©Text Only: 2015 By Bob Litton
I don’t know why it is that topic ideas come floating into my brain at the oddest times, especially just after I have concluded that there is nothing left for me to write about; I have, after all, virtually written my autobiography through most of the pages in this blog; and I have drained the well of my accumulated knowledge and wisdom, dispersing it all to an invisible world. But there it was at 2:45 in the morning: Corners!!!
At first it was just a reflection—as I lay in bed, gazing at one of the corners where two walls and the ceiling collide—on a Hank Ketchum “Dennis the Menace” cartoon I had viewed the day before, one showing Dennis in one of his frequent panel scenes, sitting in a corner and hugging his teddy bear. Dennis complains to his mother as she walks away, “Confession may be good for the soul, but it sure is taking away from my playing time.” Is that supposed to be punishment—a substitute for spanking? I wondered. Hardly severe enough! She should at least have carried off his teddy bear!
Then more reflecting: Many of the “Dennis” scenes are of him sitting in the corner. And the same is true of Wagner and Dunagin’s “Grin and Bear It”, where a bruised boxer is sitting on the stool in his corner, but he is recovering, briefly, from punishment. (I couldn’t locate a recent panel to illustrate the kind of complaining remarks the boxer usually makes about his over-sized or more adept opponents.) His corner is the boxer’s retreat, his only safe zone.
Then, of course, many of us are acquainted with that old analogy about “painting ourselves in a corner”. In this case, we are not discussing self-portraits but rather our figurative manner of saying we have inadvertently created a dilemma for ourselves from which there seems to be no way to extricate ourselves without developing it into even more of a problem.
Even Wall Street has its share of shady corners. Surely you have heard of major plutocrats such as the Hunt brothers, who “cornered the market” in silver in 1980. They borrowed heavily to buy as much silver as they could, and they wound up with about a third of the world’s supply. When reaction set in, they were unable to meet a $100 million “margin call” (basically a demand to surrender collateral). The price of silver dropped from an inflated high to less than 50 percent of its “bubble” value within days and led to a panic. The Hunts’ estimated $5 billion fortune declined to about $1 billion by 1988 and eventually they filed for bankruptcy.
Another popular phrase occurs to me: “Cutting corners” to get one’s way despite the legal risks. Although I have heard and read that said about others, particularly in the business and political worlds, I don’t recall having ever tried to “cut corners” myself: probably not enough imagination to venture into it.
Awful lot of negative stuff there about corners. Their self-image must be depressing.
Let us return to art works and try to be more positive. Consider the painting below:
I have perhaps said all I know to say about “The Boating Party’s Dinner” in the cutline under the reproduction above. One could draw an “X” across the canvas and reveal the compositional structure.
Notice that the same is true of Latour’s painting. The men’s varying heights (which I guess are actual) and their positions allow them to form two rough diagonals across the canvas. And as for corners, the literary gentlemen are not only crowded at one corner of the table, they are also squeezed into one corner of the room. Even the Impressionistic landscape painting on the back wall helps to accent the corner motif. I suppose Fantin-Latour was just trying to be economical, but all he has accomplished is to cram eight staid portraits into a single frame.
“X”es are in fact basic at least to representational art. Another great artist who bears out my assertion here (if any bearing out is required) is N.C. Wyeth. The compositional strength of his bold, muscular illustrations can be immediately grasped by the viewer who imagines a large “X” penciled across most of his works. To me, they are very pleasant to look upon. I suppose that it is not too far-fetched to claim that the “X” in art is kin to the “X” in home-building: they both support their creations. In fact, perhaps I should have titled and developed this essay as “X”es and corners.
Ah, corners and “X”es, how would we ever get along without you?
POSTSCRIPT: For another treatment of basically the same subject—mundane motifs in art and literature—check out my April 19, 2013, essay Secular Epiphanies on this blog site.
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