Friday, April 24, 2015
Landscape as art 2 -- a reprise (May 2009)
A few more thoughts on those Wayne Thiebaud landscapes I shared the day before yesterday. I suggested that the terrestrial environment is inevitably going to be a human artifact, that we might as well make that artifact a work of art, and that artists as well as scientific ecologists might lead he way.
Whenever I hang out with my nature writing pals, they cringe when I mention artifact. They have another notion of what the environment should be, something wild and beautiful and untrammeled by humans. Their notion of what we should strive for is rather more Bierstadt than Thiebaud.
Albert Bierstadt was a 19th-century German-born artist who made his reputation with large, romantic paintings of the American West as it was -- or was imagined to be -- before the coming of those defiling white folks from the East (click to enlarge). Oh, there were humans in Bierstadt's nature, native Americans, but they were imagined to be as seamlessly a part of the natural world as eagles and deer.
Bierstadt's landscapes are no less idealized than Thiebaud's. It is a different esthetic at work -- the esthetic of an unspoiled Eden -- but what you see on the canvas is what you want to see, not what is actually there. If pre-Columbian Americans had a lighter touch on the land it was only because they had less advanced technologies. It is possible that they were implicated in one of the most extensive mass extinctions in recent Earth history (the demise of large North American mammals at the end of the most recent Ice Age). They were certainly engaged in almost constant warfare among themselves. Give Bierstadt's "noble savage" a gun and a steel plow and there goes whatever untrammeled nature you might find in his paintings.
Which is not to say that we might not have much to learn from native Americans about the kind of landscapes we want to create, or that in managing the Yosemite Valley, say, we might not have more to learn from Bierstadt than from Thiebaud. What is important is that we recognize our responsibility toward the future Earth, decide upon a spiritually-nourishing esthetic, and then use the surface of the Earth as an artist might use a canvas.
Two things will work against us: greed and the idealization of the wild. We either create a work of human art, or concede the environment to the exploiters.