth over the frozen river: people come in nebulous and free to have their names written down in a book, their existence validated in ink; they go out docketed and numbered, but also informed, no longer unlicked stray lumps of humanity but named individuals, with a location and an occupation and a marital status, enjoying a spark of existence beyond their own clay.

*

How, then, to number the paintings which hang in this room? How to enter them on the spreadsheet?

On an adjacent wall to the Census in Brussels is the Winter Landscape with a Bird Trap, a small sepia painting. Little figures skate on the frozen river, or huddle over their game of curling. On the bank, under a tree, a trap is set for birds: a heavy assembly of planks (in construction, not unlike the panel it is painted on) is propped up on a stick, a lure of crumbs beneath it; from the stick, there is the merest trace of a taut string leading into a house on the left of the panel. Snatch the stick from under the planks and you might catch a bird or two, just as the painter of panels, ever watchful, might catch and trap a soul, or a village of souls. Snatch the ice from under those skating children, and you might drag one or two down. The birder, the painter, the Devil are always watching, always waiting.

Always watching, always waiting: Winter Landscape with a Bird Trap, detail.

The skaters and the birds are linked by two stylized black birds in the foreground. They are the same size in real terms as the skaters, the same tonality also; they could be mistaken at first glance for skaters.

Birds and skating villagers live a similar existence: birds have wings and skaters ease along at great speed; both are in danger, both seem at liberty. The birds could fly away, live in the woods, while the villagers could slide around that bend in the river and be gone in minutes, never to return. But the ice will melt and the villagers will remain. Winter birds, too, are territorial. All are rooted here.

Including Bruegel. Bruegel might have skated around that bend and away, to Antwerp, to Royal Brussels, to Rome and Naples and Calabria. But he came back. According to Karel van Mander, who included, in his 1604 Schilder-boeck, or Book on Painting, brief lives of the great Netherlandish painters, Bruegel frequently visited the villages around Antwerp and Brussels in disguise, infiltrating festival and kermis (a kermis – from ‘kirk mis’ or ‘church mass’ – being the annual festival held in honour of the village church’s named saint), observing but unobserved.

His panels are littered with figures standing on the edge of crowds, watching. Some are well-heeled, clearly not village folk, returned from the city for family weddings, to partake again, briefly, of the drunken, cavorting rhythms of village life.

One way or another, in paint as in life, this was Bruegel’s world.

*

Bruegel’s Bird Trap was a popular subject. There are at least 125 known and documented copies.

But what is a copy? If I were to take out paint and easel now, and run up some version of my own, would that constitute a copy? Number 126. Mark it down. At what point does the painterly spore of Bruegel peter out to blank snow? When can we say that the code has replicated itself into muddy, unrecognizable progeny, into mass reproduction?

On the wall opposite the Census, there is a large canvas, an Adoration of the Magi. This is not generally attributed to Bruegel, but may be after a lost composition, like the Icarus. It is in watercolour, an unusual medium for Bruegel. There is a tempera Blind Leading the Blind in Naples, and a Misanthrope; there is The Wine of St Martin’s Day in Madrid; otherwise it is all oil, all panel.

The canvas is badly damaged. Who knows how many panels have been lost over the years, painted over, chucked in skips, on bonfires. Van Mander mentions two versions of Christ Carrying the Cross (one remains); a Temptation of Christ, with Christ looking down over a wide landscape; a peasant wedding, in watercolour, with peasants giving presents to the bride; and one other watercolour in the hands of the same collector, undescribed. We know of others, gone missing. A crucifixion. A miniature Tower of Babel. The first in the sequence of The Months (April/May).

Whatever Bruegel saw when he contemplated his own Bruegel Object is lost to us, a ghost configuration. Whatever might be vouchsafed to posterity from a life lived – in Bruegel’s case, a lot; in my case, as in most cases, nothing – is only very approximately indexed to that life. I have very little interest in biography. It is not Bruegel’s completeness that I am interested in but my own. But I am conscious that the dead panels stand whispering beyond my spreadsheeted ring of firelight, and no amount of conjuring will induce them to step forward. It is too late.

When my father died in 2009, he was eighty-four years old. A double-Bruegel. The parallelisms proliferate. I consciously peg each year in my life, for example, to a year in my father’s, according to the age of our children: so in 2017, when my Bruegel project finished, my children were nine and eleven; my brother and I were nine and eleven in 1978.

Robert Henry Ferris in 1978 was making his last throw of the dice, leaving GEC, the General Electric Company – the huge conglomerate where he had worked, barring an interruption for war service, for nearly forty years – for a much smaller company, where he might just hope to be a bit of a big fish. That didn’t really work out either. He was fifty-three, and his heart wasn’t in it. He told me after he retired that, in all the years of his working life, he had never been early for work once. He had a lively mind and a fairly dull job. He didn’t travel much. He just sort of stopped.

