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George Frederick Watts
G. K. Chesterton estuvo siempre fascinado por la pintura, y solo la escritura en general (incluido el periodismo) le atrajo más que la pintura en particular. Algunos de sus primeros, y plenamente adolescentes, artículos literarios fueron crítica de pintura y hay más de una docena de libros, del propio Chesterton y de algunos de sus mejores amigos, que incluyen dibujos y caricaturas de nuestro autor. La biografía de George Frederick Watts (1817-1904) que presentamos, absolutamente inédita en castellano hasta hoy, es junto con la biografía del pintor y poeta William Blake (ya publicada en esta misma colección), el principal tributo rendido por el gran escritor inglés a su más insistente y desconocida (al menos por los lectores españoles) pasión artística. Watts, pintor un tanto sombrío y visionario, muy literario y extremadamente simbólico y alegórico está retratado en estas rápidas páginas junto con su época, la de la segunda mitad del siglo XIX inglés. Pero no es solo el retrato del un tanto olvidado (aunque para nada falto de interés) pintor que fue Watts, y de su singular, y un tanto ascética, creencia en la pintura, lo que vale en ellas sino también las fulgurantes y apasionadas disquisiciones sobre la pintura de un Chesterton juvenil que se nos muestra ya dueño de todas las vueltas, revueltas, giros y registros de su inimitable estilo.
- GenresArt
202 pages, Paperback
First published January 1, 1904
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About the author
G.K. Chesterton
4,611 books5,914 followersGilbert Keith Chesterton was an English writer, philosopher, lay theologian, and literary and art critic.
He was educated at St. Paul’s, and went to art school at University College London. In 1900, he was asked to contribute a few magazine articles on art criticism, and went on to become one of the most prolific writers of all time. He wrote a hundred books, contributions to 200 more, hundreds of poems, including the epic Ballad of the White Horse, five plays, five novels, and some two hundred short stories, including a popular series featuring the priest-detective, Father Brown. In spite of his literary accomplishments, he considered himself primarily a journalist. He wrote over 4000 newspaper essays, including 30 years worth of weekly columns for the Illustrated London News, and 13 years of weekly columns for the Daily News. He also edited his own newspaper, G.K.’s Weekly.
Chesterton was equally at ease with literary and social criticism, history, politics, economics, philosophy, and theology.
He was educated at St. Paul’s, and went to art school at University College London. In 1900, he was asked to contribute a few magazine articles on art criticism, and went on to become one of the most prolific writers of all time. He wrote a hundred books, contributions to 200 more, hundreds of poems, including the epic Ballad of the White Horse, five plays, five novels, and some two hundred short stories, including a popular series featuring the priest-detective, Father Brown. In spite of his literary accomplishments, he considered himself primarily a journalist. He wrote over 4000 newspaper essays, including 30 years worth of weekly columns for the Illustrated London News, and 13 years of weekly columns for the Daily News. He also edited his own newspaper, G.K.’s Weekly.
Chesterton was equally at ease with literary and social criticism, history, politics, economics, philosophy, and theology.
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Displaying 1 - 4 of 4 reviews
February 17, 2012
I would wager that some of you who are reading this do not know who G K Chesterton was, and I am virtually certain that even fewer have ever heard of the Victorian painter George Frederick Watts. Just for the record, he is the artist who painted Hope, as shown at the following website: http://www.culture24.org.uk/asset_are...
G F Watts was one of Chesterton's earliest works, being published in 1904, and it is one of his most obscure. Yet for all that it is genial and approachable like all his best work. Writing about Hope, he says:
Comparing Watts to Gladstone, Chesterton notes that "they knew that not only life, but every detail of life, is most a pleasure when it is studied with the gloomiest intensity." This is no mere idle paradox: the painter's Hope is, from one point of view, gloomy; from another, it is incredibly optimistic. But then, Chesterton is like that. I regard him as a great teacher -- one who always leads me by strangely diverse paths to realization and contentment.
G F Watts was one of Chesterton's earliest works, being published in 1904, and it is one of his most obscure. Yet for all that it is genial and approachable like all his best work. Writing about Hope, he says:
He [the painter] would see something for which there is neither speech nor language, which has been too vast for any eye to see and too secret for any religion to utter, even as an esoteric doctrine. Standing before that picture, he finds himself in the presence of a great truth. He perceives that there is something in man which is always apparently on the verge of disappearing, but never disappears, an assurance which is always apparently saying farewell and yet illimitably lingers, a string which is forever stretched to snapping yet never snaps. He perceives that the queerest and most delicate thing in us, the most fragile, the most fantastic, is in truth the backbone and indestructible.Chesterton's writing reminds us that he studied at the Slade School of Art, that he was a noted illustrator in his own right. (See, especially, The Coloured Lands.)
