NYC Snowstorm

Looking West on 42nd Street, NYC

Happy February! The shortest yet longest month kicks off today with a vast nor’easter blanketing new York City in snow. Although it is rather unpleasant to navigate the mountainous drifts and hidden rivers of slush, snowstorms aesthetically suit the city. The translucency of the snow (which grows more opaque with distance) makes evident how enormous the skyscrapers of Manhattan are. Additionally, the monochromatic winter hues suit the austere grays and blacks of New York.

Grand Central with some mysterious new monster building behind it

All of this is a long way of saying I took some candid pictures of 42nd Street with my cellphone today and I am posting them instead of a thoughtful essay. Perhaps the famous place I work can do some of the heavy lifting today instead of me.

Grand Central from my office window

Look at how pretty Grand Central and the Chrysler building are! If we are not going to build giant teapots and huge pairs of pants, can we at least go back to building giant buildings like that please? I am sorry I cut off the statue of Mercury of the Grand Central picture directly above. Maybe I will try again when there is not a giant cloud of snow blowing into me! In the mean time be safe. We will get through this winter some day. If past posts are to be believed, it is only a month until the hellebores start budding (and you had better believe I planted some spring tulips which are sleeping beneath the mountains of white).

The Chrysler Building in the snow

Two Grisaille Paintings by Bosch

Today is Ash Wednesday, which marks the beginning of Lent, a six week season of self-denial, repentance, and fasting observed among certain traditional-minded Christian denominations.  Although I myself have no particularly ascetic intentions for Lent, it seems appropriate to mark the occasion with two vivid grisaille paintings by the great fifteenth century Flemish master Hieronymus Bosch, whose bizarre religious visions are among the strangest and most compelling works of painting (despite decades of deliberate strangeness by 20^th and 21^st century artists) .

The Left Outside Panel of “The Temptation of Saint Anthony” (Hieronymus Bosch, 1502, oil on panel)

The term ”grisaille” describes a completely monochromatic painting in which all colors have been removed and the values are all rendered in countless shades of black, white, and (especially) gray. The grisaille technique was sometimes used for underpainting by the old masters who would then add color later.  It was also used to portray sculptures, to cover large walls (in the fashion of trompe–l‘œil illusion), or, most interestingly, as the opposite side of triptych screens and altarpieces.  If a hinged triptych was closed, the two grisaille panels would become all that was visible.

The Right Outside Panel of “The Temptation of Saint Anthony” (Hieronymus Bosch, 1502, oil on panel)

These two paintings are the reverse of what may be Hieronymus Bosch’s most bizarre work, The Temptation of Saint Anthony which was finished in 1502, and can now be found at the Museo Nacional de Antiqua, Lisbon.  The Temptation of Saint Anthony deserves its own post (or its own book), but suffice to say it is a truly deeply strange rendering of the beings who accosted the saint after he went to the desert to pray, fast, and repent as a hermit.  It is a scatalogical hellscape filled with pig-priests, ambulatory jugs, stomach monsters, and flying fish crane ships.  Describing the actual painting exceeds my not-inconsiderable descriptive prowess: you will have to go look at it yourself.  However the work was created in such a fashion that the left and right panel can close in front of the central panel (probably so that the painting’s original owners did not have their brains fried by the twisted nightmares swirling around the saint).  When the actual painting was “shut” the two paintings above became visible.  In stark monocolor, the paintings portray the sufferings of Christ as he moved towards his crucifixion.  Great bestial crowds torture and mock the savior as he crawls on his knees (in the left panel) or is crushed by the weight of his cross (in the right panel), yet it is the torments of the human figures in the foreground which draws our eyes.

Here are the inside panels of “The Temptation of Saint Anthony” but don’t look at them yet–we are talking about the grisaille panels on the outside

In the right image a grim black storm fills the sky above Golgotha.  In the left, the Flemish landscape recedes into a blinding gray erasure.  Perhaps the most disturbing element of these paintings is the ordinary everyday 15^th century Netherlandish garb worn by the people around Christ—and the everyday nature of Christ’s tormentors themselves. Are there children among the tormenting throngs?  Of course these magnificent paintings are not really important compared to the true paintings inside the altarpiece.  The one time I saw The Temptation of Saint Anthony, the work was open and the grisaille paintings were turned to the wall—barely visible in the shadows.