THE BROADER PICTURE; OH! WHAT BEAUTIFUL MOURNING
Sunday 29 October 1995
Most cemetery sculpture, whether of grieving female figures, Jesus Christ in His various incarnations, angels and cherubs, heraldic crosses, obelisks, icons, urns, is a testament to mankind's obsession with mortality. These statues which Robinson's contemplative eye has isolated for us constitute an especially poignant revelation of such fantasies: the sculptures depicted are, as the photographer has noted, not standardised figures but ones representative of serious artistic expression. In these pictures we see with contemporary eyes the love objects of the previous century; icons of a church in which we no longer believe - compelling images of idealised, etherealised, and in some cases eroticised embodiments of ritual mourning.
David Robinson's study of these "graces" in European cemeteries is like a mystery in which the photographer is a kind of detective. Who are these beautiful women? Whom are they mourning? What is their symbolic significance? Classically austere and occasionally featureless, at one extreme; at the other, romantically voluptuous, barely clothed, in some cases starkly nude; lying, like the figure from Staglieno, in Genoa, in a pose of swooned, vulnerable abandon, as if grief were a form of erotic surrender. What the figures have in common, of course, is that they are female, and that they belong to another era, indeed an entirely other dimension of mythologised experience.
Though these sculptures belong to the 19th century, and the graves they adorn are, for the most part, those of European bourgeois men, we see no 19th-century Europeans depicted here. There are no grieving widows of any recognisable type, no middle-aged or older women; no mothers, or children. There are no hefty, or emaciated, or plain-faced, let alone unattractive mourners. No sons, brothers, fathers - no masculine figures at all. (The masculine, or androgynous, stone figures of representative Christian cemeteries are, of course, angels, who do not collapse in unseemly "womanly" grief. Their allegiance is to Heaven, where grief is irrelevant.) Women presumably died in as great numbers as men, yet the "saving graces" rarely mourned them; and when so publicly mourned, it would hardly have been in the eroticised images of comely young men.
These images tell us much of our collective desire that death be not mere deadness - cellular decomposition, the extinction of the human personality - but Death: mysterious, ethereal and therefore celebrated by the most attractive among us. Contemplating them, we realise how human anxiety, human vanity, human terror of the unknown, whether male or female, may well be the unacknowledged origin of our greatest artworks. !
Is the comedy album making a comeback?comedy
Arts & Ents blogs
- 1 Sabina Altynbekova, the girl branded 'too good looking' for volleyball, says social media obsession with her is a 'bit much'
- 2 Disney heiress Abigail disowns her share of family profits in West Bank company
- 3 The secret report that helps Israel hide facts
- 4 'Women should not laugh in public,' says Turkey's Deputy Prime Minister in morality speech
- 5 Israel's propaganda machine is finally starting to misfire
Led Zeppelin to release alternative Stairway To Heaven after 43 years
Freddie Prinze Jr on 24: 'Kiefer Sutherland was the most unprofessional dude in the world – I hated every moment of it'
Guardians of the Galaxy review: A superficial and half-hearted Marvel film
Great British Bake Off 2014 contestants revealed: Meet the baker's dozen
R Kelly 'dropped' from Ohio music festival following backlash
The secret report that helps Israel hide facts
Woman and two children killed by mob in riots over 'blasphemous' Facebook post in Pakistan
A day in the life of Vladimir Putin: The dictator in his labyrinth
Putin is 'thuggish, dishonest and reckless', says British ambassador to US
Richard Dawkins tweets: 'Date rape is bad, stranger rape is worse'
Boozy, ignorant, intolerant, but very polite – Britain as others see us
- < Previous
- Next >