Yin Xiuzhen: Heart to Heart @ Hayward Gallery

This is a fun and funny exhibition. I’ve read some critics being snooty about it but on the day I went there were quite a few families with toddlers running in and out of the room-sized heart, marvelling at the models of cities in suitcases, pointing at the fabric bookshelves, climbing into the concertina minibus and generally enjoying themselves.

Yin Xiuzhen: Heart to Heart @ the Hayward Gallery (photo by the author)

Yin Xiuzhen

Yin Xiuzhen was born in Beijing, China in 1963. This means she grew up during the Cultural Revolution which lasted from 1966 to 1976, with its high ideals and practical chaos. You wouldn’t really have known this from her work which, far from declaiming high political ideals, is the opposite: it feels highly personal, sweet, domestic and above all, fun.

In particular Yin is known for her inventive use of worn clothing as a material, thinking of clothes as a kind of ‘second skin’ which retain ghostly memories of all their wearers. The curators tell us that Yin’s mother worked in a clothing factory and as a result Yin developed an intimate and industrial relationship with textiles.

‘I feel that clothes are like a second skin; they have their own expressive language, and are connected with their times and therefore with history.’

Hence variations on the theme or method of stitched-together fabrics, from the small-scale – sealing her own clothes in cement – to the massive – building a huge model jet airliner from old clothes and, even more striking, a room-sized heart made from discarded clothes dyed red and paintstakingly stitched together. And what do people carry their clothes around in? Suitcases. Hence the unexpected recurrence of suitcases, trunks and boxes throughout the show.

The exhibition starts in the present, with her biggest, funnest works including some made specially for this exhibition, and then moves back in time, becoming a bit more earnest and serious.

International Flight and Portable Cities

The biggest and most recent work fills the very first gallery. This is a mock-up of an airport luggage carousel. It appears to emerge from one wall of the gallery, curve round the central space before exiting through another wall. Looking closely you can see that the black plastic of the carousel is itself made of stitched fabric but the obvious thing is that this carousel is carrying models of major world cities, made out of fabric and made to a scale which fits neatly into an open suitcase.

The fabric model of an airport conveyor belt carrying portable cities in by Yin Xiuzhen (2026) in Heart to Heart @ the Hayward Gallery (photo by the author)

This is a great fun idea, it’s fun to inspect each city model looking for landmarks of the ones you know. They are New York (of course), Hamburg, Melbourne, Seoul, Dunhuang, Brussels, Shenzhen, and Yin has added a new model, of London, specially for this exhibition.

A fabric model of London by Yin Xiuzhen (2026) in Heart to Heart @ the Hayward Gallery (photo by the author)

Looming over the whole thing is a huge model of a jet airliner except that, instead of being made of sleek dominating metal, it is constructed from her trademark second-hand clothes and fabrics. This obviously softens its whole presence, making the entire space feel warm and humorous.

A fabric model of airliner by Yin Xiuzhen (2026) in Heart to Heart @ the Hayward Gallery (photo by the author)

There is a more serious side if you like seriousness. You could take a work like this as a reference to globalisation and the constant movement of people and goods around the world, to the fundamental fact that during her lifetime China transformed itself into the factory of the world, a major hub of global production and export.

And the cities made of fabric point towards the idea that cities are, in the end, made from the people that live in them, the soft bodies and their warm clothes, their activities and relationships and memories, rather than the huge buildings of concrete and steel which have shot up all around us. An impression emphasised when we learn that Yin made these cities out of clothes collected from each city’s inhabitants.

Heart to Heart (2025)

Up the ramp to the second gallery space where you encounter one of the show’s showcase exhibits, a model of a heart made from a metal frame on which have been stretched a huge patchwork of fabrics in a range of red and red-related colours. And crucially, not only can you walk around and admire its size and presence (reflected in the wall of mirrors next to it) but you can go inside where you find bean bags to sprawl on and fun portholes to look out of.

‘Heart to Heart’ by Yin Xiuzhen @ the Hayward Gallery (photo by the author)

According to Yin, Heart to Heart is grounded in the Chinese philosophy of xin meaning ‘heart-mind’, where thought and feeling are inseparable. I laughed when I read the wall label saying:

‘I invite people to enter and come into direct contact with the heart itself, inviting deep and meaningful conversations.’

For a start, this is London and these are the English, who travel the Tube in their millions every morning in total silence. Talking to strangers is a sacking offence. I did try to strike up a conversation with a middle-aged woman in the heart but she made the shortest possible reply and hurriedly moved away. So much for inviting ‘deep and meaningful conversation’.

I circled round past it three or four times and every time there were toddlers running in and out, peering out the porthole, enjoying themselves. Children’s laughter better than deep and meaningful conversations, anytime.

Bookcases

Sharing this gallery are half a dozen bookcases stuffed with books which – you might have guessed by now – are made of fabric. On closer examination you realise these are themed, with a red bookcase, a blue bookcase, and a sort of tartan one.

Fabric bookshelves by Yin Xiuzhen in Heart to Heart @ the Hayward Gallery (photo by the author)

These are funny and striking in their own right but, if you accept the premise of fabrics as bearing the ghostly imprint of their wearers, then they suggest the kind of secondary meanings which books possess – containing not only the words of their authors, but also, in some imaginary space, all the responses of their countless readers, all the emotions and insights and feelings they’ve ever prompted.

Collective Subconscious (Blue)

You go downstairs into the third big gallery of the show and this is dominated by another big striking installation. This is a beaten up old minivan which Yin has extended to five times its normal length using her metal frame and fabric technique.

‘Collective Subconscious’ by Yin Xiuzhen in Heart to Heart @ the Hayward Gallery (photo by the author)

These minibuses were known as a xiao mian or ‘little loaf of bread’. Yin recalls that in the 1990s owning one meant ‘you had a happy life that everyone would covet.’

But the first and overwhelming impact is funny and, as with the big heart, you are encouraged to climb inside and crawl along its length and exit at the back door. Or maybe stay for a deep and meaningful conversation.

The wall label tells us that Yin used over four hundred pieces of clothing she collected herself, the idea being, as with the plane and the heart, that by gathering the experiences of different individuals into one work through their clothes, she created a kind of collective subconscious, ghostly memories hovering around the everyday metal object.

From a speaker somewhere inside the caterpillared van is playing a very mellow, soul-style song, which turns out to be Beijing Beijing by Chinese pop star Wang Feng. Remember we’re looking into a deeply foreign culture here. Yin tells us that when Beijingers see the minibus and hear the song, they will remember that certain period of idealism in the nineties and think about where they see themselves now. Maybe a little like our Britpop and excitement about the New Labour government, then.

