Maybe it's a matter of seeing things if you look for them. In my previous "Shaking Hands with Buddy Guy" post, I wrote about how there are many layers to Chicago. And life in general. And then, the next day I discovered another layer.
The third week in January I was in Chicago teaching a Film and Theology class at Meadville/Lombard seminary. One primary aspect of the course involves viewing and reviewing images: first how they are presented, and then also the matter of how the image presented affects, enhances, supports, or contrasts with the dialogue, theme or plot of the movie.
Since the class took place in Chicago and is all about movies, on the first day of class I couldn't help but show a clip from Ferris Bueller's Day Off, that 1986 flick starring Matthew Broderick. Here is the clip:
A great little clip. Images of fine art within the images of the popular art of movies. In class we noticed several layers of the clip. The one we latched onto was the one where Cameron, Ferris' friend, is standing alone and staring at the George Seurat mural painting, "A Sunday Afternoon on the Island of La Grande Jatte," copied here:
At the same time, Ferris and his girlfriend, Sloane, are shown kissing in front of the middle window of these three stained-glass windows, created by Chagall:
And here is a screen shot of Ferris and his girlfriend, Sloan, in front of the middle window:
Chagall named this piece "America Windows", and though they don't look out on anything, they reflect the arts, freedom of expression, and the viewer. That is, they are about living and experiencing life in all its vitality and variety.
So even in this delightful teenage comedy, here is an example of the use of images in film. In this case, an image of images. In the movie clip I reference above, there are no lines of dialogue. Yet the images portray a huge amount of meaning in and of themselves.
Cameron is a lonely son, coming from a family where his father cares more about his expensive car than he does for his son. Cameron does what his father says, and as a result, he does not develop a personality of his own. The movie clip reflects this by alternately moving in closer and closer on Cameron's eyes as it moves in closer and closer on the face of the little girl in the painting. On an image level, the movie-maker is making a comparison - just what that comparison is, we may not know for sure.
Because of the style of the painting, the closer and closer we get to the girl's face, we see that she has no face - just a bunch of mashed-together colors. And as we get closer to Cameron's face, we see only his eyes. As the saying goes, "The eyes are the window of the soul". Do we see Cameron's soul? Given the time this takes place in the movie, I think it could easily be argued that at this point, Cameron has no soul - or at least he is not aware that he has one. Like the girl in the painting, the closer you get to him, the more we see nothing, a blank look, a face without distinction.
On the other hand, if we were in a different mood, we could say that, like the girl's face, which lacks definition but is full of color, Cameron is just a jumble of unformed color and smudges...waiting to burst forth. Lots of valuable ways to interpret the image.
And then there is Ferris Bueller. In front of the Chagall windows that tell of the vibrancy of life, Ferris is engaged in one of the most beautiful, luscious, and symbolic acts of a full life: kissing. And there, in that short movie clip, we have two full-blown images of two very different characters.
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So then later in the week we actually go to the museum - and again as often is said, "Life imitates art." Ferris Bueller skips school and for part of the day, goes to one of the best art museums in the world. And with the class I was teaching, we took off early from our morning class on Friday (that is, we skipped school) and went to the same museum - to make a pilgrimage to at least those two pieces of art we saw in the Ferris Bueller clip: the Seurat painting and the Chagall widows.
Our group then split up, and then before returning to class, I wanted to make a pilgrimage of my own. I wanted to see Picasso's "Old Guitarist," which I've always called the "blue guitarist."
I have a long history with this painting. I grew up in Milwaukee, and our grade school took annual field trips to Chicago to the Museum of Science and Industry. I am not entirely sure, but I'd be willing to bet we also took field trips to the art museum. My first reliable memory of going to the art museum was during Christmas of 1985. The seminary where I was teaching my film class is the same seminary I attended, and is the same seminary (back when it had buildings in Hyde Park) my mom attended from 1985-1988. I came home from college for Christmas of 1985...and that's when I went to the art museum. And that is when I have my first conscious memory of seeing Picasso's blue guitarist. I even took a picture of it then. Almost every time I was in Chicago, I'd go to the museum and I'd always include that painting in my pilgrimage.
As part of the story, my dad was diagnosed with a terminal illness when I was a junior in high school. As he aged and as the illness progressed, he got more and more skinny, and as his body deteriorated, he became more hunched over. As a result of my dad's illness, and because it was part of my mom's lifelong dream, and because she now had to take care of the family, my mom felt the call to ministry. That's why my parents were in Chicago in the first place.
Eight years after he was diagnosed - and three years after my mom was out of seminary and one year after I had graduated college - my dad died. He died on February 6, 1991. Hard to believe it has been 21 years. The Reverend John Weston (a family friend and colleague of my mom's) conducted my dad's memorial service, and in that service, he said the way my dad had become so emaciated and the way his head sometimes hung down, always reminded him of Picasso's "Old Guitarist."

So for a number of reasons, this painting has held a deep and meaningful place in my heart and spirit.
And then, two weeks ago, there I was again standing in front of it. I moved closer to get a look at the brush strokes and coloring. I bent down to see the individual lumps and bumps of the paint. Then I looked up to see the old man's face. And what was that? Here was something I'd never seen before. In the angling gallery lighting, I saw bumps underneath the color. Bumps on the board itself (this painting is on a board, not on canvas) stuck up from the surface. I stared for a long time. Two sets of bumps, about two or three inches apart. Did they look like...eyes?
I went over to one of the gallery guards to ask about them. Are those eyes underneath the painting? Is that another painting underneath? Yes, she told me. Picasso painted this when he was about 22 years old, and very poor, so to save money he would often scrape off the old paint from some of his old paintings, and just paint over what had been there. I've now read that there is at least one, maybe two other paintings underneath this one.
I'm not sure how well it will show up on this blog, but here is a close-up of the eyes - you can see a woman's neckline across the top of the man's neck, and the two eyes float above the hair and neck:
And here is an x-ray/infrared image of the painting underneath:
It strikes me how, the older I get, the more full of spirals my life becomes.
I attend the seminary my mother attended.
I return to teach at the seminary I attended.
I return again to visit a painting I fell in love with years ago and discover a new painting with more layers.
And it strikes me that DNA is constructed with spirals. It seems that life is built in the layers of ladders and moves in the rotation of spirals. Up and down and around and around. Each week in church, for Life Passages, we sing Hymn #155: "Circle 'round for freedom / Circle 'round for peace, / for all of us imprisoned, / circle for release."
And moving in spirals and circles, I can't help but think of dancing - out and back, a square dance, a do-si-do, a tide washing out an in, a Sufi whirling dervish. I don't always know what to make of it, but life seems built to be a dance. A long, slow dance of plate tectonics swaying from firm certainty to crumbling loss, and then back again. We live in the motion.