
John Henry Newman, at age 23 when he preached his first sermon in Over Worton Church on 23 June 1824.
The year 1816 was one of bitter trial for the Newman family. One after effect of the economic and financial upheaval which followed the termination of the Napoleonic wars was to compel the Banking House of Messrs Ramsbottom, Newman & Co. to stop payment. Many years later, Newman, hearing his friend Bowden alluding somewhat tactlessly to what he called the Bank’s failure, reproved him rather sharply, pointing out that there had been no question of “failure”. The Bank did suspend payment; that, he agreed, was true enough, but only for a time. Eventually, all the creditors were paid in full. That gives us some idea of the moral trials the Newmans had to bear, not to mention the material anxieties which beset them all through that spring. The letters exchanged between Mrs. Newman and her sister-in-law Elizabeth afford eloquent testimony of the tribulations she had to endure.
Certainly, the creditors were quickly paid off, and the family, so far as money-matters were concerned, was soon on its feet again. At this juncture, however, Mr. Newman took it into his head to give up banking and become a brewer. That meant yet another change of houses, and so, from the lanes of Norwood, off they go to Alton, so as to be near the brewing works of which the paterfamilias was now to take over the management. One result of all this unsettlement was that the Newmans found it convenient to leave their son at his boarding-school all through those summer holidays. The void of that solitary vacation was to be filled by his conversion. How that came about he himself has described in the autobiographical memoir of which Anne Mozley availed herself in preparing his letters for publication. The passage runs thus:
On my conversion how the wisdom and goodness of God is discerned. I was going from school half a year sooner than I did. My staying arose from the 8th March. Thereby I was left at school by myself, my friends gone away. [Letters, vol. I, p.17 Anne Mozley has cancelled what follows.] That is, it was a time of reflection, and when the influences of Mr. Mayers would have room to act upon me. Also I was terrified at the heavy hand of God which came down upon me.
That last rather cryptic phrase is apparently the only piece of evidence there is to support a conjecture advanced by Maisie Ward. In her view, the words imply that Newman had been prepared for his conversion by the mental distress which the family misfortunes had caused him, and that, it must be confessed, seems to be the most plausible interpretation to put upon them, though there is nothing to corroborate it. At all events, what he himself considered most expressly providential about the whole affair was that it had resulted in his being left by himself at Ealing in close contact with Mr. Mayers, thus bringing him under an influence which, if things had taken a different turn, he would never have experienced.
The Reverend Walter Mayers, of Pembroke College, Oxford, was a master at the school. So far, all that had happened between him and his pupil was that the latter had collided rather sharply with the master’s Evangelical brand of Christianity in various discussions they had had together, discussions which were enlivened for the pupil by his somewhat mischievous satisfaction in putting a “poser”, when he could, to a master more pious than brilliant. Thoroughly to understand how, in the course of those lonely weeks, the clergyman came to be the means of bringing about so radical a change in the boy’s mind, we must go back and look a little more closely into Newman’s early religious training and endeavor to find out exactly where his own unaided reflections had brought him by the time with which we are dealing.
We have said that Mr. Mayers was an Evangelical, and it has sometimes been assumed that the Newmans belonged to the same party. Nothing could be farther from the truth. A few years later they became acquainted with a Miss Giberne, a young woman who at that time was a typical Evangelical. Throughout her life, and it was a long one, she was to remain a true friend of the future Cardinal. However, the sort of impression we get from her first encounter with the Newmans gives it vivid idea of the gulf there was between them and herself. This musical, literary, and, from her point of view, worldly family had nothing in common with her own ideals, notwithstanding the immediate liking she had taken to John, Francis, and their sisters.
What exactly are we to understand by the term `Evangelical”? To answer that question, we must try to get some sort of general idea of the Anglican Church as it was in the early part of the last century. From the seventeenth century onwards, it had been exposed to two divergent tendencies: the one, High Church; the other, Low Church. The High Church party set great store by Tradition — that is to say, by the Catholic, and by what, in those days, may have been still more important, the Royalist element which the term connotes. The others — the Low Church party — were all for the stark, uncompromising Protestantism of the Puritans and the Presbyterians, yet not going to the length of actually parting company with the Establishment.
