Château en Espagne is a painting made by the Dutchman Carel Willink in 1939. It depicts dark clouds over a landscape with a ruined villa and a statue of Apollo. It was influenced by the works by Giorgio de Chirico and has been interpreted as a comment to the Spanish Civil War. It is in the collection of Museum Arnhem in Arnhem, the Netherlands. Ferdinand Bordewijk used the painting as the basis for a prose poem published in 1940.
| Château en Espagne | |
|---|---|
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| Artist | Carel Willink |
| Year | 1939 |
| Medium | Oil on canvas |
| Dimensions | 97 cm × 121 cm (38 in × 48 in) |
| Location | Museum Arnhem, Arnhem, the Netherlands |
Subject and composition
editChâteau en Espagne was painted in oil on canvas and has the dimensions 97 cm × 121 cm (38 in × 48 in).[1] It depicts dark, threatening clouds over a French landscape.[1] A large smoke pillar is prominent in the sky but its source is hidden behind the horizon.[2] In the background to the left is a ruined villa illuminated by the sun. In the foreground is a balcony with a classical statue of the god Apollo.[1]
The statue is the Apollo Belvedere and was painted from a photograph Carel Willink had taken of a replica at the Palace of Versailles. The building was based on sketches Willink had made during his travels. The title Château en Espagne literally means "Castle in Spain" and is the French equivalent to the expression "castle in the air", that is, a fantasy or promise with no ground in reality.[1]
Analysis and reception
editLike many of Willink's paintings, Château en Espagne was inspired by the metaphysical paintings of Giorgio de Chirico. The influence can be seen in its depiction of a mysteriously desolate building with classical architecture and distinct contrasts between light and darkness.[1] André Glavimans wrote in Elsevier's Geïllustreerd Maandschrift in 1940 that the heavy smoke in the horizon is reminiscent of Joachim Patinir's paintings and that this almost had become a cliché in Willink's works.[2]
Because of the title, the painting was understood at the time as a comment to the ongoing Spanish Civil War. Retrospectively it has been interpreted as anticipating World War II.[1] Glavimans interpreted its fiery motif as an anticipation of "the new and better world".[2] He described it as among Willink's more innovative paintings, which combines skilled painting, balance in the conception of the work, and an approach to classicism that creates a sense of simplicity, grandeur and familiarity.[2] According to Glavimans, this managed to create "a completely pictorial solution for the most intense inner tensions".[2] According to the description from Museum Arnhem, which owns the painting, the dark clouds connect the painting's elements and create a theme of contrast between life and death and wealth and decline.[1]
The Dutch writer Ferdinand Bordewijk based a prose poem on Château en Espagne. It was published in the book De korenharp in 1940 as "Châteaux en Espagne. Naar A.C. Willink".[3] The poem describes the painting, explicates a contrast between decay and harmony represented by the house and the statue, and mentions an approaching storm. In 2005, the literary scholar Mathijs Sanders connected these themes to the cultural pessimism of Oswald Spengler and Johan Huizinga, and to Menno ter Braak's defence of Willink as "an Apollonian painter, in whom the 'content' has been absorbed into the 'form', so that someone who unlawfully wants to separate the 'content' from the 'form' will only encounter emptiness and rhetoric".[3]
References
edit- ^ a b c d e f g "Château en Espagne" (in Dutch). Museum Arnhem. Retrieved 23 October 2024.
- ^ a b c d e Glavimans, André (1940). "A.C. Willink door A. Glavimans. Het realisme als middel" (PDF). Elsevier's Geïllustreerd Maandschrift (in Dutch). 50: 123, 127. Retrieved 23 October 2024.
voor de hevigste innerlijke spanningen een volkomen picturale oplossing heeft weten te vinden
- ^ a b Sanders, Mathijs (2005). "'Beschaafd, dacht hij, is synoniem met pathogeen'". Tijdschrift voor Nederlandse Taal- en Letterkunde (in Dutch). 121: 58–59. Retrieved 23 October 2024.
een apollinisch schilder, bij wie de 'inhoud' is opgegaan in de 'vorm', zodat iemand, die de 'inhoud' wederrechtelijk uit de 'vorm' wil losmaken, slechts op leegte en rhetoriek stuit.