Iain Pears - The Portrait

And there was that pub in Chelsea, the only place we went more than once. Poorly lit, with terrible food and the air so heavy with tobacco smoke you could scarcely see the person across the table from you. So thick that a river fog outside was easier to see through. Stiflingly hot from so many bodies crammed in, and smelling dreadful from the sweat and beer, cheap food and pipes. But I remember looking at it, and suddenly saw the place come alive; not tobacco brown, but brilliant colours—the red of a neck scarf, the orange of an Irishman’s hair, the purple of a whore’s dress. The gold of the landlord’s cherished watch-chain, the ambers and browns and whites of the bottles on the shelves. And all those bodies, contorted and hustled together like a Renaissance battle scene. This is where the great tragedies and comedies of the modern world are played out. Not on an imagined medieval battlefield. And not in the South Seas, nor yet in Paris. There.

But do you remember how it all faded as we settled in? I do; I remember those conversations as though we were in an empty room, with no difficulty hearing or being heard, with no one bumping into us, as we sat and talked and drank and laughed, with you leaning over the table, your eyes blazing with the fire that came over you when you were fully engaged with an idea. You did not yet argue for pleasure, or merely to win. The truth still mattered to you.

“What do all men desire, except fame?” I did look around then, and you took the point. Did these people desire fame?

“Of course they do, in their little way,” you said. “Fame in their limited universe; the fame of being a good drunk, a generous fellow, one amongst everyone else. They wish their reputation to extend as far as their eyes can see. But as that is not too far from the end of their noses, then that is what they aim at. Artists see farther, so their ambitions are greater. They want the world to bow down before them, not just in this generation, but in the generations to come.

“But how to do it? Eh? Do you think that merit alone can achieve it? Do you think Michelangelo without Pope Julius, Turner without Ruskin, Manet without Baudelaire, would be so famous? Do you think merely painting good pictures is enough? You are a fool if you do.”

I suggested, I think, that poor Duncan, who you were then avidly promoting, could hardly be compared with Michelangelo.

“You are being obtuse,” you said. “Duncan transfers my ideas into physical form. I am not a painter, never was, never will be. I see the pictures I want in my mind, but cannot paint them. Duncan will do it for me. The time of the patron is long gone. It is not the people who buy paintings who matter, not even the artist who paints them. This is the age of the critic, of the thinker on art. The man who can say what art means, what it should be.”

I suggested that perhaps the public could make up its own mind. Not seriously, of course.

A snort of derision. “The public wants cheap filth. Over-painted nudes and pretty landscapes. We live in an unprecedented age, my friend. For the first time in history one group of people has the money, and another has the discernment. Admit it. You know it every day. How do you earn your money? You paint one thing to survive, and another to feel honest.”

You swept your arms around at the room, which had lost its colour and had become tobacco brown once more. “Look at these people! Hopeless. But at least they are poor. They are unlikely to put their hideous taste into practice, and besides, their money is not worth having, they have so little of it. All those people who dine at the Ritz are something else, more dangerous. They must be persuaded to buy something they do not like. And that is my job. Don’t look so disapproving. Without me, you’ll be painting big pink portraits of big pink women, of little girls on swings, for the rest of your life.”

This is what I am putting down now, if you must know; just before the light changes and I will have to stop for the day. I hope I can catch it, and turn it into light and shade, greens and blues. It is a darkness, your ambition, a shadow on your face, and I fear I will not get it just right. I will hint at it merely, and develop the theme later. Because it is not all there is. You believed in your ideas, after all, and merely used doubtful means to promote them. The magnificence of your arrogance, the exuberance of your daring, your sincerity and your cynicism, all these must find their place, translated into reality through the mixture of shadow and light, of colour and texture.

No theories here, you see. I am done with them, never believed in them anyway, really. We went our separate ways, after all. As you pointed out, I did not have enough money to paint things no-one would buy. The Banker’s Wife must be made to look like a pillar of society; only then will you get a banking price for your work. I lived a double life, running between drawing rooms and the dingy meetings of your art clubs, trying to reconcile the two, and failing, as you knew I must.

A man must eat, my friend! A man must eat. You could disdain those wealthy bankers because you were as rich as one, thanks to your wife. But I could not; I could either have success in the world or esteem from you. You urged me to have both, but it was another piece of your trickery. Because it could not be done.

And you don’t know the half of it. Do you want a confession? I turned faker too, in those days. You faked opinions on paintings; I faked the paintings themselves. People would not pay for my work, so I would produce things they would pay for. What was more, I duped you, once.

Ah! At last, I have got through those finely hewn defensive walls of yours. Thank heavens. It was my last throw. If that hadn’t worked, I would have had to resign myself to failure. You see, you are vulnerable as well. A little flicker, a momentary uncertainty; that was all I needed from you.

That’s enough. I’m not going to do any more today. So you have an afternoon free to vegetate, read, go for walks, write letters. Whatever you do with yourself. You may have noticed it is getting cooler these days as autumn approaches. The seasons change fast here. Better enjoy the sun while it lasts. Another day or so and the atmosphere will become violent.

SO MUCH FOR my prediction! A fine morning, again, although I detect the first touch of cold in the wind, which has switched to the northwest. Believe me; I know what I am talking about. You would not notice it, I imagine; you have to live here for a long time before you become sensitive to the minuscule changes in the weather. It’s a certain freshness just after dawn, the lightness of the wind, the sound of the sea that makes the difference and lets you know we are on the slide down into another winter. We really will have a storm in a day or so; I hope so, I want you to see one. The moods of the weather delight me; until I came here I never realised how much I hated the English winter. You become the weather you live in—I know, it’s a cliché, but I never realised quite how true it was. The drabness of the English climate produces drab people, wrapped up, desperate to keep the outside at bay. They wear an emotional overcoat throughout their lives and scowl upwards, wondering whether it is going to rain again. Quite right, too; it is. But it is not uplifting, to be enclosed by a feeling that if it isn’t raining now, it will be tomorrow. And we Scots . . . how can anyone understand colour when half the year it is only light six hours a day? You can crave it, of course, stand in front of a Claude Lorrain and wonder whether such blues truly exist in nature, dream of being in a place where the evening sun lights up poplar trees with such contrast and intensity. But that is not the same as understanding it, sinking into that brilliance and losing your fear of it. Such colours will always be foreign.