It’s ironic that she’s chosen this song as part of her plaint for the loss of traditional Chinese spaces and cultures, given that it is a complete copy of Western adult-oriented rock at its blandest. Still surprisingly effecting, isn’t it?

This rather sad nostalgia for many of the old buildings and spaces Chinese cities lost during their extraordinary spurt of growth in the 1990s and 2000s is the theme of this gallery. In chronological order:

Dress Box (1995)

Remember what I’ve said about clothes and trunks? ‘Dress Box’ consists of a wooden trunk which has been filled with a careful arrangement of clothes and cement. It’s accompanied by a 21-minute video.

‘Dress Box’ by Yin Xiuzhen in Heart to Heart @ the Hayward Gallery (photo by the author)

The themes are time and memory. The idea is that these are clothes Yin wore 30 years previously, bearing the ghost imprint of her back then, her experiences and memories.

Referencing her mother again, Yin tells us that she and her mother sewed together the seams of clothes from her childhood to adulthood. She stacked a selection of them into a dress box made by my father, before sealing them in concrete.

Why concrete? Well, concrete is (obviously enough) the basic material for modern buildings, the key component of Chinese cities’ extraordinary growth. But in a metaphorical way, Yin’s clothes are her building materials, the clothes – and family action and work – which built her.

Concrete is hard and cold but the clothes are soft and evoke ideas of warmth and closeness.

And, at a pinch, although this isn’t stated anywhere in the labels, concrete is masculine – representing the hard, commercial, technological future – while the clothes are feminine – representing the soft, intimate, family-based past.

Ruined city (1996)

In the other corner of this room is Ruined City. This is an installation of tiles, some random furniture and, most strikingly, dark grey cement powder stacked in cones.

‘Ruined City’ by Yin Xiuzhen in Heart to Heart @ the Hayward Gallery (photo by the author)

To quote Yin:

Day by day, I watched Beijing’s collective memory be dismantled and I felt a profound sense of loss. Everywhere you looked you saw the character chai (meaning ‘to be demolished’) written on buildings. There was a desire for modernisation, but we had no power to preserve our traditional way of living in the process, so I used artistic methods to articulate my grief.

I collected materials from demolished buildings; roof tiles, abandoned furniture, and the cement dust that constantly filled the air. These materials carry the traces of lost stories and express our shared sadness and indignation, transforming the debris into a portrait of the era.

And, poignantly:

I’d ride my bike to work in the morning, and the old houses would still be there, but on my way back in the afternoon, they would be gone.

Beijing Opera (2001)

In a room of its own is Beijing Opera (2001). The entire room is covered with blown-up photos of nice looking squares and spaces with old Chinese folk sitting around chatting. Again, there’s a soundscape, but this time of traditional Chinese popular music, harder for my western ears to understand, make out melody or harmonies…

‘Beijing Opera’ by Yin Xiuzhen in Heart to Heart @ the Hayward Gallery (photo by the author)

Again the point is loss. From the late 1980s into the 2000s, Beijing experienced unprecedented development that profoundly altered every aspect of city life. Vast highways, factories, and high-rise housing replaced networks of siheyuans (courtyards) and communal neighbourhoods. Again, Yin’s own account is best:

I would often pass by the neighbourhood of Houhai in Beijing, an area where many retired elders gather to play games, take part in liu niao (bringing caged birds to parks), or sing Peking Opera songs. These operatic melodies primarily draw from Chinese history, folklore and classical literature, and were once highly popular.

I found their activities very touching and they would say, ‘Come and sing something.’ I had to say: ‘I don’t know how!’ Even between this generation and my own, the old ways are dying out. The rapidly changing life of the modern city has eroded away the traditional way of living and left them at the margins of society.

Welcome to the capitalist world.

Summary

Fun, imaginative and genuinely thought provoking, Yin Xiuzhen creates bulletins from the other side of the world, from a China which has changed at a dazzling and in some ways destructive speed which we in the West probably can’t imagine – but, as you can see, she’s done it with humour and warmth, and with children running in and out and laughing. Lovely.


Related links

  • Yin Xiuzhen continues at the Hayward Gallery until 3 May 2026

Related reviews

The End of the Tether by Joseph Conrad (1902)

‘Ha! My dear boy. The men we have known – the ships we’ve sailed – ay! and the things we’ve done…’
(Captain Ned Elliot in sentimental mood, page 76)

‘The End of the Tether’ is a novella by Joseph Conrad, written and published in 1902. It is 52,564 words long.

Cast

Captain Whalley, otherwise known as Dare-devil Harry or Whalley of the Condor, a famous clipper in her day. Whalley has been fifty years at sea, forty of them out East but now he is old and fallen on hard times.

Mrs Whalley, his soul mate, who painted his cabin on the Condor with roses. But tragically she passed away 23 years ago, leaving Whalley only…

Ivy, his daughter, living in Melbourne, married to…

His son-in-law, consistently unlucky in business. When Whalley loses his life’s savings the son in law takes to a bath chair and doctors say he will never walk again.

Old Swinburne, his mate on the Condor who wept when they buried Mrs Whalley at sea.

Mrs Gardner, the wife of the senior partner in Gardner, Patteson, & Co, the owners of the Condor,  who was kind to him after his wife died.

Captain ‘Ned’ Elliott, Singapore Master-Attendant, a fat jovial blusterer, same age as Whalley, much exercised by worry about the future of his three layabout daughters, and with such a dearth of decent men. (As so often in Conrad, a secondary character provides a contrast to the central protagonist, in this case Elliott’s daughters versus Whalley’s daughter.)

Carlo Mariani (commonly known as Paunchy Charley), the Maltese hotel-keeper at the slummy end of Denham Street, witness on the night Massy wins the lottery.

The lawyer who draws up the contract between Whalley and Massy, ‘a young man fresh from Europe and not overburdened with business’ (p.121).

Historic figures

Mr Denham, the early, jacket off, hands-on governor of Singapore who encouraged young Whalley to captain the Dido on a voyage to

Evans, ‘with his red face, his coal-black whiskers, and his restless eyes, who had set up the first patent slip for repairing small ships, on the edge of the forest, in a lonely bay three miles up the coast’.

On the Sofala

Captain Whalley

George Massy the resentful engineer and owner: ‘His black hair lay plastered in long lanky wisps across the bald summit of his head; he had a furrowed brow, a yellow complexion, and a thick shapeless nose. A scanty growth of whisker did not conceal the contour of his jaw. His aspect was of brooding care.’

Mr Stern, first mate, ‘tall, young, lean, with a mustache like a trooper, and something malicious in the eye.’

Second engineer, Jack, who never talks to the rest of the crew but only grunts or hoots, and goes on periodic benders when he locks himself in his cabin and rants and raves.

