A Ladder to the Sky(17)
‘True,’ he said, reaching for his bag. ‘Actually, there was something I wanted to show you. Do you mind?’
‘Of course not,’ I said.
‘I’ve been painting a lot lately,’ he told me. ‘Into the nights and the early mornings, and I feel that I’ve finally hit on something. Take a look at this.’ He handed me a rolled-up canvas and I untied the string, unravelling it slowly while being careful not to allow any part of the painting to touch the damp tabletop. The picture revealed itself to me in stages. First a toe, then a foot. A bare leg. A torso. A pair of full breasts with dark nipples. And then a girl’s face, the same face I had seen in all of his sketches to date but for once not hidden in profile but staring out at me, a challenge in her eyes. Her left hand was stretched across her naked body, her fingers resting between her legs, which were parted just enough to offer a glimpse of her sex. There was nothing pornographic to the painting but there was an erotic charge to both the brushwork and the girl’s smile that left me disoriented. I looked across at my friend, whose expression was one of hope mixed with excitement.
‘Well?’ he asked. ‘What do you think?’
‘I’m not sure,’ I said. ‘It’s quite shocking, don’t you think?’
‘Shocking?’ he said, sitting back in his chair, and I realized that what I, in my prudishness, might consider scandalous, he might define as art. ‘Do you mean the use of shade across her shoulders? Yes, I wasn’t certain about that myself, whether or not I’d overdone it. I think it works but I’m not sure. I’m happy with her hands, though, because I always struggle with hands, but they came out well, don’t you think? And the way she holds her fingers above her cunt? I really feel that I’ve captured her spirit as well as her physicality.’
I took a breath in surprise. We might have been discussing anything mundane – the weather, the time, the price of bread – for all the concern he had for his choice of words.
‘Of course, as you know, this is the most recent in a long series,’ he added. ‘But by abandoning my commitment to her profile, I really feel I’ve hit on something important.’
‘Simply by getting her to turn around?’ I asked. ‘That’s your big breakthrough?’
‘No, it’s more than that,’ he said, a wounded tone creeping into his voice. ‘It’s the defiance in her eyes. The manner in which she both conceals herself while, at the same time, inviting us to observe her most private moment.’
‘But it’s just a naked girl lying on a couch,’ I said, aware of how critical I sounded and trying to keep my discontent under control. ‘It’s hardly an original conceit. Haven’t artists been doing that sort of thing for centuries?’
‘Yes, of course,’ he replied, his confidence fading a little now. ‘But I’m trying to bring something new to it. Painters search for beauty, and where else should we find it other than in the female form, the most beautiful of God’s creations?’
‘Really?’ I asked. ‘More beautiful than a sunrise? Or an ocean? Or a sky full of stars?’
‘Yes, so much more beautiful!’ he cried, growing enthusiastic again as he raised his hands in the air. ‘Whenever I’m alone with a girl, whenever I make love to one, I find myself consumed by her in a way that I have never been by nature. You must have felt that too, surely?’
I stared at him, uncertain how to reply. Did he assume that I, like him, was experienced in matters of sex?
‘Of course,’ I said hesitantly. ‘But there’s more to art than—’
‘And every painter brings something new to the nude,’ he continued. ‘Just as if you were to write about, I don’t know, let’s say the Great War, then you would try to find a fresh perspective on it, a different point of view. That’s what I’m attempting with this portrait. Do you remember I said to you once that I wanted to paint the familiar in an unfamiliar way? I’m not there yet, of course. I still have a long way to go and much to learn. But I’m getting closer, don’t you think?’
I said nothing but rolled the painting up again and re-tied the string before handing it back to him.
‘Have you shown this to anyone else?’ I asked, and he shook his head. I took a long draught of my beer before speaking again. ‘Oskar,’ I said. ‘I’m your friend, I hope you know that. And I care about you a great deal. So, what I say to you now, I say out of comradeship and loyalty.’
He sat back and frowned. ‘All right,’ he said. ‘Go on.’
‘I believe that this painting is both unsophisticated and obscene,’ I said. ‘I know that you think there is beauty here, and style and elegance and originality, but I’m afraid that it’s a failure. You’re too close to it to recognize its essential vulgarity. The hands that you mentioned are well drawn, yes, but their action borders on the pornographic. Can you not see that? It’s as if you have painted this to titillate the viewer, or – worse – to titillate yourself.’
‘No!’ he cried, looking hurt. ‘How can you think that?’
‘Your subject does not seem lost in her own desires but anxious that we should desire her instead, which makes the painting manipulative. It’s the type of thing that a fifteen-year-old boy might hide under lock and key but that could never hang in a gallery. I say this not to hurt you, my friend, but to help. I believe that if you were to show this to anyone else then you would find yourself a figure of mockery. Perhaps even worse. And you know that the Reich has little time for pornography.’