Book review: Van Gogh vs. ‘truthiness’

Solar Dance: Genius, Forgery, and the Crisis of Truth in the Modern Age. 
By Modris Eksteins

Van Gogh has been sneer fodder for snobs longer than most. Critic Carl Steinem, commenting on the craze for his work in the early 1920s, condemned the work as “petit-bourgeois kitsch” with “the likeness of a collectively minded idiot.” Then and now, denunciations seem only to fuel an enduring, outsized popularity. Three of the highest prices ever paid for art were fetched by van Gogh’s work, even as blockbuster shows continue to create queues down the blocks of every city with an art gallery.

Posters of his paintings regularly outsell every other artist, to the point of being a dorm-room nuisance – for God’s sake, hang something else! – and his visage, name, story and signature now adorn everything from high-end liquor to banks. This ubiquity has a non-cash price, namely that, precisely because we see the works everywhere, it’s no longer possible for us to see them. The startling vividness of van Gogh’s vision, the madness, the tragic impoverished death at 37 with just one work sold, no longer have the antagonistic power of a century ago.

Philosopher Karl Jaspers: “I could not help feeling that van Gogh was the only truly great and unwillingly ‘insane’ person among so many who pretended to be insane but are really all too normal.” Nowadays, van Gogh is no longer even an authentic madman; he is, instead, a textbook case of cultural over-determination, strangled by his own success.

Modris Eksteins’s subtle and engaging new book offers an account of how this came to be, and in telling it, Eksteins bestows a great gift: new strangeness. In 56 short sections, each linked to a van Gogh work, he interweaves the large fabric of culture, politics and money with the small, indeed pedestrian tale of a dancer turned art dealer who, in 1927, was arrested for the crime of offering 30 forged van Goghs for sale. The dealer, Otto Wacker – also known by various stage names and pseudonyms – was, in Eksteins’s phrase, a “twentieth-century mutant”: chancer, fabulist, romantic, a homosexual who joined the Nazi party, a dancer who leaped around the truth as well as the stage.

Wacker, in common with many talented men and women of Germany’s Weimar period, found interregnum Berlin an irresistible playground for stimulation and self-creation. “Berlin was crazy, debauched, metropolitan, anonymous, gargantuan, futuristic,” one Viennese writer said, “an infernal cesspool and paradise in one.” The combination of freedom and anonymity – the “metropolitan attitude” that sociologist Georg Simmel had identified as early as 1903 – would have lasting effect not just on these people but on the century’s course...  http://www.theglobeandmail.com/news/arts/books/solar-dance-by-modris-eksteins/article2334368/singlepage/