When the Deists were at the height of their power, it looked as if both parties were going to fuse together into a sort of religion which was hardly more than a vague philanthropy, but which still adhered to those conservative ideas of which the Church of England seemed to be the natural stronghold. Athwart this atmosphere of stagnation and inertia the voices of Wesley and Whitefield rang like a trumpet-call to arouse the people from their slumber. Had it not been for them, all definite belief, all religion in the strict sense of the word, might well have disappeared from England, and with it the State Church itself. Perhaps the most conspicuous characteristic of Wesleyanism in its early days was the overwhelming conviction that Christianity implied a new life — hence the transcendent importance attached by the Methodists, as they came to be called, to “conversion”. But conversion, new life, might be taken to mean merely such a moral reform as a man might bring about by his own efforts.
What is distinctive about Wesleyanism is that it is concerned with an experience, a religious experience and one clearly recognizable from the nature of its onset. At a first glance, Methodism would appear to be a return to the Christianity of the Gospel as contrasted, not merely with rationalism but with the humanistic and philanthropical ideas then prevailing. Looked at from another angle, it reveals a close affinity with the sentimentalism that was so marked and so general a feature of the late eighteenth century. Still, it cannot be denied that in one way or another it links up with a Christian tradition dating back far earlier than the Reformation, with the love of the religious folk of the Middle Ages for the person of Jesus Christ.
Viewed against a Moravian background, compared with the German Pietists and certain manifestations of primitive Lutheranism, Wesley’s religion will be seen to have had more in common with Saint Bernard or with Saint Francis of Assisi than with the Scottish Calvinists or the English Puritans, for it is from a direct encounter of the soul with Jesus, with the Christ of the Gospels, that conversion is looked for. It was not a matter of a mere moral reform, which a man might claim to have brought about by his own efforts, but a gift bestowed by God. It is from Jesus, from Jesus acknowledged to be in the fullest sense the Son of God, the Savior of the world, that the gift is to proceed.
It cannot therefore be denied that, notwithstanding its intrinsic intellectual insufficiencies, there is a core of sound doctrine at the heart of Methodism. But this cannot be dissociated from a particular kind of spiritual experience characteristic of the period. It is in the contemplation of Jesus as loving us and as shedding His blood for us that the Wesleyan gives himself to Him, and it is during an intense and passionate outpouring of the emotions that he attains to what he calls faith, by which he means the certain conviction that the blood of Jesus was shed for him, that it has cleansed him from his sins and made him a new man.
It was partly by force of circumstance, partly from their indifference to everything save this spiritual experience, far rather than from any definite separatist resolve, that the Wesleyans, after Wesley, and in spite of his desires, eventually cut themselves off from the Established Church. This, however, they did not do without leaving their own indelible mark upon it. The Evangelical party within the Church were a lasting witness to the effect Wesley had had upon it, and Wesley’s influence still endures, albeit modified in various ways to bring it into closer harmony with the more traditional, less emotional, elements in Anglicanism.
For Evangelicals, conversion did not necessarily involve any of those violent paroxysms of emotion to be seen at the usual revivalist meetings. Emotion there was, but by conversion was generally signified the gradually growing conviction, the belief taking ever deeper and deeper root, that one hall been saved by Jesus Christ. Such had been the experience of Thomas Scott, with whose writings Newman was now shortly to become acquainted, and of whom he declared many years later that he almost owed him his soul. Such, too, was conversion as understood by Mr. Mayers, who was now to initiate his pupil into his own particular school of religious belief. Nothing, however, was more remote from the ideas in which Newman had been reared than this sentimental religiosity, even in the modified and milder form in which he was now to encounter it. How his family looked on the Christian religion he has described in a few words in the Apologia:
I was brought up from a child to take great delight in reading the Bible; but I had no formed religious convictions till I was fifteen. Of course I had a perfect knowledge of my Catechism.