The Serang, ‘an elderly, alert, little Malay, with a very dark skin’, like a wizened pygmy next to Whalley’s bulk. ‘Narrow of shoulder, in a suit of faded blue cotton, an old gray felt hat rammed down on his head, with a hollow in the nape of his dark neck, and with his slender limbs, he appeared from the back no bigger than a boy of fourteen.’

The Malay leadsman, ‘the sleeves of his thin cotton shirt, cut off close to the shoulder, bared his brown arm of full rounded form and with a satiny skin like a woman’s’ (p.83)

The quartermaster, ‘a middle-aged, pock-marked, Sumatra Malay, almost as dark as a negro’.

The carpenter, ‘a timid, sickly, opium-fuddled Chinaman, in loose blue drawers for all costume, who invariably dropped his tools and fled below, with streaming tail and shaking all over’ before the fury of the generally furious Massy (p.118).

On land

Mr Van Wyk, ‘a short, dapper figure’, ‘the white man of Batu Beru, an ex-naval officer who, for reasons best known to himself, had thrown away the promise of a brilliant career to become the pioneer of tobacco-planting on that remote part of the coast’ (p.125).

The Sultan, ‘a restless and melancholy old ruler who had done with love and war, for whom life no longer held any savour (except of evil forebodings) and time never had any value’ (p.125).

1. Background and setup

The story is set in the mid-1880s and centres on old Captain Whalley, Henry Whalley, otherwise known as Dare-devil Harry or Whalley of the Condor, a famous clipper in her day. Whalley has been fifty years at sea, forty of them out East. The text is dotted with his memories of the good old days, way before steam, when places like Singapore were just a muddy creek.

For years he was captain of the Condor, famous in her day. Somewhere between Australia and China lie a Whalley Island and a Condor Reef, named after him and his ship.

But his wife, his best friend and soul mate, who had elaborately painted the state room of the Condor with flowers, passed away, 26 years ago. He buried her at sea, keeping his voice steady as he read the service while his chief mate, old Swinburne, cried like a baby.

They had a daughter named Ivy and Whalley imagined her twined around his heart forever. When she was of age she settled in Melbourne and married a weakling, a man not worthy of her, a man continually unlucky in business.

He was looking forward to a comfortable retirement when he was caught up in the crash of the notorious Travancore and Deccan Banking Corporation, ‘whose downfall had shaken the East like an earthquake’ and lost his life savings.

He retained enough, however, to run a pretty little barque, the Fair Maid. In this he undertook small cargo trips but times have changed. Commercial sailing has become professionalised and dominated by large companies running shipping routes like trams. Not much room for a freelancer and an elderly one at that.

But then, as he turned 65, his daughter’s husband has some kind of collapse and takes to a bath chair; the doctors say he will never walk again. It’s then that Ivy sends him a letter saying she’s decided to open a boarding house and needs £200 seed money.

All that day and night he walks the maindeck thinking, to the astonishment of his officers who are used to his methodical, regular routine. By the morning he’s decided the only way to raise the money the apple of his eye has asked for is to sell his beloved barque, the Fair Maid.

And so the narrative finds him coming out of an office in the main strip at Singapore, having just sold his beloved barque to a Japanese speculator. He got £500 for it, £200 of which he is sending to his daughter in Melbourne. But as he walks through the half-built streets of Singapore he feels bereft. For the first time in 50 years he isn’t attached to a ship and for the first time feels like a back number. His mood is reinforced by the realisation that when he first set foot her, some 40 years earlier, back when ‘individuals were of some account’, the place was just a fishing village on a muddy creek. It is then that he bumps into Captain ‘Ned’ Elliott, a Master-Attendant friend of his.

A master-attendant is a superior sort of harbour-master; a person, out in the East, of some consequence in his sphere; a Government official, a magistrate for the waters of the port, and possessed of vast but ill-defined disciplinary authority over seamen of all classes.

They get talking, Whalley tells him about selling the Fair Maid and Elliott tells him he’s heard about a vacancy on a ship called the Sofala. The catch is that the owner, George Massy, is also the engineer. He’s a prickly character who came into port on a ship which couldn’t wait to get rid of him, and gained a reputation for surly resentment. But then he went and won (second prize) in the Manilla lottery. At which point he bought the Sofala, a ship generally considered too small and not quite modern enough for the sort of  coastal trade she was in. And with one swoop Massy adopted the swaggering mannerisms of the worst kind of ship owner, larded with a vast chip on his shoulder and an urge to get revenge on everyone who’d ever wronged him.

Which is why Massy keeps sticking his oar in and arguing with his captains, which is why they all keep quitting (he’s run through 11 captains in three years). The deuce of it is that, after buying the ship Massy ran through the remainder of his winnings trying to win a second time and now has almost no capital. What he needs is not just a captain but a business partner.

So in, his slow quiet way, Whalley realises this is just the opening which suits him, with his £500 from the sale of the Fair Maid to invest. And so, despite his misgivings, and his strong sense of going down in the world, Whalley negotiates a deal with Massy. It is a three-year contract. In return for his investment of £500, he will brook no interference in his actions as captain and will take a sixth part of the profits from the ship’s voyages (p.90).

2. Captain of the Sofala

And so the main narrative commences. In this timeline (with which the text actually opened) it is three years later and Whalley has skippered the Sofara through the same outward voyage along the coast, stopping at trading stations, and back, no fewer than 36 times, once a month for three years, so that he knows the route off by heart.

The long central passages describe the tensions between the four white crew of the Sofala, being sturdy, taciturn old Whalley with his vast white beard; the angry resentful engineer-owner, Mr Massy; Jack the monosyllabic second engineer; and the malicious and ambitious, competent but widely disliked Mr Stern.

There’s a great deal about their inter-relationships, with a lot of backstory about Massy’s conviction that the whole world is against him. One factor in this is that he has run through all his lottery winnings, partly in futile efforts to win a second time, and the ship desperately needs repairs. Specifically, the boilers are reaching their end of their life, are harder to maintain. The alcoholic second engineer complains about the effort required endlessly, but this only infuriates Massy because any talk of repairing them throws him into a panic; almost certainly he’ll have to borrow the money and it will mean the ship being laid up for some time and losing custom, maybe permanently, probably to the bloody German coast steamers which are spreading everywhere. Anyway, this explains why Massy and Jack are almost continuously shouting abuse at each other.

All this squalid human business is juxtaposed with stunning descriptions of the jungle foliage as the steamer slowly makes its way upriver to its terminus at Batu Beru.

