Christ Washing the Disciples’ Feet, Tintoretto

tintoretto-shipley

Priceless Painting in the Shipley Gallery, Bensham, Gateshead.

This is one artist I haven’t included in my book so I thought I’d post it here to give you an idea of how the book is structured. The idea is to have the poem on one page and the picture opposite followed by the criticism.

Not many people outside the region, realise that there is a priceless Renaissance masterpiece in the Shipley. It is Christ Washing the Disciples’ Feet by Tintoretto. It is a huge oil on canvas measuring 533 x 210cm. When you walk into the main exhibition space it is facing you at the far end. Many people ignore it as an ‘old-fashioned’ narrative painting no longer relevant to today! However, as well as its overt Christian story it is also a painting about humility and spiritual fellowship. Perhaps these are among the qualities the world could do with at the moment!

Tintoretto painted it for San Marcuola church in Venice and a copy was done some time later. It is not clear which is the original now as as another copy hangs in the Prado Museum in Madrid!

The Shipley version ( which may well be the original) turned up in Paris in 1814 where it was sold at an auction to a collector by the name of Baring. He sold it the next day to Sir Mathew Ridley of Blagdon Hall in Northumberland. In 1818 he gave the painting to St Nicholas Cathedral in Newcastle. It came to the Shipley in 1986.

The composition is typical of Tintoretto’s style: he used diagonal compositions and dramatic gestures a lot. The disciples are in conversation and removing their boots and socks ready for Christ to wash their feet. Washing feet in public was a common sight in Italy in Tintoretto’s time. The large table dominating the composition is a reminder of the ‘last supper’. Judas, the much maligned disciple leans on a pillar at the back, left of centre.

Vasari the famous art historian of the day, who wrote The Lives of the Artists, was critical of Tintoretto’s quick way of working – he implied it was slapdash. In my poem I have imagined the artist replying to Vasari.

Tintoretto Replies to Giorgio Vasari

Oh Giorgio, as I stand before Jesus now

it’s no jest – I’m humbled by his kneeling

presence, dwarfed by such magnificence, impelled

to join in at the table. How could you pass

over my loyal dog; how could you pass

over the momentous moment I’ve depicted?

I’m admittedly fast and like to let the brush strokes

show but there’s nothing dashed off or haphazard

in my design; it’s partly ordained if you’ll pardon

the expression. Remember I had to stand on my own

two feet. I’d gladly have them washed too if I could

only reach over the canvas there, where Peter is.

See how I’ve used distance and separation to depict

destiny; Judas far gone and John close by. I’m down

to earth; no angels here or anything transfigured

and the betrayal only hinted at in dim light.

There are ghoulish doctors, with bird beaks, patrolling

outside as I speak. A plague on Venice – it’s an omen

so they say but I’d rather paint what I see: tables, wash tub

and Christ’s white apron, echoed in the bright tablecloth.

HUGH MACDIARMID, SCOTLAND’S REVOLUTIONARY POET

Hope you dont mind me reblogging this. On a Raised Beach is on a par with Eliot’s Four Quartets, in my opinion!

THE PHILIPPINES MATRIX PROJECT

HUGH MACDIARMID: Toward a Materialist Poetics

by E. SAN JUAN, Jr.

Only through the objectively unfolded richness of man’s essential being is the richness of subjective human sensibility (a musical ear, an eye for beauty of form–in short, senses capable of human gratifications, senses confirming themselves as essential powers of man) either cultivated or brought into being.  For not only the five senses but also the so-called mental senses–the practical senses (will, love, etc.)–in a word, human sense–the humanness of the senses–comes to be by virtue of its object, by virtue of humanized nature.  The forming of the five senses is a labor of the entire history of the world down to the present.
…The human essence is no abstraction inherent in each single individual. In its reality it is the ensemble of social relations.
–KARL MARX

Anyone daring for the first time to enter the massive and immense structure…

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Summer

nightingale

At our last Writer’s Group we took one of Bernadette Mayer’s prompts. Pick a phrase at random and let your mind play freely around it until a few ideas come up. Seize on one and begin to write. I took the anonymous poem ‘Sumer is icumin in’ and played around with representing bird song by using phonetic spelling which I hope is onamatopoeic!

Sumer

Apologies to Anonymous (mid 13th century)

Sumer is icumen in sing cuccu

cuccu summer is icumen sing

sing soprano nightin-gal nu-ipp

nu-ipp nu-ipp tweeeeeeeeee pi-oo!

Jug-jug-jug choc-choc zeeeeeee!

Summer is icumen in sing sing

cuccu cu-cucco cuccu cu-cucco!