Selected Essays of John Berger (26 page)

Bonnard painted landscapes, still-lifes, occasional portraits, very occasional mythological pieces, interiors, meals and nudes. The nudes seem to me to be far and away the best pictures.

In all his works after about 1911 Bonnard used colours in a roughly similar way. Before then – with the help of the examples of Renoir, Degas, Gauguin – he was still discovering himself as a colourist; after 1911 he by no means stopped developing, but it was a development along an already established line. The typical mature Bonnard bias of colour – towards marble whites, magenta, pale cadmium yellow, ceramic
blues, terracotta reds, silver greys, stained purple, all unified like reflections on the inside of an oyster – this bias tends in the landscapes to make them look mythical, even faery; in the still-lifes it tends to give the fruit or the glasses or the napkins a silken glamour, as though they were part of a legendary tapestry woven from threads whose colours are too intense, too glossy; but in the nudes the same bias seems only to add conviction. It is the means of seeing the women through Bonnard’s eyes. The colours confirm the woman.

Then what does it mean to see a woman through Bonnard’s eyes? In a canvas painted in 1899, long before he was painting with typical Bonnard colours, a young woman sprawls across a low bed. One of her legs trails off the bed on to the floor: otherwise, she is lying very flat on her back. It is called
L’Indolente: Femme assoupie sur un lit.

The title, the pose and the
art-nouveau
shapes of the folds and shadows all suggest a cultivated
fin-de-siècle
form of eroticism very different from the frankness of Bonnard’s later works; yet this picture – perhaps just because it doesn’t engage us – offers us a clear clue.

Continue to look at the picture and the woman begins to disappear – or at least her presence becomes ambiguous. The shadow down her near side and flank becomes almost indistinguishable from the cast shadow on the bed. The light falling on her stomach and far leg marries them to the golden-lit bed. The shadows which reveal the form of a calf pressed against a thigh, of her sex as it curves down and round to become the separation between her buttocks, of an arm thrown across her breasts – these eddy and flow in exactly the same rhythm as the folds of the sheet and counterpane.

The picture, remaining a fairly conventional one, does not actually belie its title: the woman continues to exist. But it is easy to see how the painting is pulling towards a very different image: the image of the imprint of a woman on an
empty
bed. Yeats:

Alternatively one might describe the same state of affairs in terms of the opposite process: the image of a woman losing her physical limits, overflowing, overlapping every surface until she is no less and no more than the
genius loci
of the whole room.

Before I saw the Bonnard exhibition at the Royal Academy in London in January 1966, I was vaguely aware of this ambiguity in Bonnard’s work between presence and absence, and I explained it to myself in terms of his being a predominantly nostalgic artist: as though the picture was all he could ever save of the subject from the sweep of time passing. Now
this seems far too crude an explanation. Nor is there anything nostalgic about
Femme assoupie sur un lit
, painted at the age of thirty-two. We must go further.

The risk of loss in Bonnard’s work does not appear to be a factor of distance. The far-away always looks benign. One has only to compare his seascapes with those of Courbet to appreciate the difference. It is proximity which leads to dissolution with Bonnard. Features are lost, not in distance, but, as it were, in the near. Nor is this an optical question of something being too close for the eye to focus. The closeness also has to be measured in emotional terms of tenderness and intimacy. Thus
loss
becomes the wrong word, and nostalgia the wrong category. What happens is that the body which is very near – in every sense of the word – becomes the axis of everything that is seen: everything that is visible relates to it: it acquires a domain to inhabit: but by the same token it has to lose the precision of its own fixed position in time and space.

The process may sound complex, but in fact it is related to the common experience of falling in love. Bonnard’s important nudes are the visual expressions of something very close to Stendhal’s famous definition of the process of ‘crystallization’ in love:

Many other painters have of course idealized women whom they have painted. But straightforward idealization becomes in effect indistinguishable from flattery or pure fantasy. It in no way does justice to the energy involved in the psychological state of being in love. What makes Bonnard’s contribution unique is the way that he shows in pictorial terms how the image of the beloved emanates
outwards from her
with such dominance that finally her actual physical presence becomes curiously incidental and in itself indefinable. (If it could be defined, it would become banal.)

Bonnard said something similar himself.

Everything about the nudes Bonnard painted between the two World Wars confirms this interpretation of their meaning, confirms it visually, not sentimentally. In the bath nudes, in which the woman lying in her bath is seen from above as through a skylight, the surface of the water serves two pictorial functions simultaneously. First it diffuses the image of her whole body, which, whilst remaining recognizable, sexual, female, becomes as varied and changeable and large as a sunset or an aurora borealis; secondly, it seals off the body from us. Only the light from it comes through the water to reflect off the bathroom walls. Thus she is potentially everywhere, except specifically here. She is lost in the near. Meanwhile what structurally pins down these paintings to prevent their presence becoming as ambiguous as hers is the geometric patterning of the surrounding tiles or linoleum or towelling.

In other paintings of standing nudes, the actual surface of the picture serves a similar function to the surface of the water. Now it is as though a large part or almost all of her body had been left unpainted and was simply the brown cardboardy colour of the original canvas. (In fact this is not the case: but it is the deliberate effect achieved by very careful colour and tonal planning.) All the objects around her – curtains, discarded clothes, a basin, a lamp, chairs, her dog – frame her in light and colour as the sea frames an island. In doing so, they break forward towards us, and draw back into depth. But she remains fixed to the surface of the canvas, simultaneously an absence and a presence. Every mark of colour is related to her, and yet she is no more than a shadow against the colours.