But towards the end of this section, the dominant thing becomes the fact that Mr Stern is convinced he has made a massive discovery which changes everything. Right at the very start of the text, before it cut back in time to give Whalley’s backstory, and again, now, during this passage describing the ship’s 36th journey up the river, much has been made of the way Whalley relies on ‘the Serang’, a wizened old Malayan to do the majority of the navigating. Their close, professional relationship is nicely described, alongside the physical disparity between the massive Whalley and tiny native figure.

But observing them as, for the 36th time, they position the ship to pass through a break in the mud bar at the entrance to the river, Stern has a brainwave. He realises that it’s the Serang steering the ship. Conrad spends several pages describing Stern’s excitement at his discovery but it’s not for some time that we get the central gist, of this discovery and, indeed, of the entire story: Whalley is going blind. Stern is excited because he instantly thinks that he will be able to step into the captain’s shoes, once he is forced out – blithely ignoring the fact that Massy absolutely detests him.

3. Mr van Wyk

The Sofala travels slowly up the river before docking at a tobacco plantation. This is owned by Mr Van Wyk, a Dutchman, a dapper, civilised figure who, after a devastating heartbreak in love, has chosen to isolate himself in the back of beyond. A flashback describes their first meeting three years earlier, on the Sofala’s first trip skippered by Whalley, and how the rather fierce Wyk came to respect and like the optimistic, ancient old seaman with his sturdy faith in his Creator. Noticeably, he is the only member of the crew he routinely invites up to his house for dinner, regarding the others as trash.

Having painted the origins of their friendship, Conrad comes back to the present and this particular trip. As he walks down from his house to the quay where the Sofala has just docked, Van Wyk is intercepted by Stern who, in his sneaky unlikeable way, quickly tells him Whalley’s secret.

Disturbed and upset, Van Wyk hurries to invite Whalley for dinner, as usual. He notices Whalley’s clumsiness and then that he knocks over a tumbler at dinner, and then Whalley admits it: he is going blind but he has told no one. And this makes the ship technically unseaworthy. It is illegal and greatly against the simple principles of a man who’s devoted his life to the sea. He is ashamed.

He had nothing of his own – even his past of honour, of truth, of just pride, was gone. All his spotless life had fallen into the abyss. He had said his last goodbye to it. (p.157)

But, as he explains, by the terms of his contract with Massy, at the end of the three years, he is paid back the £500 he invested in the business. But, if he is dismissed for negligence, illness and so forth, Massy can withold this payment for a year. In which case he, Whalley would have no money to live on and nowhere to live for a year. There are only 6 weeks of the contract left. So, Whalley explains, he plans to complete this trip, and one more, and then will leave at the expiry date of his contract with all his money.

I haven’t properly conveyed how Whalley considers himself as doing all this for his daughter. His daughter is the one thing he has left in his life, the spitting image of his beloved wife. For the three years of his service on the Sofala he has sent her all his salary. In the last few pages it is fidelity to her which Conrad positions as the key motive for Whalley lying to everyone and desperately hoping to make it through the last few weeks of his contract. For then he will collect his £500 investment and take it to her, the daughter, in Melbourne, and place himself in her care.

4. The climax

During this last trip, while anchored off Van Wyk’s plantation, the second engineer goes on another bender, locking himself into his cabin, ranting and raving. Massy, as usual, kicks and bangs on the door yelling at him to shut up. But in among his ravings, the engineer rants about letting the whole bloody ship go to the bottom, and this triggers an idea in Massy’s head.

It’s a simple idea and a common one (in fiction, at least) for someone at their wits’ end for how to get money. He’ll deliberately contrive the shipwreck of his own ship, then claim the insurance. the ship is worth more to him dead than alive.

So Massy fills the pockets of his jacket with old nuts and bolts and iron filings from the filthy cargo hold then strolls casually onto the bridge when Whalley is on watch, depending, as usual, on the Serang to actually steer the ship. He loiters by the compass, blocking the steersman’s view, claiming to be studying it, in reality hanging his jacket on the hook. Everyone’s used to the owner hanging his jacket at random place round the ship so nobody notices this. When he strolls away the steersman is surprised to see that, according to the compass, the ship is way off course and so swings the helm round to come back to its proper course heading north.

Massy goes below and sits with his knees shaking going over and over his plan. He intends the ship to strike a reef east of Pangu, sit on them till the can release the boats, have the ship declared a write-off, collect the insurance cash.

They have sailed this route 36 times and so know it backwards. When they fail to sight land after three hours the Serang becomes increasingly anxious and begs Whalley to look around for sights and to check the compass for himself, both of which he can, of course, not do, for he cannot see.

In bending down to see the compass Whally slips and his hand catches Massy’s jacket which tears its little hanging cord and falls to the deck with a loud clang as all the nuts and bolts fall out the pockets. On his hands and knees Whalley feels them, realises what they are and realises in a flash what Massy has done, deliberately set the ship off course, but at that very second the ship runs into a huge reef just below the surface, like a car hitting a wall. There is a tremendous shock, all kinds of cables snap, the lights go out, the engines stutter.

When the ship rebounds and strikes the reef again the huge funnel amidships topples over onto the bridge which a great smashing. Whalley staggers to his feet, cut and shaken.

Stern comes running out of his cabin and Whalley quickly explains and orders him to lower the lifeboats. Massy and Whalley have a great confrontation on the deck in which Massy points out that, if Whalley tells the truth and reports him to the authorities the ship’s insurance won’t be paid, Massy won’t be able to pay Whalley his £500 back, and Ivy will never get the money. Massy has him by the short and curlies. Whalley is stricken. And for the first time Conrad deploys the book’s signature phrase:

Captain Whalley did not move. True! Ivy’s money! Gone in this wreck. Again he had a flash of insight. He was indeed at the end of his tether. (p.167)

And we reach the climax of the other great symbol, the association of Whalley’s gathering blindness with the darkness of  his fate. Ever since Conrad revealed his protagonist was going blind he’s rung changes on the idea that the light has slowly leeched out of his life, overcome by darkness.

For Ivy he had carried his point, walking in his darkness to the very verge of a crime. God had not listened to his prayers. The light had finished ebbing out of the world; not a glimmer. It was a dark waste; but it was unseemly that a Whalley who had gone so far to carry a point should continue to live. He must pay the price. (p.167)

And in that passage you can see how, suddenly, Conrad has his protagonist realise two or three related things: he cannot live because if he does he will have to lie about Massy’s shipwrecking to enable Massy to claim the insurance which will allow him to pay Whalley back so he can pass the money onto his daughter. But he, couldn’t live with himself if he lied. And he can’t live if Ivy is to thrive. And so the decision to go down with the ship.

Once the crew are in the lifeboat he unties the rope holding it to the ship and returns to the bridge. They shout for him to jump but instead he puts on Massy’s jacket with its pockets full of iron. If he’s going to go down, it ought to be as quick and definitive as possible.