One evening, at around that time, he sat down and wrote in an enormous year diary one line: It is said that in every life there is one story. This is mine.

One line a night was enough, he said. If you wrote one line a night you would soon have a great big book. I was nine, and I was impressed. But it was too late. He liked his sedentary whisky too much, could never find the energy to add anything to that one line. He could certainly write, but he lacked technique and discipline. And there it stayed on a shelf, the weighty volume with the solitary line and several hundred enormous blank pages, like the blank cells of my spreadsheet. A metaphor, and a bit of a shitty one at that. From time to time my brother or I would take down the volume and study it, either to shame him publicly (and he would laugh along jovially enough at his own foolishness) or to teeter privately on the brink of some immense intuition: not only was our father’s life unfulfilled, but all life was most likely unfulfillable. ‘It is this deep blankness is the real thing strange,’ writes the poet William Empson. And there it was, this deep blankness, sitting on a shelf in our living room.

My father went on in due course to his deeper blankness, his long home. But when he was in hospital dying, my brother was searching the census records of our paternal family. My father was always reticent with family history. He had been born in 1925 in Camden, had grown up there and on Portpool Lane off the Gray’s Inn Road, and later in Lee Green. There were some disconnected anecdotes – a story about a broken radio, about a Jewish funeral, about an aunt who sprinkled sugar on his buttered bread – not much else.

His mother had died of heart disease during the war when he was a very young man. He rarely spoke about her, but on one memorable evening over whisky towards the end of his life he found he could not recall her name. The grip of my father’s memory was utterly secure until his last day. But he could not remember his mother’s name.

Later, he dredged it up from somewhere. Anne. My brother uncovered more detail, and relayed it to my father in hospital. She was recorded as Annie on the census of 1911, at nine years old the youngest of five sisters growing up on what is now Tavistock Street, just off Drury Lane. She had been born around the corner on Stanhope Street, coloured black on Charles Booth’s poverty map of the late 1880s to designate ‘Lowest Class. Vicious, semi-criminal’. Stanhope Street along with the whole rookery around Clare Market was bulldozed soon after to make way for the arterial Kingsway. No. 1 Kingsway would become, until 1963, the head office of GEC, my father’s first place of work. In 1940, during the Blitz, he would firewatch from its roof, and could have lobbed a cricket ball through the vanished window of his mother’s slum birthplace.

Years later my grandfather told my mother that his wife – Annie – had had a temper on her. Choleric. Hot blood. Hasty heart. The death of her. She died, as I say, of heart disease in 1944, aged forty-two. Years of Bruegel. My father travelled down from Scotland where he was based with Coastal Command, whether in the nick of time, to watch by her bedside as the candles flickered out, or too late, I do not know. He was an only child. He and his father were thrust together to deal with this small loss in a world undergoing incalculable loss.

My father was not obviously close to his father. Pop, as he called him, lived with us until he died when I was eight. My mother says my father rarely addressed him, never had a conversation with him. Who knows if it was trauma, or sadness, or indifference which sundered or secretly united them.

When Pop died, only my father and my mother attended his funeral. My father took Pop’s remaining possessions – a few books, razor, alarm clock, wallet and clothes – and put them in a bin bag and slung them on the municipal dump. There was to be no gravestone, no memorial rose, no bench in a park, nothing to visit.

But within the year my father sat down at the empty diary and confronted its alarming blankness.

In truth, all this biographical detail was probably less use to my father than his anecdotes, and in any case it was difficult to gauge his response – his circuit of interest had contracted to the point where all that concerned him were the minutiae of the routines that were eking out his life.

But for my brother and me it assuaged the sense that here was a disconnected dot, about whom we knew not very much, going into the darkness. There was a chain. He was linked, and so were we. It was written in the census.

People may be numberless, but they are not identical; you are defined both by your similarity to and by your discrepancy from them. So, spot the difference.

The Younger’s panel is fractionally larger – he may have been working to Antwerp rather than Brussels feet. Whatever the reason, the result is that figure groups, for which there would have been separate cartoons, are pulled this way and that within certain tolerances, marginal plays.

No two figures are dressed alike, fabrics change colour, there are odd reversals. The woman in the lower right, for example, wears a red-green combination of overskirt and underskirt inverted in the Brueghel copy. There are microscopical differences between faces, individual posture. The Younger had his own way with trees, bushy rather than twiggy.

Criss-cross tracks, paths, desire lines: The Census at Bethlehem, detail – Younger (left) and Elder (right).

