Art in The Good Fight (2017-2022) - Part 2
part 1 here:
this part 2 is mostly about s6, because i think you can really track what the art is doing for story and character. so, let's get into it!!
still mad the new partner Ri'Chard took away this beauty, but they're forgiven for 603's art history references.
in the scene with the Dr, Diane mentions Landscape with the Fall of Icarus, originally attributed to Pieter Bruegel the Elder (oil on canvas, c. 1560). it's in the Royal Museums of Fine Arts of Belgium in Brussels.
this is absolutely fascinating, because the composition of the painting is original—to give prominence to the 'low' subject matter, being the agricultural figure, rather than Icarus, to whom Diane is drawn. this is called 'Mannerist inversion' (yes i screamed, i'm a nerd).
this piece is brilliantly used this ep. Icarus, small, drowns unnoticed by everyone else. death happens all the time, and we move on. i'm reminded of Diane's sane little corner. the world is oblivious to the tragedy of hubris, concerned only with themselves. seems apocalyptic...
which leads me to my next point. behind the Dr is a Jean Andran engraving of a painting called Winter, part of a Seasons series now in the Louvre by Nicolas Poussin from the 1660s. and what does it depict? the flood. 100% premonition of impending death.
i love that *someone* has done their NY homework and seen that Guggenheim Hilma af Klint exhibit (i am not jealous at all), because also in the Dr's office is af Klint's Tree of Knowledge, No. 5 (Kunskapens träd, nr 5), from the 1915 W Series.
for various reasons, af Klint was for a long time ignored in favour of Kandinsky, Mondrian, Kupka etc in modern Western nonrepresentational art (also her queerness 🍵). her work has two overlapping levels, one biographical and one relating to the history of humanity.
the Tree of Knowledge series is part of her series of 193 Paintings for the Temple, which was af Klint's vision for the future as given to her by a spiritual medium, to depict 'the immortal aspects of man'. hence, she uses iconography from Christianity and Hinduism.
each piece in the Tree of Knowledge series is a variation on a theme, a tree with a heart-shaped crown. and there's a progression to the biblical allusion to Genesis symbolising innocence to fall from Grace, but there are also organic forms and ornate details.
the Tree of Knowledge (of Good and Evil) is usually paired with the
symbol of the Tree of Life, and in af Klint's work, signals binaries melding into unity. but the tree also signals Buddhism (the fig tree), the Tau/life force, the Arasa Maram in Hinduism.
the colours have meaning, yellow for female and blue for male. put them together and it becomes green, and the colours have become purer. this is No. 5, so the white radiations that were pale rose-coloured in No. 4 are now inverted.
af Klint probably knew Rudolf Steiner's colour meanings—yellow as spirit, blue as soul. green as the lifeless image of the living, peach-blossom the living image of the soul. white as the soul's image of the spirit, black as the spiritual image of the lifeless (cf swans).
the 12 sections in the top lotus leaf crown seem to represent the zodiac, months. also, there's a multi-coloured, lobed 'cross' in the small box middle-right, which maybe suggests the first awakening of the higher self?? compare this to the unity of colourful two birds in the bottom circle. there's a lot to be said about how this art represents how humans navigate their smallness in the world.
as seen on 604 in Diane's office, this is Street Musicians, by the American artist Norman Lewis (oil on canvas, 1948). part of the post-war movement.
from 605, i have identified some of the pieces Ri'Chard chose for the office, and they were clearly chosen for reasons. (unfortunately i couldn't find Liz's but i love the home decor and don't doubt this was also carefully chosen.)
this is by Kara Walker, known for room-size tableaux of black cut-paper silhouettes. her work illustrates the origins & legacy of slavery in the American South. i suspect there's a Civil War reference too. the 1994 piece riffs on Gone With The Wind (MOMA).
i really love this one. this is Holy Mountain II by Horace Pippin, a self-taught artist post WW1. he was influenced by Edward Hicks, a Quaker minister who painted interpretations of Isaiah’s biblical prophecy of world peace and harmony in nature (Peaceable Kingdom, c 1830-32).