If we want to get a clear idea of what was in Newman’s mind when he penned that brief resume, it is perhaps conveyed at least implicitly, in the following passage, which we take from the Grammar of Assent:
“Bible Religion” is both the recognized title and the best description of English religion. It consists not in rites or creeds, but mainly in having the Bible read in Church, in the family, and in private. Now I am far indeed from undervaluing that mere knowledge of Scripture which is imparted to the population thus promiscuously. At least in England, it has to a certain point made up for great and grievous losses in its Christianity. The reiteration again and again, in fixed course in the public service, of the words of inspired teachers under both covenants, and that in grave majestic English, has in matter of fact been to our people a vast benefit. It has attuned their minds to religious thoughts; it has given them a high moral standard; it has served them in associating religion with compositions which, even humanly considered, are among the most sublime and beautiful ever written; especially, it has impressed upon them the series of Divine Providences in behalf of man from his creation to his end, and, above all, the words, deeds, and sacred sufferings of Him in whom all the Providences of God centre.
Grammar of Assent, Bk. 56-57.
There we have without doubt the basis of Newman’s religion: a high moral standard, a standard hallowed by the idea of Providence — that is to say, as Newman understood the word, by the presence of God, the all-seeing Witness and sovereign Actor in every circumstance of our daily lives. But as that is drawn wholly from the Bible, the reading of the Bible lends it an atmosphere of light and color of a very special character, and what exactly that was we must endeavor to understand.
It is difficult for anyone who has never experienced it to form even a remote idea of what a religious training, founded wholly and solely on a study of the Bible, really is. For a thoughtful and imaginative child it results in a kind of supernatural humanism quite unique in its character. The world, human history, the life of mankind are bathed in a light that nothing henceforth avails to dim or extinguish. The presence of God, everywhere active, all-powerful, reigns over all things, animate and inanimate. Then there are those countless figures of Patriarchs, Prophets, Kings and Apostles, Saints and Sinners, or rather of sinners called to repentance, of Saints conscious of their sin, who, for such as are familiar with them, seem more real than the folk we meet every day.
Let us make no mistake about it; we have here the underlying stratum of Newman’s spiritual nature, the lasting soil from which its fairest blossoms, its choicest fruits were to spring.
However all this may be the case with Protestant children in general, Newman adds two important particulars regarding himself. It was not any sort of Bible in which he was taught as a child to take delight. His Bible was King James’s Bible, the celebrated Authorized Version, the outstanding landmark of English prose. He dwells on the grave majesty of its language, thus accounting for the incomparable and sacred charm which the Bible, merely as literature, never ceased to have for him from his childhood onwards. No doubt the Bible is the Word of God, and is always so, no matter into what tongue it is rendered.
Nevertheless, those golden periods were well calculated to make him see in them the confirmation of the Bible’s sacred character — hence for him, as for many another, the fusion of Christianity with that Biblical humanism of which the Latin countries have scarce a notion, but which is so natural and so real an experience for the Anglo-Saxon and Germanic peoples. Finally, Newman gives us this additional indication of what Bible-reading is for an Anglican; it is not confined to a few passages selected in the light of individual fancy, nor does it range haphazard over the whole of the sacred text without scheme or plan. Thanks to the Prayer-Book lectionary it is Scripture in its entirety gradually unfolded in harmony with the rhythm of the Christian year. From the Cradle to the Cross, from the Cross to the Celestial Abode, the scene unfolded itself to the child John Henry like a pageant of unforgettable splendor.
If, over and above this general view of the matter, we would learn something of the more particular manner in which Newman was affected by his experience, we may profitably take note of what Anne Mozley has to tell us in an essay of no little insight and delicacy. In all probability it was not without guidance from Newman himself that she went gleaning among his sermons for the passages to which she refers, passages every one of which is unmistakably the record of some personal experience of his own. It is not always easy to determine how far Newman’s sermons are to be regarded as the autobiography, or, shall we call it, the diary, of their author. Here, however, is a passage that can scarcely leave us in doubt:
At first children do not know that they are responsible beings; but by degrees they not only feel that they are, but reflect on the great truth, and on what it implies. Some persons recollect a time as children when it fell on them to reflect what they were, whence they came, whither they tended, why they lived, what was required of them. The thought fell upon them long after they had heard and spoken of God; but at length they began to realize what they had heard, and they began to muse about themselves.