Coda

Rather like the move at the end of ‘Typhoon’ which suddenly cuts away altogether from the scene of the dramatic storm, to describe the letters the crew write to their loved ones back home i.e. shows the effect (or lack of effect) on people far removed from the central drama, same here.

The sinking of the Sofala is described with uncharacteristic brevity and then the last three pages of the text cut to its impact on two others. First, Mr Van Wyk. When the Sofala doesn’t return a month later he immediately intuits that he’ll never see it again. A few weeks later he travels to the Sofala‘s port of registration and hears about the board of enquiry and official decision that she was carried onto the reefs by freak currents.

He bumps into Stern by accident, who tells him that Massy got his insurance money, all the time babbling about a new ship, but as soon as he had the cash in hand, caught a ship to Manilla where, the reader knows, he will squander it all playing the lottery. Stern also tells him that Whalley made a conscious decision to go down with the ship, he could have easily jumped and they would have pulled him aboard the lifeboat. He wanted to die though Stern has no idea why. Only the reader knows the full story.

Second, the famous daughter, Ivy, whose wellbeing Whalley has obsessed about all through the story. She receives a letter from Whalley’s lawyer informing her of her father’s death, and including a letter from him. In this he says that, if she’s reading it he must be dead. He always did his best for her. He reveals he is going blind. God seems to have forgotten him. He did so want to see her one last time but his death is probably best for everyone.

And then the story ends very beautifully by dwelling on this daughter. She is thin-faced, pinched and worn with cares. Her husband is upstairs in his wheelchair. The kids are at school. She doesn’t cry. She leans her head against the window. On one level Conrad, by letting us see the dry narrow worn life she now leads, begs the obvious question: was Whalley’s devotion to her really worth it? Did he make very much difference to her tough life?

And then Conrad writes a phrase which, as the father of a grown-up daughter, made me cry:

Even the image of her husband and of her children seemed to glide away from her into the gray twilight; it was her father’s face alone that she saw, as though he had come to see her, always quiet and big, as she had seen him last, but with something more august and tender in his aspect.

Big, reassuring, august and tender, God I hope I’ve been half as steadfast for my daughter as Captain Whalley.


1. Incommunication

All the characters struggle to communicate effectively, sometimes to talk at all. Whalley is, to put it mildly, not very talkative.

Good fellow – Harry Whalley – never very talkative. You never knew what he was up to – a bit too off-hand with people of consequence, and apt to take a wrong view of a fellow’s actions.

In the Sofala passages he makes a point of almost completely ignoring Massy’s whining. When he does reply it is in a ‘strange deep-toned voice’.

Massy only speaks in resentful murmurs and mutters but us characterised by repeated use of the word ‘whine’. He is a whiny little so-and-so.

Jack, the second engineer on the Safola, never talks to anyone; at best he hoots like an owl.

He was a middle-aged man with an inattentive manner, and apparently wrapped up in such a taciturn concern for his engines that he seemed to have lost the use of speech. When addressed directly his only answer would be a grunt or a hoot, according to the distance. For all the years he had been in the Sofala he had never been known to exchange as much as a frank good morning with any of his shipmates.

Except when he gets drunk, when he goes to the opposite extreme, from taciturn to overflowing with a multitude of voices:

Twice or perhaps three times in the course of the year he would take too much to drink. On these occasions he returned on board at an earlier hour than usual; ran across the deck balancing himself with his spread arms like a tight-rope walker; and locking the door of his cabin, he would converse and argue with himself the livelong night in an amazing variety of tones; storm, sneer, and whine with an inexhaustible persistence.

Mr Van Wyk: ‘When absolutely forced to speak he gave evasive vaguely soothing answers out of pure compassion.’ ‘The gleam of low patent shoes peeping under the wide bottom of trowsers cut straight from the same stuff as the gossamer coat, completed a figure recalling, with its sash, a pirate chief of romance, and at the same time the elegance of a slightly bald dandy indulging, in seclusion, a taste for unorthodox costume.’

Ivy By contrast with all these surly men, Whalley has a special relationship with his daughter, in which much doesn’t need to be said, proving that the deepest bonds often go too deep for words, words aren’t necessary, in fact words expressed in writing or speech often get in the way of the deeper understanding.

The ‘natives’

Much the largest gap in communication is, of course, between the white men and the different types of ‘native’, mostly either Malay or Chinese. And by further contrast, the Serang, the old Malay who steers the ship, finds white people inexplicable – which raises the larger issue of the enormous communication gulf between white or Western men, and all types of ‘natives’.

Incomprehension

A pause as of extreme astonishment followed. They both seemed to have lost their tongues… Massy seemed dazed, uncomprehending.

An incomprehensible growl answered him… (p.155)

And the upshot of everyone’s inability to talk or communication, is mutual incomprehension. Talk a lot or a little, shout or murmur, whine or command, in the end it barely matters because nothing anyone says can reduce the iron walls of incomprehension everyone is trapped behind.

A pause as of extreme astonishment followed. They both seemed to have lost their tongues… Massy seemed dazed, uncomprehending.

He [Whalley] remained incomprehensible in his simplicity, fearlessness, and rectitude.

I’ve mentioned the habit of Jack the second engineer of getting drunk and then overflowing with voices. But Conrad uses the passage to highlight, yet again, the way these drunken rants make hardly any difference to the Malays who find everything about the white man incomprehensible.

Outside the solitary lascar told off for night duty in harbour, perhaps a youth fresh from a forest village, would stand motionless in the shadows of the deck listening to the endless drunken gabble. His heart would be thumping with breathless awe of white men: the arbitrary and obstinate men who pursue inflexibly their incomprehensible purposes – beings with weird intonations in the voice, moved by unaccountable feelings, actuated by inscrutable motives.

Everyone is trapped in their silo, unable to understand or even hear each other’s wishes.

The rather opaque ending with the daughter in faraway Melbourne opening the letter from her dead father subtly begs, raises, juggles this issue because, in the end, did father and daughter understand each other? Conrad’s phrasing is ambiguous to allow of both a yes and a no to that question.

