Terry Teachout on the arts in New York City
Sorry, no postings today. I wrote a three-thousand-word piece from scratch Tuesday morning, just returned from two sets at a nightclub, and have another deadline this afternoon and a Broadway preview tonight. For the moment, I’m somewhat more than lightly toasted.
I leave you in the caring hands of Our Girl. See you Thursday. Or Friday.
“That was my favorite thing about playing England–all the girls looked like Brigitte Bardot, and all the guys looked like me.”
Paul Desmond (quoted in Marian McPartland’s Jazz World)
I awoke a bit earlier than usual this morning, booted up my iBook, started my usual pre-breakfast surf of the Web, and suddenly it hit me…I soooo don’t want any information today, except (maybe) the weather. I don’t want to know the news, don’t want to be in touch, don’t want to read anybody’s opinion of anything, don’t care about the Oscar nominations, don’t want to consider the short-term implications of the demise of the C train, don’t give a damn about what’s happening outside my front door. If I could, I’d cancel all my appointments, take the phone off the hook, ignore all incoming mail (including snail mail), skip my afternoon deadline, correct no proofs, blow off tonight’s Broadway press preview, and spend the rest of the day and night in a state of elective mutism, communing with the contents of the Teachout Museum and listening to music about which I have no plans to write.
Alas, I can’t do most of those things, or even very many of them. I have to schedule my days off well in advance, then defend them vigilantly against all comers. This isn’t one of them. What’s more, the mounting intensity of my desire to batten down the hatches suggests to me that I’m in severe need of more than just a day off. The world is too much with me, and I need to hole up and hide out for at least two consecutive days, preferably somewhere else. I can’t hear myself thinking. I need some silence.
Like I said, none of that is on the menu, not immediately. But at least I can turn off the incoming information tap all day long, and that’s my plan.
Now let’s see if I stick to it.
(P.S. Read. Ponder. Shudder.)
“Gulley’s old father in this book is taken from life and I, as a boy playing with paint in school holidays, remember very well the feelings of pity and surprise with which I looked at a gilt-framed canvas which he had brought out to show me, and propped against an apple tree among the weeds and cabbage stalks of a Normandy farm garden. I have an idea that it had just come back to him, rejected by the Academy which ten years before had been glad to hang his works. I remember my discomfort, as I realized that this man of fifty or so was appealing for sympathy from me, a boy of sixteen; that there were tears in his eyes as he begged me to look at his beautiful work (‘the best thing I ever did’) and asked me what had happened to the world which had ceased to admire such real ‘true’ art, and allowed itself to be cheated by ‘daubers”‘who could neither draw nor glaze; who dared not attempt ‘finish.’
“I was myself in 1905 a devoted Impressionist, one of the ‘daubers.’ I thought that Impressionism was the only great and true art. I thought that the poor ruined broken-hearted man weeping before me in the sunlight of that squalid vegetable patch, was a pitiable failure, whose tragedy was very easily understood–he had no eye for colour, no respect for pigment, no talent, no right whatsoever to the name of artist.
“I don’t know even now what that man’s work was worth. I suspect from recollection that in these days it would be once more highly appreciated. For several schools have intervened, and having worked through Impressionism and Post Impressionism, the Fauves and the Cubists, we can look upon the late Victorians with a fresh eye and judge them, outside the passing fashion, for what they really were.”
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