Parochial and Plain Sermons, vol. VI, no. 8 (San Francisco: Ignatius Press, 1997),
Concerning this first discovery of the Divine Word, of the appeal it makes, is it not the child we hear speaking, though the words are the words of the man?
Let us consider this consciousness of self, which begins with a sense of being dependent on God, the sudden outcome of the patient pleading of God’s words, in which the child’s soul had bathed before its awakening. To the significant passage just quoted, Anne Mozley added another, and, in the whole of Newman, there is hardly one which we should be more inclined to describe as Proustian. It is of peculiar interest to us at this juncture because it shows us the belief which Newman was not only to retain, but steadily to develop, the belief in the spiritual treasure inherent in those childish experiences. From the mere contact with the Bible, the dawning soul, touched all unawares by grace, is enriched with a treasure which, as long as life shall last, it will never lose or exhaust. One’s thoughts revert, not only to Proust, as we ponder these things, but to Wordsworth and his Ode on Intimations of Immortality drawn from Recollections of Early Childhood. But with Newman the whole is set in a different key. For him, the invisible world is not substituted for the visible, but added to it, and hopes, hitherto vague and undefined, are now steadily focused on the expectation of the Divine Vision.
Such are the feelings with which men often look back on their childhood, when any accident brings it vividly before them. Some relic or token of that early time, some spot, or some book, or a word, or a scent, or a sound, brings them back in memory to the first years of their discipleship, and then they see, what they could not know at the time, that God’s Presence went up with them and gave them rest. Nay, even now perhaps they are unable to discern fully what it was which made that time so bright and glorious. They are full of tender, affectionate thoughts towards those first years, but they do not know why. They think it is those very years which they yearn after, whereas it is the Presence of God which, as they now see, was then over them, which attracts them.
Parochial and Plain Sermons, vol. IV, no. 17 (San Francisco: Ignatius Press, 1997)
We shall have occasion to return to this experience, so vivid in Newman’s case, of Memory and of the Presence of God through it perceived. For the moment, we would remark that Wordsworth’s sad lines about his passing from childhood to adolescence are equally applicable to Newman:
Heaven lies about us in our infancy,
Shades of the prison-house begin to close
About the growing boy.
What, then, was it that had happened to this fifteen-year-old lad? The answer is precisely what was to happen or fail to happen again in the young man of ten years later. It was that the growth, the activity of his intellectual powers, had stifled his religious life. It was not that the intellect had seized on any particular argument against religion. It was rather a case of an intellectual attitude, a mental climate, inimical to that immediate sense of God as being Sovereign Lord of All, which afterwards came to be, and thenceforth always remained, an outstanding feature of Newman’s faith.
The youthful mind, confidently relying on its own powers, instinctively shrinks from the idea of any such dependence. The acceptance of a mystery beyond his comprehension, and that he feels, none more clearly, to be the whole of religion, strikes him as something he has grown out of, and left behind him. In the Apologia we read:
When I was fourteen, I read Paine’s Tracts against the Old Testament, and found pleasure in thinking of the objections that were contained in them. Also, I read some of Hume’s Essays; and perhaps that on Miracles. So at least I gave my Father to understand; but perhaps it was a brag. Also I recollect copying out some French verses, perhaps Voltaire’s in denial of the immortality of the soul, and saying to myself something like, “How dreadful, but how plausible.”
Be it noted that this semi-skepticism, which had taken hold of the young lad’s mind, was of a purely intellectual order. Morality was in no way questioned. Quite the reverse, in fact. The proud intellectual self-sufficiency, which thus put God out of the picture, seems to go hand in hand with a corresponding self-reliance on the moral side. The autobiographical memoir records a note of an earlier day which makes that point quite clear:
I recollect, in 1815 I believe, thinking that I should like to be virtuous, but not religious. There was something in the latter idea I did not like. Nor did I see the meaning of loving God. I recollect contending against Mr Mayers in favor of Pope’s “Essay on Man”. What, I contended, can be more free from objection than it? Does it not expressly inculcate “Virtue alone is happiness below”
Letters, vol. I, p. 19.