Comparing Watts to Gladstone, Chesterton notes that "they knew that not only life, but every detail of life, is most a pleasure when it is studied with the gloomiest intensity." This is no mere idle paradox: the painter's Hope is, from one point of view, gloomy; from another, it is incredibly optimistic. But then, Chesterton is like that. I regard him as a great teacher -- one who always leads me by strangely diverse paths to realization and contentment.
February 19, 2021
GK meets GF sounds like the title of one of those mid-twentieth century albums when a producer with an eye for a buck teamed up some ancient crooner with an equally aged instrumentalist to perform newly arranged standards. In this case it’s a book from early in the 20th century when the Christianity-inspired art-trained writer G. K. Chesterton put pen to paper to analyse the work of G. F. Watts, the renowned Victorian painter. Chesterton´s style has been described as dealing in popular sayings, proverbs and allegories, and then turning them inside out. Basically, he follows this model in presenting the reputation of George Frederick Watts in this biography.
Watts was a grandee of English painting during the Victorian era. Chesterton starts by claiming Welsh roots for the painter, along with Celtic sentiments, but the theory is vague and frankly contradicted by the eventual location of the Watts museum, close to Guilford in the utterly English Home Counties.
In many ways, it is easier to describe Watts by starting with what he was not. He was not a Pre-Raphaelite, but probably sympathized with many of the group’s artistic aims. He was not an Impressionist, preferring always the classical, centrally placed, consistently-lit subject. He was not a modernist in any sense, but many of his images have a curiously modern feel. Perhaps he comes closest to being an English Symbolist, but that is not what Chesterton thinks.
Watts was a Romantic. He was an establishment figure who was also arguably anti-establishment. He took commissions from the state, often donated works to grand projects and painted the rich, famous and significant. But he also refused national honours and used the earnings from his celebrity portraits to fund projects to depict the social conditions of his age. He was not a member of the Arts and Crafts movement, but his wife was, and he was clearly a sympathizer. Next to the Watts Museum is arguably Britain’s finest example of Arts and Crafts Celtic Revival architecture, the Watts Chapel at Compton, which essentially was his wife’s project. We may return to Chesterton´s opening at this point to record the fact that Watts, himself, did not claim this linked to his own heritage.
Watts’s work is highly individualistic within a framework that might appear at first sight to be conventional. Chesterton, in his usual obfuscation, defines three fundamental characteristics of this work. “…first, the sceptical idealism, the belief that abstract verities remained the chief affairs of men when theology left them; second, the didactic simplicity, the claim to teach other men and to assume one’s own value and rectitude; third, the cosmic utilitarianism, the consideration of any such thing as art or philosophy perpetually with reference to a general good." Apparently, such things as cosmic utilitarianism can be gleaned directly from the visual image, though a modern reader of this biography might find that rather difficult.
Chesterton, as ever, cannot resist moralizing about his own opinions. “So far the result would painfully appear to be that whereas men in the earlier times said unscientific things with the vagueness of gossip and legend, they now say unscientific things with the plainness and the certainty of science.” Perhaps, as a writer, GK should have read this quote before writing the analysis just quoted. The author, nevertheless, does occasionally deal with the visual content. Watts did have a tendency, perhaps a proclivity for the human back. “The back is the most awful and mysterious thing in the universe: it is impossible to speak about it. It is the part of man that he knows nothing of; like an outlying province forgotten by an emperor”
Chesterton does describe some of Watts´s memorable work. He concentrates on the portraiture and the poetic, dreamlike works, such as Hope. What is missing is any description of the social comment. But, after a hundred pages of embroidering the artist and his work with his own brand of prolixity, Chesterton concludes with “And this brings me to my last word. Now and again Watts has failed. I am afraid that it may possibly be inferred from the magniloquent language which I have frequently, and with a full consciousness of my act, applied to this great man, that I think the whole of his work technically triumphant. Clearly it is not. For I believe that often he has scarcely known what he was doing; I believe that he has been in the dark when the lines came wrong; that he has been still deeper in the dark and things came right. As I have already pointed out, the vague lines which his mere physical instinct would make him draw, have in them the curves of the Cosmos. His automatic manual action was, I think, certainly a revelation to others, certainly a revelation to himself. Standing before a dark canvas upon some quiet evening, he has made lines and something has happened. In such an hour the strange and splendid phrase of the Psalm he has literally fulfilled. He has gone on because of the word of meekness and truth and of righteousness. And his right hand has taught him terrible things.” Not really talented, GF, it seems, got lucky, at least according to GK. One hopes the meeting was cordial.