Vivid turns of phrase

It’s one of the ironies of Conrad’s writing that a man so obsessed with people’s failures to communicate was himself prone to unstoppable eloquence and loquacity. Some contemporaries criticised him for being long-winded, windy and verbose. This may or may not be true, depending on whether you enjoy his repetitive, incantatory style. Certainly all of Conrad’s (early) stories are full of descriptions which are as lush and beautiful as the English language allows:

The slight quiver agitating the whole fabric of the ship was more perceptible in the silent river, shaded and still like a forest path. The Sofala, gliding with an even motion, had passed beyond the coast-belt of mud and mangroves. The shores rose higher, in firm sloping banks, and the forest of big trees came down to the brink. Where the earth had been crumbled by the floods it showed a steep brown cut, denuding a mass of roots intertwined as if wrestling underground; and in the air, the interlaced boughs, bound and loaded with creepers, carried on the struggle for life, mingled their foliage in one solid wall of leaves, with here and there the shape of an enormous dark pillar soaring, or a ragged opening, as if torn by the flight of a cannonball, disclosing the impenetrable gloom within, the secular inviolable shade of the virgin forest. The thump of the engines reverberated regularly like the strokes of a metronome beating the measure of the vast silence, the shadow of the western wall had fallen across the river, and the smoke pouring backwards from the funnel eddied down behind the ship, spread a thin dusky veil over the sombre water, which, checked by the flood-tide, seemed to lie stagnant in the whole straight length of the reaches.

It’s long, langorous, sensual descriptions like this which led Conrad to be described as an ‘impressionist’, along with comments in his various prefaces where he explicitly says his aim is to make the reader see and feel and smell the scenery.

But also, alongside the lush landscapes, and the passages of trouble dialogue, Conrad regularly slips in a really vivid metaphor or simile, something out of left-field which makes your jaw drop:

The sun had set. And when, after drilling a deep hole with his stick, [Captain Whalley] moved from that spot the night had massed its army of shadows under the trees. They filled the eastern ends of the avenues as if only waiting the signal for a general advance upon the open spaces of the world… (p.76)

‘Sofala,’ articulated Captain Whalley from above; and the Chinaman, a new emigrant probably, stared upwards with a tense attention as if waiting to see the queer word fall visibly from the white man’s lips. (p.77)

Conrad’s cosmic vision

All these stories contain moments when Conrad’s vision leaves the dull earth and wheels off into space, invoking cosmic visions, invoking the planet or the universe on a scale which, to me, have a slight science fiction tinge.

The perspiration poured from under his hat as if a second sun had suddenly blazed up at the zenith by the side of the ardent still globe already there, in whose blinding white heat the earth whirled and shone like a mote of dust. (p.87)

Their ears caught the panting of that ship; their eyes followed her till she passed between the two capes of the mainland going at full speed as though she hoped to make her way unchecked into the very bosom of the earth.

It was as if nobody could talk like this now, and the overshadowed eyes, the flowing white beard, the big frame, the serenity, the whole temper of the man, were an amazing survival from the prehistoric times of the world coming up to him out of the sea. (p.132)

In the steadily darkening universe a sinister clearness fell upon his ideas. In the illuminating moments of suffering he saw life, men, all things, the whole earth with all her burden of created nature, as he had never seen them before. (p.160)

It’s a consistent aspect of his work. Compare this, from Heart of Darkness:

We were wanderers on an earth that wore the aspect of an unknown planet.

History

Changing patterns of sea trade

The piercing of the Isthmus of Suez, like the breaking of a dam, had let in upon the East a flood of new ships, new men, new methods of trade. It had changed the face of the Eastern seas and the very spirit of their life; so that his early experiences meant nothing whatever to the new generation of seamen.

These were the halcyon days of steam coasting trade, before some of the home shipping firms had thought of establishing local fleets to feed their main lines. These, when once organized, took the biggest slices out of that cake, of course; and by-and-by a squad of confounded German tramps turned up east of Suez Canal and swept up all the crumbs. They prowled on the cheap to and fro along the coast and between the islands, like a lot of sharks in the water ready to snap up anything you let drop. And then the high old times were over for good…’ (p.72)

‘If he misses a couple more trips he need never trouble himself to start again. He won’t find any cargo in his old trade. There’s too much competition nowadays for people to keep their stuff lying about for a ship that does not turn up when she’s expected.’ (p.73)

‘The earth is big,’ he said vaguely…
‘Doesn’t seem to be so much room on it,’ growled the Master-Attendant, ‘since these Germans came along shouldering us at every turn. It was not so in our time…’ (p.75)

Remembering the early days of Singapore

Captain Whalley, who had now no ship and no home, remembered in passing that on that very site when he first came out from England there had stood a fishing village, a few mat huts erected on piles between a muddy tidal creek and a miry pathway that went writhing into a tangled wilderness without any docks or waterworks.

He remembered muddy shores, a harbour without quays, the one solitary wooden pier (but that was a public work) jutting out crookedly, the first coal-sheds erected on Monkey Point, that caught fire mysteriously and smouldered for days, so that amazed ships came into a roadstead full of sulphurous smoke, and the sun hung blood-red at midday. He remembered the things, the faces, and something more besides – like the faint flavor of a cup quaffed to the bottom, like a subtle sparkle of the air that was not to be found in the atmosphere of to-day.


Credit

The End of the Tether by Joseph Conrad was first published in Blackwood’s Magazine in 1902. Page references are to the 1975 penguin Modern Classics paperback edition which also contains ‘Youth and The End of the Tether’.

Related links

Conrad reviews

Salisbury: Victorian Titan by Andrew Roberts (1999) part 1

‘Matters are gloomy – I never saw them gloomier.’
(Lord Salisbury in March 1885, but could have been at any time in his long life, quoted on page 318 of ‘Salisbury: Victorian Titan’)

‘The first of duties is to be pachydermatous’ (p.286)

The great thing about Tory writers is they are completely untroubled by theories, ideas or doubts. Living in a dream world of privilege and entitlement, they radiate confidence and suavity. This explains why the writings of so many Conservatives are often so clear and attractive. It explains one of the reasons why Andrew Roberts is so attracted to the hero of this huge biography – for his adamantine certainty:

Unlike so many conservative leaders before and since, Salisbury was a true, dyed-in-the-wool Tory, entirely lacking in either middle-class guilt or ideological doubt. (p.365)

Andrew Roberts is an accomplished biographer and journalist with a very strong Tory bent. He comes from the same kind of privileged, public school background as his subject (though not, admittedly, from the same kind of grand and venerable old family Salisbury came from).

Roberts attended Cranleigh public school then went on to Cambridge, where he chaired the Cambridge University Conservative Association. He has had a distinguished career as a freelance i.e. non-academic, historian, writing 19 books, including four about Winston Churchill, along with countless papers and articles. He writes regularly for the Sunday Telegraph and The Spectator. He lives in Knightsbridge. In 2022 he was created Baron Roberts of Belgravia by that reputable politician Boris Johnson (who has also, coincidentally, authored a book about Winston Churchill; I think everyone should write a biography of Winston Churchill, at least once in their lives) and so took his seat in the House of Lords draped in much the same ermine cloak as Lord Salisbury wore. You get the picture.