These entries are of the highest importance, not only as explaining the nature of his conversion, but for the light they throw upon his apologetical writings, from the Oxford University Sermons to the Grammar of Assent. When, sixty years later, Newman received the Red Hat, he summed up his life’s work in a single phrase, when he said he had always fought against Liberalism. What he meant by that term was the claim of man to do without God, to act by himself and for himself, whether it be a matter of comprehending the Universe or ordering his own life.
The “reason” which, in the University Sermons, is contrasted in so definite a manner with “faith”, is reason in which self-reliance amounts to pride, and which refuses, on principle, to rely on any power external to itself. It was reason in this sense of the word, and reason very much alive in the boy John Henry, that led him to turn away from Christ, not indeed in order to live a life of sensual indulgence, but rather to entrench himself in a virtuous independence that refuses to bow to anything or anybody.
How, then, are we to account for its bowing to the very ordinary intellectual gifts of the worthy ecclesiastic over whom, it is only too clear, the dialectical prowess of the child of genius scored some very easy victories. Newman has not explained (how, indeed, could he have explained?) the process by which his ideas, in this particular instance, underwent so complete a change. He does, however, give us to understand that it was not so much by his sermons or exhortations that Mayers influenced him, as by the books he gave him to read during those long weeks of inactivity in the year 1816.
We may take it, then, that Mayers impressed him more by his character than by his discourse, more by what he was than by what he said. Those victories which the pupil, doubtless too brilliant, too adroit for his master, had scored in their arguments, did not delude him. He who put virtue before religion must have recognized in a mind of a humbler order than his own, virtue of a different order from his own. And that probably is what led him to attach to Mayers’ words an importance that his arguments as such would certainly not have earned them. That it was, as well as the necessity of finding something to fill up the time that led the boy to tackle the somewhat austere books that were put into his hands. How these books of Mayers’ affected him, Newman in a few succinct and striking words tells us in the Apologia:
I fell under the influence of a definite Creed, and received into my intellect impressions of dogma, which, through God’s mercy, have never been effaced or obscured.
Those words whet our curiosity still more to learn what books these were that were thus offered to this young, enquiring mind. And now a paradox awaits us. Of the first of them, Newman tells us that the main doctrine contained in it struck him very forcibly and at once commanded his assent. But he adds that he came to discard it later on, and long before his conversion to Catholicism. A few lines farther on he adds that he retained it till he was twenty-one, when it gradually faded away. The book alluded to was by Romaine, one of the few rigid Calvinists that were still numbered in the Evangelical fold. It will not surprise us to learn that the doctrine in question was that of final perseverance, conversion being regarded as a sudden consciousness, on the part of the convert, of his predestined salvation.
If it was a doctrine that converted him, how came Newman, who stressed the doctrinal and dogmatic character of his conversion, to write of it — of his conversion, that is to say — a few lines farther on, “I am still more certain of it than I am of having hands and feet”? Here we have a problem which, up to now, does not appear greatly to have exercised his biographers. Nevertheless, it must be evident that the importance ascribed by Newman to this conversion, definite and permanent as it was, cannot be satisfactorily explained so long as this problem remains unresolved.









Van Gogh’s Strange Afterlife By Hugh Eakin
May 21, 2012Mr. Eakin is a senior editor at the New York Review of Books and writes frequently about museums and the art market. A version of this article was in some U.S. editions of The Wall Street Journal. Why does Van Gogh demand our attention? Because he, in many ways, represents an alternative to faith that some claim for Art. The post explains more…
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It is hard to pinpoint when exactly Vincent van Gogh crossed over from being a mere titan of modern art to a general symptom of our culture — a painter whose name adorns bottles of vodka and whose supposedly liberating madness is regarded with worshipful reverence. Twenty-five years ago, his paintings ushered in the era of stratospheric prices for leading Modernists, with the sale of “Sunflowers” for $39.7 million and “Irises” for $52.9 million — at the time, three- and fourfold increases over the previous world record for any work of art. Not long after that, Japanese industrialist Ryoei Saito set a new mark again by paying $82.5 million for “Portrait of Dr. Gachet” and then suggested that he might have it cremated and buried with him.
