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Our Inktober special feature of Halloween-adjacent pen-and-ink drawings continues with this enigmatic golden orchid monastery piece which I drew with colored inks on yellow paper.
Lately I have been drawing a series of intricate altarpiece-style compositions after the style of Medieval illuminators (whose seminal contributions to art, culture, and media have been underappreciated because of the post-Vasari cult of celebrity). Hopefully writing about these illustrations in these posts will help contextualize the themes I am trying to highlight.
Here is a little monastic microcosm of the world. In one monastery, a white-haired abbot lords it over his little flower novices. In a sister monastery, the mother superior and her votaries carefully send out an intimate message to the monks by means of technology. Sundry lizard people, extinct animals, and cloaked figures roam about in the space between the two houses as a rain of yellow orchid blossoms falls down from the heavens.
To my mind, the most important part of this composition is the tiny strip of nature in the foreground–a little ecosystem of weeds, wildflowers, seeds, nemotodes, myriapods, and maggots (who are furiously breaking down a mouse skull). The human world of sly courtships, status posturing, and religious grandstanding grows up out of this substrate and pretends to be superior to it (while actually being entirely dependent on the microscopic cycles of life). All of the pompous & made-up things which humankind uses to dress up our savage primate drives do not change the fact that ecosystems are of paramount importance.
The religions of Abraham (among others) put animals and the natural world at the bottom of their moral hierarchy. I believe they are ultimately doomed because of this stupid outlook. Whether they will take us all to a garbage-strewn grave with them remains an open question.
Ever since the beginning of the pandemic, I have been working on drawing with ink using a steel nib. Of all the drawing media I have used, pen and ink provides the most expressive and beautiful lines–provided you can avoid blotting, smearing, or spilling the ink. Alas, it is exceedingly easy to destroy your drawings (and your wardrobe) through the least mishap with the INDELIBLE ink. In the spirit of the masters of medieval illumination (who also utilized pen and ink), I have been drawing a series of strange floral monastic people–well, perhaps it is a bit unclear if they are people or paphiopedilums. In the picture above, a loving deity of growth irrigates the sentient crops as a kindly sister looks on. Beneath the grass, a caecilian hunts for destructive grubs among the roots and mycelia. Speaking of mycelia, kindly note the little gnome collecting mushrooms. In the heavens, a pelican flies by with a fish struggling in its beak while a bat-winged putto plays religious music on a lyre. The odd-man out in the composition is the friendly ring-tailed lemur who seems perplexed by this harmonious tableau (surely this can’t be Madagascar), but takes in in stride with sanguine primate good cheer.
This second drawing is more complicated and harder to parse out. A little chapter of nuns have left their onion-domed convent to luxuriate in the heavenly effulgence. I feel like that aerobic-looking fairy may well be a lay-sister. Unfortunately, their repose is disturbed by a big, stiff, skinny mummy which is just lyin’ around on the lawn. Who on earth left it there and why? Also, why does the mummy have a mummified flatfish? The day is additionally marred by the presence two faceless apparitions to the extreme right. Drifting through the air everywhere are little zygote-spores of some sort (or are they little seeds of the flower people). It is good to see that life finds a way, even if the sisters are putatively uninterested in reproduction. Also there is an ermine (the very symbol of purity and moderation in Christian art) who is looking quite closely at a banana split.
I am pleased at the way that using black ink and white ink gives these peculiar allegories a feeling of dimensional form. Speaking of which, drawing with sumi ink this way also gives a literal 3 dimensional aspect to the work (albeit a slight one). If you run your fingers over these drawings, all of the lines are palpable and i had to photograph them multiple times because of little shadows and strange reflections cast by the raised ink.
I am still working away at my flatfish project. Here are four recent drawings/mixed media works which I made. The flounder above is a cosmic flounder and represents humankind’s aspirations for the stars. The mathematicians and engineers (here represented as ancient Egyptians) do their best with the tools and calculations they have available, but the universe is so vast. The flounder represents all Earth life waiting to be lifted to the heavens. As they struggle, insouciant aliens fly by waving. The combination of ancient and modern elements make one think of the biblical ark (which is represented in the next picture. The flounder is, of course, a watery beast and is unmoved by divine wrath, although it does look a bit appalled at the inundation.
Next is a picture of a crude and vigorous flatfish made out of thick lines. The fish swims by a Viking long hall as seabirds wheel about in the sky, but thanks to some trick of the world (or perhaps the artist’s whimsy) a coati is raiding the pumpkins and fruiting vines. Is this scene unfolding in the old world or the new?
Finally, there is a scene of a medieval styleeremitic brother who has forgotten his scriptures and is now contemplating the life-giving sun. A saintly duck and a far-flying swallow look kindly on his devotions, but the monk’s cat seems unmoved by his devotion. Crystals hint that religious fervor is becoming convoluted by the vagaries and appetites of the modern world, which can be witnessed all around the verdant turbot. Yet the fish and its inhabitants maintain a solemn and studious otherworldliness. Whatever this mysterious devotion is, it is represented in each of these 4 fish, but the viewer will have to devote some time and thought of their own in order to elucidate the subject of this devout zeal.
Thebaid (Fra Angelico, 1410, Tempera on Panel)
Are you ready for a deeply strange and problematic painting of tremendous beauty? This is “The Thebaid” a masterpiece from Florence in the very early 13th century (it was probably completed in 1410 AD). For centuries, art historians have argued over who painted this epic monastic landscape. For a long time it was believed the painting was by the enigmatic Jacopo Starnina. Then, for many years, art experts thought the painting was by Lorenzo Monaco, a gothic painter who moved to Florence from Sienna and excelled at painting brilliantly colored saints (although he eschewed the great artistic innovations of his time—such as perspective and painting from life). Finally, historical consensus has settled on none other than the matchless Fra Angelico as the painter–which seems fitting since this work is so thoroughly a celebration of monastic life (Fra Angelico was a friar…although so was Lorenzo Monaco). Fra Angelico is famous for bridging the styles of the Middle Ages and the early Renaissance. With its angular mountains, stylized churches, and gilded sailing ships, “The Thebaid” is appropriately gothic and old fashioned to be one of his early works. Yet it also has the first flowering of the flowing rhythm and deliquescent grace which have made Fra Angelico such a famous name in art.
Detail
Whoever painted it, the painting is a mythological depiction of the Egyptian desert in the Fifth Century AD—a time and place synonymous with hermits and monasticism. The story goes that Saint Horus, an early Christian ascetic, wandered into the desert outside of Thebes to live as a hermit. Although initially illiterate, Horus learned the Holy scriptures on his own (or through divine intervention). So many devout men were inspired by his life of solitude, renunciation, and piety that they too moved into the empty desert. Thus a thriving community of monastics gathered around the famous anchorite. The one became many and the once barren desert became a verdant model for monasticism.
Detail
The picture is certainly a celebration of the cloistered life which a Florentine monk would have known. The architecture, dress, and agricultural equipment is of the same era as the painter. Yet the painting also has a timelessness befitting the subject. Within the narrative flow of a community of monks assembling, one can discern beautiful humanizing details such as the infirm elderly monk being carried on a dais by his brothers or the monk in the center preaching to a black dog. Indeed animals abound within this work and one of the monks seems to be riding a deer while another rides a chariot pulled by lions. There is a lot going on in this magic gathering of holy men communing with nature!
ferrebeekeeper 