This is a blockbuster of a political biography, enormously researched and enormous sized, weighing in at 852 pages. It covers all the political issues its subject was involved in, in extraordinary detail, giving daily, sometimes hour-by-hour descriptions of changing events and opinions. And yet it is written with such tremendous clarity and verve, with such an authoritative presentation of the facts in such a logical order, presented in such beautifully lucid prose and with such amiable good humour, that the pages fly by.

Lord Salisbury

This is a blockbuster biography of Robert Arthur Talbot Gascoyne-Cecil, 3rd Marquess of Salisbury KG GCVO PC FRS DL (1830 to 1903), British statesman and Conservative politician who served as Prime Minister of the United Kingdom three times, for a total of over thirteen years. He was also Foreign Secretary before and during most of his tenure, holding these posts at arguably the high peak of the British Empire, 1886 to 1892 and then 1895 to 1902.

Salisbury’s forebears were the Cecils, advisers to Queen Elizabeth I, who built the imposing Hatfield House in Hertfordshire. The 7th Earl of Salisbury, politician and courtier, was raised to the marquessate, becoming the Marquis of Salisbury, by George III in 1789. (There are currently 34 marquises in Great Britain and Ireland.)

The first Marquis of Salisbury was a solid Tory, as was his son, the 2nd marquis, born in 1791, and so was his son, our hero, when he himself became the 3rd marquis on the death of his father in 1868. Cecil’s own father, the second marquis, had been a successful politician in his own right, Lord Privy Seal in 1852 and Lord President of the Council between 1858 and 1859.

Anyway, this is why Roberts refers to our hero by the family name of ‘Cecil’ in the first past of the book, up till the moment when his elder brother died, in 1865, at which point he inherited the title of Viscount Cranborne, from which point Roberts refers to him as ‘Cranborne’. When his father died in 1868 and he inherited the marquisate to become the 3rd Marquis of Salisbury, from that point onwards Roberts refers to him as ‘Salisbury’.

  • 1830 to 1865 – Cecil
  • 1865 to 1868 – Cranborne
  • 1868 to 1902 – Salisbury

In 1821 Cecil’s father had made a strategic marriage into the wealthy Gascoyne family, marrying Frances Mary Gascoyne, daughter of Bamber Gascoyne of Childwall Hall, Lancashire, which explains why the family name became Gascoyne-Cecil.

Lonely, sensitive and sad

Cecil’s siblings were either a lot older or younger than him, his father was away in London a lot, so he had a lonely childhood, wandering the echoing corridors of Hatfield House, his only company the house’s 40 or so servants and its vast library. He became a book addict.

Cecil was sent to Eton where he was so mercilessly bullied that he wrote his father a letter begging to be allowed home, and Roberts includes excerpts from his letters with quite harrowing accounts of being punched, kicked in the shins and spat on by older boys.

Cecil was lonely, hyper-sensitive, often depressed and his boyhood experiences made him an extreme pessimist about human nature, always ready to believe the worst, convinced that just beneath the civilised veneer lurked the savage, a belief he saw confirmed by, for example, the savage fighting of the American Civil War. ‘The optimistic view of politics assumes that there must be some remedy for every political ill,’ he wrote in 1872. But what if there isn’t?

High Tory conservatism

This extreme pessimism formed the basis of Cecil’s arch conservatism: we must hang on to what we’ve got because all change and innovation risks opening the door to democracy, which leads to nationalism, which leads to war, which leads to barbarism.

Cecil didn’t just go up to Oxford but to Oxford’s poshest college, Christ’s Church. It was the time of the Oxford Movement to restore quasi-Catholic decorations to Anglican belief and services. This attracted him because it gave the C of E a more solid foundation in the central tradition of Christianity. At Oxford he crystallised into an arch conservative in religion, domestic politics and foreign affairs. High Anglican, High Tory. He was vehemently against all forms of change or innovation, in any sphere of life; after all, he was doing just fine, so why change anything?

That said, Cecil was too sensitive to complete his degree at Oxford and so was awarded an honourable 4th. But then academic qualifications didn’t matter. Oxford had done its job of putting the finishing touches to another deep-dyed reactionary member of the English aristocracy.

Perhaps surprisingly, given that he was a lifelong bibliophile, Cecil was solidly, thumpingly philistine, in that dim conservative aristocratic way. He didn’t like contemporary fiction, he disliked theatre and ballet and had no time for art. He didn’t even like music very much. He was also notoriously scruffy and badly dressed all through his life, even on state occasions, even when meeting royalty.

All this is what makes Cecil so funny, a very amusing caricature of a huffing, disapproving old buffer. Given his family name of Gascoyne-Cecil, I wondered whether the extended family of doddery old aristocrats of the Ascoyne D’Ascoyne family in the Ealing comedy ‘Kind Hearts and Coronets’ were based on him.

In line with tradition, Cecil was packed off on the Grand Tour of the Mediterranean sights. But then, a little unusually, he continued on to the southern hemisphere and visited Britain’s main colonies there, South Africa, Australia, New Zealand.

Like upper-class Englishmen before and since, Cecil got on well with the ‘natives’, conceiving an admiration for the ‘Kaffirs’ in SA and the Maoris in New Zealand, liking to think that he detected in them a certain aristocratic independence and natural superiority, much like his own. Just as predictably, he complained about the ghastly, awful, vulgar middle class people he was forced to mix with on the long sea voyages between these places. He hated the Boers of South Africa who he thought crude slave-drivers, an antipathy which mattered 40 years later when he was to be Prime Minister during the Boer War.

In Australia and New Zealand he saw how white men behave when far removed from the steadying hand of England with its hierarchy of Queen, Lord lieutenants, justices of the peace etc, which was appallingly. In colonial towns like Melbourne and Sydney he saw drunkenness, prostitution, violence, and unfettered lust for gold and money. It confirmed him in his High Toryism: human nature is essentially barbarous and needs to be restrained, by order, disciple, hierarchy, an established church, monarchy etc.

Married and elected MP

Within ten weeks of returning he was ‘elected’ unopposed i.e. nominated, to the ‘pocket borough’ of Stamford (p.20).

Surprisingly, he married not for money or to make an aristocratic alliance, but for love of a middle-class woman, Georgina Alderson, much against his father’s wishes, in 1857. Cut out of the family inheritance, he turned to journalism to support his wife and growing family (he quickly had seven children) and wrote a prolific amount, mainly reviewing and articles in a wide range of publications, notably The Saturday Review. The period 1857 to 1866 (i.e. from age 27 to 36) were his Journalism Years.