But despite continual invocation in exhibitions, movies and books, little of the legend of mad Vincent withstands serious scrutiny. If anything characterizes Van Gogh’s intensely felt landscapes and portraits, the critic Robert Hughes long ago observed, it is lucidity, not lunacy. And the scrupulous recent biography by Steven Naifeh and Gregory White Smith, while continuing the tradition of viewing the artist’s work as an expression of his “fanatic” personality, nevertheless concludes that his untimely death by a gunshot wound was more likely an accident than a raving suicide. What is perhaps more surprising is that almost as many questions surround the art as the life. In the past two decades, museums around the world have quietly downgraded some 40 works formerly attributed to the artist, and doubts have been raised about even highly sought-after paintings like the record-breaking “Sunflowers.”
Van Gogh’s ‘Sunflowers’ was sold at auction for $39.7 million in 1987, then a world record for a painting. In ”Solar Dance: Van Gogh, Forgery, and the Eclipse of Certainty,” the cultural historian Modris Eksteins argues that Van Gogh’s
paradoxical status — he is “the most popular artist of all time,” yet his work is clouded in uncertainties — points to something more fundamental about our own society and the place of art within it. Amid the devastating violence of the two world wars, Mr. Eksteins observes, the norms of behavior and belief that had governed social relations for centuries broke down. Critics, reflecting their times, increasingly saw in the fiery canvases of Van Gogh and other “misfit” Modernists not only a new way of perceiving the world but also a spiritual response to an age in which few certitudes had gone unchallenged. “Van Gogh’s greatest brilliance may have been his doubt,” Mr. Eksteins writes. “That doubt now pervades our entire enterprise.”
Mr. Eksteins has a knack for pinpointing moments in the rise of Modernism that expose the deep social forces that have shaped our world. His pathbreaking “Rites of Spring” (1989) argued that radical artistic experiments like Stravinsky’s infamous ballet “The Rite of Spring” were a defining part of the political and psychological crises that precipitated World War I. Now he sets out to show that Van Gogh’s pervasive hold on 20th-century culture has little to do with the early Modernists of fin de siècle France, where his brief career played out. Instead, Mr. Eksteins provocatively argues, Van Gogh’s prevalence can be traced to the cultural anxieties of 1920s Germany, where his art first gained wide notoriety — and where a major controversy over fakes erupted.
Van Gogh (1853-90) sold hardly any of his art during his lifetime, and on his death at age 37 his paintings were deemed nearly worthless in Paris.
On the other side of the Rhine, however, the artist was seen as a Nietzschean hero whose blazing canvases — “screaming in horror to the heavens,” as the critic Julius Meier-Graefe put it — seemed to anticipate an age in which art had replaced faith. Along with Meier-Graefe, who had become enamored of the French Impressionists while living in Paris in the 1890s, other instigators of the German Van Gogh cult included the socially connected Count Harry Kessler, the powerful art dealer Paul Cassirer and the shipping heiress Helene Müller, who quickly amassed a collection (now housed in the Kröller-Müller museum in the Netherlands) that was exceeded only by the artist’s own estate.
Even before World War I, Van Gogh’s work was represented in nearly a dozen German museums — far more than in any other country. But it was during the Weimar period that he entered the culture at large. Establishing the pattern that has been followed ever since, Meier-Graefe’s wildly successful biography “Vincent” (1921) celebrated the artist’s turbulent life as the fount of his art, and the pursuit of Van Gogh’s paintings took on a tulip-like mania. “Around this time,” the novelist Elias Canetti later wrote, “the Van Gogh religion began.”
Into this mix dived Otto Wacker, a gay dancer turned art dealer, who in 1925 produced a cache of 33 previously unknown Van Goghs. The paintings — of characteristic late subjects ranging from wheat fields to a “Self-Portrait With Bandaged Ear” — were of variable quality, and their provenance was dubious. (Wacker claimed that he had been hired to represent an unnamed Russian collector who had taken the works to imperial Russia early in the century and recently smuggled them out of the Soviet Union.) Yet he convinced the leading experts — including Meier-Graefe and Jacob-Baart de la Faille, the Dutch scholar editing the first Van Gogh catalogue raisonné — and began selling the paintings to dealers like Cassirer, who placed them in the top private collections.