In a beautiful painting of 1916–19 she stands upright on tip-toe. It is a very tall painting. A rectangular bar of light falls down the length of her body. Parallel to this bar, just beside it and similar in colour, is a rectangular strip of wall-papered wall. On the wall-paper are pinkish flowers. On the bar of light is her nipple, the shadow of a rib, the slight shade like a petal under her knee. Once again the surface of that bar of light holds her back, makes her less than present: but also once again, she is ubiquitous: the designs on the wall-paper are the flowers of her body.

In the
Grand Nu Bleu
of 1924, she almost fills the canvas as she bends to dry a foot. This time no surface or bar of light imposes on her. But the extremism of the painting of her body itself dissolves her. The painting is, as always, tender: its extremism lies in its rendering of what is near and what is far. The distance between her near raised thigh and the inside of
the far thigh of the leg on which she is standing – the distance of the caress of one hand underneath her – is made by the force of colour to be felt as a landscape distance: just as the degree to which the calf of that standing leg swells towards us is made to seem like the emerging of a near white hill from the blue recession of a plain running to the horizon. Her body is her habitation – the whole world in which she and the painter live; and at the same time it is immeasurable.

It would be easy to quote other examples: paintings with mirrors, paintings with landscapes into which her face flows away like a sound, paintings in which her body is seen like a sleeve turned inside out. All of them establish with all of Bonnard’s artfulness and skill as a draughtsman and colourist how her image emanates outwards from her until she is to be found everywhere except within the limits of her physical presence.

And now we come to the harsh paradox which I believe is the pivot of Bonnard’s art. Most of his nudes are directly or indirectly of a girl whom he met when she was sixteen and with whom he spent the rest of his life until she died at the age of sixty-two. The girl became a tragically neurasthenic woman: a frightened recluse, beside herself, and with an obsession about constantly washing and bathing. Bonnard remained loyal to her.

Thus the starting point for these nudes was an unhappy woman, obsessed with her toilet, excessively demanding and half ‘absent’ as a personality. Accepting this as a fact, Bonnard, by the strength of his devotion to her or by his cunning as an artist or perhaps by both, was able to transform the literal into a far deeper and more general truth: the woman who was only half present into the image of the ardently beloved.

It is a classic example of how art is born of conflict. In art, Bonnard said,
il faut mentir.
The trouble with the landscapes and still-lifes and meals – the weakness expressed through their colour – is that in them the surrounding world conflicts are still ignored and the personal tragedy is temporarily put aside. It may sound callous, but it seems probable that his tragedy, by forcing Bonnard to express and marvellously celebrate a common experience, ensured his survival as an artist.

1965

In my mind’s eye I see the story of Frans Hals in theatrical terms.

The first act opens with a banquet that has already been going on for several hours. (In reality these banquets often continued for several days.) It is a banquet for the officers of one of the civic guard companies of Haarlem – let us say the St George’s Company of 1627. I chose this one because Hals’s painted record of the occasion is the greatest of his civic guard group portraits.

The officers are gay, noisy and emphatic. Their soldierly air has more to do with the absence of women and with their uniforms than with their faces or gestures, which are too bland for campaigning soldiers. And on second thoughts even their uniforms seem curiously unworn. The toasts which they drink to one another are to eternal friendship and trust. May all prosper together!

One of the most animated is Captain Michiel de Wael – downstage wearing a yellow jerkin. The look on his face is the look of a man certain that he is as young as the night and certain that all his companions can see it. It is a look that you can find at a certain moment at most tables in any night-club. But before Hals it had never been recorded. We watch Captain de Wael as the sober always watch a man getting tipsy – coldly and very aware of being an outsider. It is like watching a departure for a journey we haven’t the means to make. Twelve years later Hals painted the same man wearing the same chamois jerkin at another banquet. The stare, the look, has become fixed and the eyes wetter. If he can, he now spends the afternoons drinking at club bars. And his throaty voice as he talks and tells stories has a kind of urgency which hints that once, a long way back when he was young, he lived as we have never done.

Hals is at the banquet – though not in the painting. He is a man of nearly fifty, also drinking heavily. He is at the height of his success. He has the reputation of being wilful and alternately lethargic and violent.
(Twenty years ago there was a scandal because they said he beat his wife to death when drunk. Afterwards he married again and had eight children.) He is a man of very considerable intelligence. We have no evidence about his conversation but I am certain that it was quick, epigrammatic, critical. Part of his attraction must have lain in the fact that he behaved as though he actually enjoyed the freedom which his companions believed in in principle. His even greater attraction was in his incomparable ability as a painter. Only he could paint his companions as they wished. Only he could bridge the contradiction in their wish. Each must be painted as a distinct individual and, at the same time, as a spontaneous natural member of the group.

Who are these men? As we sensed, they are not soldiers. The civic guards, although originally formed for active service, have long since become purely ceremonial clubs. These men come from the richest and most powerful merchant families in Haarlem, which is a textile-manufacturing centre.

Haarlem is only eleven miles from Amsterdam and twenty years before Amsterdam had suddenly and spectacularly become the financial capital of the entire world. Speculation concerning grain, precious metals, currencies, slaves, spices and commodities of every kind is being pursued on a scale and with a success that leaves the rest of Europe not only amazed but dependent on Dutch capital.