Watts was a grandee of English painting during the Victorian era. Chesterton starts by claiming Welsh roots for the painter, along with Celtic sentiments, but the theory is vague and frankly contradicted by the eventual location of the Watts museum, close to Guilford in the utterly English Home Counties.
In many ways, it is easier to describe Watts by starting with what he was not. He was not a Pre-Raphaelite, but probably sympathized with many of the group’s artistic aims. He was not an Impressionist, preferring always the classical, centrally placed, consistently-lit subject. He was not a modernist in any sense, but many of his images have a curiously modern feel. Perhaps he comes closest to being an English Symbolist, but that is not what Chesterton thinks.
Watts was a Romantic. He was an establishment figure who was also arguably anti-establishment. He took commissions from the state, often donated works to grand projects and painted the rich, famous and significant. But he also refused national honours and used the earnings from his celebrity portraits to fund projects to depict the social conditions of his age. He was not a member of the Arts and Crafts movement, but his wife was, and he was clearly a sympathizer. Next to the Watts Museum is arguably Britain’s finest example of Arts and Crafts Celtic Revival architecture, the Watts Chapel at Compton, which essentially was his wife’s project. We may return to Chesterton´s opening at this point to record the fact that Watts, himself, did not claim this linked to his own heritage.
Watts’s work is highly individualistic within a framework that might appear at first sight to be conventional. Chesterton, in his usual obfuscation, defines three fundamental characteristics of this work. “…first, the sceptical idealism, the belief that abstract verities remained the chief affairs of men when theology left them; second, the didactic simplicity, the claim to teach other men and to assume one’s own value and rectitude; third, the cosmic utilitarianism, the consideration of any such thing as art or philosophy perpetually with reference to a general good." Apparently, such things as cosmic utilitarianism can be gleaned directly from the visual image, though a modern reader of this biography might find that rather difficult.
Chesterton, as ever, cannot resist moralizing about his own opinions. “So far the result would painfully appear to be that whereas men in the earlier times said unscientific things with the vagueness of gossip and legend, they now say unscientific things with the plainness and the certainty of science.” Perhaps, as a writer, GK should have read this quote before writing the analysis just quoted. The author, nevertheless, does occasionally deal with the visual content. Watts did have a tendency, perhaps a proclivity for the human back. “The back is the most awful and mysterious thing in the universe: it is impossible to speak about it. It is the part of man that he knows nothing of; like an outlying province forgotten by an emperor”
Chesterton does describe some of Watts´s memorable work. He concentrates on the portraiture and the poetic, dreamlike works, such as Hope. What is missing is any description of the social comment. But, after a hundred pages of embroidering the artist and his work with his own brand of prolixity, Chesterton concludes with “And this brings me to my last word. Now and again Watts has failed. I am afraid that it may possibly be inferred from the magniloquent language which I have frequently, and with a full consciousness of my act, applied to this great man, that I think the whole of his work technically triumphant. Clearly it is not. For I believe that often he has scarcely known what he was doing; I believe that he has been in the dark when the lines came wrong; that he has been still deeper in the dark and things came right. As I have already pointed out, the vague lines which his mere physical instinct would make him draw, have in them the curves of the Cosmos. His automatic manual action was, I think, certainly a revelation to others, certainly a revelation to himself. Standing before a dark canvas upon some quiet evening, he has made lines and something has happened. In such an hour the strange and splendid phrase of the Psalm he has literally fulfilled. He has gone on because of the word of meekness and truth and of righteousness. And his right hand has taught him terrible things.” Not really talented, GF, it seems, got lucky, at least according to GK. One hopes the meeting was cordial.
April 14, 2016
Excellent.
May 18, 2015
Disappointingly turgid.
Displaying 1 - 4 of 4 reviews