And then, more slowly, I see that the Younger favours tracks. From the bottom right, where Mary has entered on her donkey or ass, to the top left across the frozen river; and again, from the wheels of the foreground frozen carts, there are criss-cross tracks, paths, desire lines, animating the space. This is a frozen world, but there is evidence of networks, organized around an axis.

The Elder’s foreground carts, by contrast, are going nowhere. There are no paths, just yellowish ice wallows. He has painted a village of spindly cartwheels, a spindly ladder against a spindly barn, spindly trees. And he has painted a world of endlessly repeated circles – the wreath, the barrels, and especially the cartwheels, thirty-one of them, including one a fraction below dead centre, hitched to no wagon and orthogonal to the viewer, as though it were not a material object at all, but a diagram of the interlocking cycles of village life and the seasons, of the great wheels of history and Christian redemption.

Hitched to no wagon: The Census at Bethlehem, detail.

And then finally I recognize what sets the two paintings apart: the Younger, perhaps seduced by those few inches in hand, has raised the branches of the largest foreground tree a fraction to reveal what in the Elder there is none of – a vanishing point, or what the Italians call a punto di fuga, a fugitive point, a point of escape. The Younger’s brown frozen river winds out of the panel. His father’s, by contrast, is entangled in the branches, perhaps coils around the back of the village, a labyrinthine waterway.

The only thing vanishing is that peculiar sun. The old world is ebbing to its conclusion.

The Younger – wittingly? unwittingly? – has made this dead cosmic circuitry bearable, transient. Along those paths and on that frozen river our eye is made to criss-cross, not circle, and finally escape the painting. And he has done all this in direct contravention of the central thought process of the original – that these circles go nowhere for a reason.

A vanishing point: The Census at Bethlehem, detail – Elder (top) and Younger (bottom)

Pieter Brueghel the Younger may not have been a painter at all. He was unarguably an eminent man in the Antwerp art world – there is a portrait etching of him by Anthony van Dyck, in which, as it happens, he projects the sort of patient melancholy common to men with drooping noses and straggling moustaches. But he may only have been the inheritor of the cartoons and the general manager of a workshop which employed anonymous hands to complete the copies. It is possible that he had no artistic personality, nothing but a signature and a locked chest of cartoons which he carefully opened and closed as required, a bureaucrat among artists, ghosting through the system, the painted artefacts. The notion that somewhere in that swirl of hands and methods and corporate production was the memory of a five-year-old boy transfixed by the death of his father is nothing more than an absurd projection of my own.

But this is why I am here. I did not come into this room in Brussels to discover a truth, but to impose one. To make something of all this. This is one way in which we react to the accumulation of life. We make spreadsheets, trace genealogies, embark on projects, write essays. We pore over the data in search of patterns. All this must and will be made to mean something.

I stand in the corner room of the museum, then, observing small differences. Discriminating.

And there is in fact one final difference – a figure, present in the Elder’s panel but absent in all the Younger’s copies, suggesting a late emendation on the father’s part, a final gratuitous flourish of his art: it is the youth pulling on his skates, below the tiny child who cannot yet summon the courage to go out on the ice.

Life is treacherous, says the figure, but we have resources. We have skates. We can make of this treacherous ice our element. Sooner or later, we all pull on our skates and go out on the ice – as the father might have remarked to the son, had he had time.

We have resources: The Census at Bethlehem, detail – Elder (left) and Younger (right).

This whole village, in fact, suddenly seems to be poised by the ice, spilling uncertainly but inevitably over its edges. Just to the right of the large tree by the water a father stands hands in pockets and watches his two small children testing the curious element.

The skater’s absence from all copies (bar one – a recently discovered panel has the skater, suggesting a late, rectifying glimpse of the original, or a post-mortem addition) implies that it was the father who was diverging, making changes on the hoof, inserting figures at the last minute, blotting out the vanishing point in a moment of inspiration, and the son who adhered more faithfully to the earlier version, the cartoon or, more likely, sheaf of cartoons. There is, after all, a sensibility in copying well, an alertness to detail. One of the Younger’s guiding virtues, you could say, was fidelity. Copying is meditative and respectful work, itself a way of thinking.

If he was occasionally caught out by the odd detail it hardly matters. At some point the fractional differences collapse into the far greater mass of similarities. The census is not a record of our individuality in the end, but of our solidarity. Thus there is not a source of pictorial DNA – the Elder – and a series of ever-degrading replications. Rather there are versions of versions all orbiting a hypothetical centre of mass (the cartoon), just as the small children of the village eccentrically orbit the centres of mass set up between them and their parents, and their parents in turn orbit the invisible barycentre which lies between them and their ancestors, and which we commonly call the community. Each of us, present or absent, exerts our own small constant gravitational tug, variable in time, hard to calculate, take account of; but there, nevertheless, in the mass of data points, and the geometry which comprehends it.