Only when a 1928 exhibition placed Wacker Van Goghs next to the real thing did misgivings surface. A fraud case slowly got under way, and, in 1932, Wacker was found guilty after a sensational trial that featured paintings in the courtroom and conflicting expert testimony. Despite having no particular expertise in Postimpressionism, Ludwig Justi, the ambitious director of Berlin’s Nationalgalerie, told the court that the Wacker paintings were “as false as any pictures can possibly be” and ridiculed the scholars who authenticated them. For their part, the Van Gogh specialists confusingly claimed, in contrast to the court’s own findings, that some were real and some were fake.
None of this much dampened Van Gogh’s appeal. As a German newspaper observed in 1929: “Within a short space of time [the case] has done more for the artist’s fame than his prophets were able to achieve in 30 years.” Mr. Eksteins offers a more complex reading. “Though Wacker went to prison,” he observes, “it was the experts, and by corollary any traditional notion of authority, that lost the most respect in the prolonged and painful affair.” De la Faille, whose flawed catalog is still a standard reference work on Van Gogh, reversed his own conclusions several times. And Justi, even as he was heaping scorn on the Wacker paintings, rashly bought two Van Goghs for his own museum that were quickly exposed as likely forgeries.
For Mr. Eksteins, the collapse of established authority that emerges is a defining part of the Van Gogh cult. Our uncertainty about Van Gogh’s work, he paradoxically suggests, is inextricably linked to the rupture of traditional ideology and morality that attracts us to the artist in the first place. Nowhere was the rupture more dramatic than in the final years of the Weimar Republic, that “fantastic panorama of commotion, imagination, and violence” where Mr. Ekstein’s centers his account.
With a saturation of cultural reference, “Solar Dance” conveys the heady atmosphere that made Berlin the first European capital to embrace the transforming potential of art in a secular age. Yet it also created the ideological void that ended in the rise of Hitler. Van Gogh was celebrated as a solitary genius whose paintings rebelled “against the formalism of the establishment” and made “the untamed decorative”; but the potential for fakery in his messy oeuvre, and for embellishment of his biography, risked introducing just the kind of “fantasy world of myth and mastery” that drew people to National Socialism — a process Mr. Eksteins recounts in the final part of the book.
Yet in pressing the political reading of the Van Gogh affair, Mr. Eksteins can get carried away; he is unlikely to persuade readers that “Nazism was, in short, much like the artworks peddled by Otto Wacker.” A larger question is whether Weimar can adequately account for the durability of the Van Gogh myths today. In his overriding interest in the artist’s fascinating German afterlife, Mr. Eksteins gives rather short shrift to Van Gogh controversies elsewhere, some of which have involved a similar undermining of cultural authority without any of Weimar’s social upheaval.
He does not mention, for example, the case of “Study by Candelight,” an unfinished painting authenticated by De la Faille (who called it one of the artist’s best self-portraits) and sold to the head of Universal Pictures in 1948. It was brought to the United States and celebrated in the press, but after the director of the Stedelijk Museum in Amsterdam declared it a fake, the painting was withdrawn from a 1949 Van Gogh exhibition at the Metropolitan Museum of Art in New York. (The Met’s curators termed it “strident in color, weak in drawing, and uncertain in the modeling of the head.”) Other experts hired by the U.S. Treasury — which was responsible for determining the painting’s authenticity since original artworks can be brought into the country duty free while reproductions are taxed — concluded that “it was a real Van Gogh and therefore exempt from import duties.” Today the painting is omitted from Van Gogh catalogs, and its whereabouts are unknown.
Of course, none of these disputes can quite measure up to the actual paintings. Van Gogh’s elusive oeuvre still awaits a full treatment on its own terms, unraveled from the madness and the mania that surrounds it. But if the $119 million paid last week for Edvard Munch’s “The Scream” — the latest auction record — is any indication, the frenzied pursuit of Modernist anomie shows no sign of slowing. As Mr. Eksteins shows, that appetite, like the Van Gogh cult to which it has given shape, may tell us far less about the art than about ourselves.
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