Important Art by Stanley Spencer
With its vivid colors and tone of joie de vivre, the early influence of Post-Impressionism, and more specifically, of Gauguin is overriding in this early work. Although Spencer did not himself choose the subject - for it was specified that students of The Slade were to depict "Apple Gatherers" for their annual drawing competition - it does seem that, as is typical, the artist has infused an imagined scene with details from his own life. Spencer was one of nine children and here there are nine children and a monumental parental couple at the center. It seems clear then that this painting is a family portrait. Indeed, he did himself refer to the painting as "my first ambitious work and I have in it wished to say what life was". As is commonplace for the artist, he expressed within an everyday earthly scene, a pantheistic connection between man, woman, nature, and fertility. Picking fruits from the trees, the viewer is of course reminded of the literal Garden of Eden making thus Spencer's parents and the family that they create comparable to the first romantic union and the fruits that it bore, a metaphor for creation itself.
The central couple, with their arms entwined, metamorphose to become a stable and rooted tree. The image well professes the calm comfort of Spencer's childhood, anchored by the dual influence of his parents. Interestingly though, unity seems to give birth to division, for although the adult couple are bound together, the young girls and young boys turn their back upon one another, as though there is a lack of comprehension and involvement between the male and female characters of the next generation. This blindness in understanding between the sexes looks forward to Spencer's own failed love relationships, and also serves to make the painting seem more religious, recalling scenes of the righteous and unrighteous being divided before God in heaven. As an early work, the painting looks forward to themes that will recur throughout Spencer's career, and although loosely painted in the far ground, shows as well the tight and rigorous attention to detail of which he is capable in the foreground.
This was Spencer's first self-portrait in oils and it is most interesting when viewed in comparison with the very similar full frontal portrait painted 50 years later. Painted when the artist was still young, we can just about see here the marked difference between Spencer's left and right eye. The later portrait clearly shows that the artist has two very different eyes and in this sense makes the profound comment that personalities are multiple and indeed sometimes split. It is the same moody and unpredictable inner psychological drama that the likes of Francis Bacon and Lucian Freud will go on to explore.
The portrait is testament both to the artist's skill and to his intense and determined character. As well as looking forward to art of the future, the influence of the Old Masters is incredibly clear in this work; the deep, dark background and the strongly modeled form is reminiscent of a work by Vermeer or Rembrandt. Indeed, Spencer was inspired to paint the portrait after seeing a reproduction of a head of Christ, by Luini, an Italian Renaissance artist. The portrait puts Spencer's face alongside the great and the good in the history of art, while by contrast, hung humbly for years in the front bedroom of Fernlea, the Spencer family home in Cookham-on-Thames.
This muddy work, depicted in browns, blacks and ochres, shows men bringing wounded soldiers to a field hospital on stretchers. It was painted after Spencer returned from the war, and recalled his experience working with the field ambulances. Presented from an elevated position, we see four travoys brining in four casualties under blankets on stretchers. There is dynamism in the composition, in the medics' movement and in the way the wounded travel upwards, towards the light of the operating theatre in a clear spiritual reference. The hospital glows in hope of savior against the pessimism of the dark night. In the lower right corner of the frame a man walks away from the scene looking back at the hospital. His bandaged arm is lit up in positivity against the otherwise dark background.
The work came about after Spencer was approached by the British War Memorials Committee to produce an image of a religious service at the front. Accepting the commission, Spencer dismissed the suggested subject matter, opting instead to depict "'God in the bare real things, in a limber wagon, in ravines, in fouling mule lines." The scene shown was actually that of an old Greek church that had been converted into a temporary operating theater. Spencer wrote in a letter to his wife Hilda: "One would have thought that the scene was a sordid one... but I felt there was grandeur... all those wounded men were calm and at peace with everything, so the pain seemed a small thing with them."
Within the naive realism of this work, Spencer set a theme that would endure throughout his career, that of finding the spiritual in the everyday. He wanted this work to be a scene of redemption. As art historian Kitty Hauser said: "The world did not always please Spencer, or bend to his wishes, and in his art he sought to create a painted world that was not subject to the same laws as the real one. Here everything and everyone was redeemed."
Although this work owes something to European modernism, Spencer set himself apart at an early age. Hauser adds: "The simplified forms and bold use of color of his early work have something in common with Gauguin in particular. But Spencer's insistence on the importance of subject-matter separated him from those modernist painters who were his contemporaries in London and Paris."