Thursday, June 27, 2024

Laboring Figures

Vladimir Kalensky
A Green Dress for Cities and Towns!
1957
lithograph (poster)
Yale University Art Gallery

Fernand Léger
Worker with Rope
ca. 1950-51
drawing
(study for painting, The Constructors)
Scottish National Gallery, Edinburgh

Kenneth Miller Adams
Reapers (Harvest)
1946
oil on canvas
Denver Art Museum

Alma Duncan
Army Women in Warehouse
1943
oil on board
National Gallery of Canada, Ottawa

Kazimir Malevich
The Knife-Grinder, or, Principle of Glittering
1912-13
oil on canvas
Yale University Art Gallery

Paula Modersohn-Becker
Old Farmer
1904
oil on cardboard
Pinakothek der Moderne, Munich

Aimé-Jules Dalou
Le Botteleur (binding sheaves)
ca. 1894
bronze statuette
National Gallery of Art, Washington DC

Henri Gervex
Worker lifting a Block
ca. 1885
drawing
(study for ceiling painting)
Scottish National Gallery, Edinburgh

Henri de Toulouse-Lautrec
The Marble Polisher
ca. 1882-87
oil on canvas
Princeton University Art Museum

William Carrick
Boatmen, River Volga
1875
albumen print
Scottish National Gallery, Edinburgh

Giovanni Boldini
Washerwomen
1874
oil on canvas (sketch)
Clark Art Institute, Williamstown, Massachusetts

Léon Bonvin
The Kitchen
1862
watercolor and gouache
Walters Art Museum, Baltimore

Alexandre Jean-Baptiste Hesse
Study of a Shepherd
ca. 1860
drawing
Scottish National Gallery, Edinburgh

Benjamin West
Harvesting at Windsor
ca. 1795
oil on canvas
Denver Art Museum

Jean-Antoine Watteau
Two Young Cobblers
ca. 1715-16
drawing
Museum Boijmans Van Beuningen, Rotterdam

Titian
Man carrying a Rudder over his Shoulder
ca. 1555-56
drawing
Getty Museum, Los Angeles

The Churchyard Wall

Stone against stone, they are building back 
    Round the steepled bulk, a wall
That enclosed from the neighbouring road
    The silent community of graves. James Bridle,
Jonathan Silk and Adam Bliss, you are well housed
    Dead, however you lived – such headstones
Lettered and scrolled, and such a wall
    To repel the wind. The channel, first,
Dug to contain a base in solid earth
    And filled with the weightier fragments. The propped yews
Will scarcely outlast it; for, breached,
    It may be rebuilt. The graves weather
And the stone skulls, more ruinous
    Than art had made them, fade by their broken scrolls.
It protects the dead. The living regard it
    Once it is falling, and for the rest
Accept it. Again, the ivy
    Will clasp it down, save for the buried base
And that, where the frost has cracked,
    Must be trimmed, reset, and across its course
The barrier raised. Now they no longer
    Prepare: they build, judged by the dead.
The shales must fit, the skins of the wall-face
    Flush, but the rising stones
Sloped to the centre, balanced upon an incline.
    They work at ease, the shade drawn in
To the uncoped wall which casts it, unmindful
    For the moment, that they will be outlasted
By what they create, that their labour
    Must be undone. East and west
They cope it edgewise; to the south
    Where the talkers sit, taking its sun
When the sun has left it, they have lain
    The flat slabs that had fallen inwards
Mined by the ivy. They leave completed
    Their intent and useful labours to be ignored,
To pass into common life, a particle
    Of the unacknowledged sustenance of the eye,
Less serviceable than a house, but in a world of houses
    A merciful structure. The wall awaits decay.

– Charles Tomlinson (1960)