though the gatherings seem tranquil, the Holy Mountain series is very dark. poppies, soldiers, grave markers, a limp body hanging from a tree... Holy Mountain I refers to D-Day, Holy Mountain II to Pearl Harbor Day, & Holy Mountain III (Smithsonian) to Nagasaki.
so there are parallels between WW1/Civil War, but it is also very Eden-esque. i rather like that the pastoral figure in a white dress with the yellow cheetah is the centre focus. all very biblical, which fits right in with Ri'Chard's style. Pippin himself stated that,
"'Holy Mountain' came to my mind because the whole world is in such trouble, and in reading the Bible (Isaiah 11:6) it says that there will be peace in the land. If a man knows nothing but hard times he will paint them, for he must be true to himself, but even that man may have a dream, an ideal and 'Holy Mountain' is my answer to such dreaming."
i was thinking about how much gold Ri'Chard brought into the office in the context of his Brand™ (1 & 2 old decor, 3 & 4 new, but none identified yet oop)
there are other etchings in the Dr's office: top: 'Rotherhithe' by James McNeill Whistler from the Thames Set (1860, V&A) bottom: 'Clearing a wreck on the north coast of Cornwall' by Thomas Rowlandson (c 1809-1822, British Museum).
Dr Dude likes ships that's all i can say 🤷♀️ but actually i think there's something interesting about all the Flood references in the Dr's office, like Diane is drowning. possibly, there's a subtle allusion to a very famous painting, Le Radeau de la Méduse, by Théodore Géricault (1818-19, oil on canvas, Louvre).
this is an icon of French Romanticism, depicting the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of what is now Mauritania on 2 July 1816. what's so interesting about this painting is that it presents ordinary people, rather than heroes, reacting to the unfolding drama. as Christine Riding says, the painting represents,
"the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism."
by 607, Diane's office art has changed to a piece called Three Tumblers by Daniel Clarke (2018), perhaps a reference to her revolving office bar. also did we notice her flower obsession has dulled a little? but there are still orchids all around the office. i'll leave you to google the meaning of the original Greek word 👀
elsewhere in the office, FIRES abound on the digital screen in the conference room. flood, fire…and?
where there's a mansion, there's sure to be art (609): Asher Brown Durand, Landscape—Scene from "Thanatopsis" (1850, Met); Max Ferdinand Bredt, In the Courtyard of the Harem; John Frederick Lewis, Intercepted Correspondence (1869).
in 609 when same sex marriage is overturned (and Christine Baranski's acting chops is on full show with her shocked face), the image on the tv screen is Witch burning in Regenstein, Saxony-Anhalt, 1555. It's a wood engraving after an original printed on flyleaf (Germanisches Nationalmuseum, Nuremberg).
frankly there's a lot of misinformation about witch trials, not least of which is that they happened a lot later than most people think (ie. not the medieval period). the early modern period 16-17th centuries were the height of the European witchcraft trials.
and it was an ongoing, systematic persecution that resulted from the targetting of Christian heretics and Jews throughout the 14th century, and gradually both the church and scholars became more and more obsessed with demonology. it was really about the 'other', the concern about the loss of a certain way of life.
Diane, of course, calls herself a wench, so i think it's interesting that her s6 arc eventuates with her heading up a female-only law firm in DC working on women's rights and Roe v Wade. i dislike the way that the word 'witchhunt' is misappropriated like other historical terms in modern contexts, but it's probably fair to call the current backsliding on women's rights a witchhunt. so i love this double meaning.
finally, i wanted to return to how Diane's office art tracks her journey. the Surrealist art was the tone of the show throughout. but the violence seeped into the everyday and everyone just got used to it. hence the second painting is war (contrast the flowers).
but then Diane chooses to stop PT108. almost immediately, a bullet lands on the realist painting of a woman (where does she end up? in Washington DC fighting the good fight for women).
the violence doesn't end there. and then the office literally explodes & you can see a painting is off-centre. which seems like a good metaphor for where the world is at.
so yeah, the progression in Diane's office from Peony Girl to Post-War to a painted version of Chris is just chef's kiss. the way it tracks her psyche in s6? i'm obsessed.
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