The journalism years, 1857 to 1866

Roberts does a great job of showing the themes and attitudes which informed Cecil’s huge output, demonstrating his fierce satire and sarcastic opinions on everything from women’s fashion to foreign affairs (his policy was to ‘encourage supporters and anger opponents,’ p.261). He was a fierce opponent of nationalisms on the continent and prophetically warned against the rise of German nationalism; scratch the sophisticated veneer of a German professor, he wrote, and you find the same barbarism which transacted the Thirty Years War. The twentieth century was to prove him right.

Cecil was anti-slavery but supported the Confederacy against the Union in the American Civil War because of a deep dislike of Americans as a whole, and of Abraham Lincoln in particular. He thought Lincoln’s actions during the war, such as closing the free press, suspending habeas corpus and interning up to 14,000 political opponents, was exactly what you got if you let democracy run rampant i.e. tyranny.

He also thought that letting the Confederacy win would have the benefit of splitting the US into two countries, both a lot weaker and less of a rival for Britain. He also worried that if the Union won the war, it would attack Canada next.

Roberts’ descriptions of Cecil’s vehement and bigoted views makes for hilarious reading. Cecil had strong views about everything, which he expressed in often very funny satire and sarcasm. For example, he hated the Irish. While happily admitting that England had behaved terribly to the Irish for centuries and possibly even owed the Irish reparations, he still wrote waspish satire such as that Ireland ‘had given us foreign invasions, domestic rebellions, and in quieter times the manly sport of landlord shooting’ (p.53).

Having just read Paul Collier’s book, The Bottom Billion, which highlights the need for capital investment in the poorest African countries, it’s interesting to see that Cecil thought this was precisely the trouble with 19th century Ireland too, that investors didn’t want to invest because of the poor returns and, above all, the lack of security i.e. threat of violence. Interesting to think of 19th century Ireland as experiencing the same problems as 21st century Africa.

So regarding Ireland, in Salisbury’s view, if inward investment was the solution, then it was vital to establish security and the rule of law in order to attract investors; in which case, the continual agrarian unrest in Ireland had to be ruthlessly crushed.

Cecil approved of Ireland’s high migration rate and, indeed, looked forward to a time when every single Irish person had emigrated and the island could be populated with law-abiding Scots and Saxons: ‘the sooner they are gone the better’ (p.53). Mind you, he was just as scathing about the Orangemen and ‘the special fanaticism of Ulster’ which is, of course, still causing trouble one hundred and sixty years later.

Another major issue was electoral reform on which Cecil had a very blunt utilitarian view: if the working classes were given the vote they would elect radicals who would redistribute wealth via fierce taxation on the rich. So in defence of his class, and out of naked self interest, Cecil was against extending the franchise. It wasn’t that the ruling class was morally better than the plebs – he wrote plenty of satirical articles criticising the lifestyle of the Victorian rich – but that the leisure and education they enjoyed made them likely to be better, more disinterested legislators, who would act for the national good, compared to radicals who, if elected, would owe their position to pleasing i.e. bribing, the electorate, probably by levying unjust taxes on the wealthy i.e. Cecil and his class.

(Cf Richard Shannon’s excellent book, The Crisis of Imperialism 1865 to 1915, which also drums home how both conservatives and opponents believed that the 1832 settlement had produced a nice balance between the interests of the landed aristocracy, the new business-based bourgeoisie, and the skilled working class. It wasn’t extending the franchise to the lower middle classes and rest of the working class they objected to, as such (although some did), it was upsetting this delicate balance by giving too much prominence to one particular part of the population, which they thought risked toppling the country into either anarchy or demagoguery.)

Cecil also pointed to the baleful example of America where, once every four years, the entire administration ground to a halt while the political parties competed in offering bribes (tax cuts, favourable government policies) to the electorate.

Timeless issues

The appeal of reading about old politics like this is that as well as the obvious appeal of explaining how political leaders behaved as they did and so helping to explain how and why we got from there to here – it also takes you way out of your comfort zone and presents you with completely different ways of thinking about all sorts of political problems. In my opinion this is useful because closely observing how people in the past were prisoners of their age’s assumptions, their level of technological, economic and social development, sheds light on how we, in our own time, are just as much prisoners of our technological, economic and social conventions. It prompts the thought that our descendants will view us with the same curiosity, puzzlement and disgust as we view the Victorians.

And it’s always disconcerting to learn how few of those issues have really changed: electoral reform; trade reform; worrying about economic rivals; worrying about our poor standard of education; squabbles about the rights of trade unions and strikers; managing clean water and sewerage; difficulties with Ireland; small wars in Africa; instability in the Middle East; how to fend off the growing threat from Russia. Ring any bells? Plus ça change… (a phrase which was coined in 1849 and itself hasn’t changed).

Using the Saturday Review

By the time I got to the end of the book I realised a simple central fact about it which is that Roberts uses Salisbury’s early journalism as a central structuring device. The main structure of the book is straightforwardly chronological, he covers all the events in Salisbury’s career as they occur. But almost every single one of these topics or themes is introduced with a quote from a Saturday Review article which Salisbury wrote about it. Sometimes, 10, 20 or 30 years later, and now in power, his early opinion as evinced in a Review article shows the continuity of his thinking; sometimes, on the contrary, the quote from an article shows how either his thinking or the situation has changed.

But either way, Roberts uses the fact that he has clearly read and carefully annotated all of Salisbury’s early journalism as a kind of running commentary on his later career. Thus almost every incident of Cecil’s long political career is seen from two perspectives: that of the cocksure young journalist writing in humorous, general, cynical terms; and that of the older, experienced statesman, acting on experience. Two voices, two perspectives. Or a running commentary on the mature politician by the cocky young tyro.

Viscount Cranborne

In June 1865 (two months after the end of the American civil war) Cecil’s older brother died, aged just 42, and so Cecil inherited the courtesy title Viscount Cranborne, he and his wife becoming Lord and Lady Cranborne. From now on Roberts refers to him as ‘Cranborne’. From now on Cranborne enjoyed the income associated with the title and so his journalistic activities wound down, as Roberts demonstrates with a graphic statistic: before his brother’s death he wrote 589 articles for the Saturday Review; afterwards, he wrote just 19, mostly to whip up support for policies he was trying to promote.

Four months later Lord Palmerston died and the numerous competing forces in British politics which he had been holding in check were let loose. Lord Derby and Disraeli formed a joint leadership of the Conservative Party, Derby in the Lords, Dizzy in the Commons. Cranborne grew to dislike and distrust ‘Dizzy’. He was the lead figure in the attempt to water down if not cancel Disraeli’s reform bill of 1867.

In 1868 Cranborne’s father died, aged 77, and he inherited Hatfield House and all its incomes, becoming the 3rd Marquis of Salisbury and, of course, being forced out of the House of Commons and into the House of Lords.

Cecil was a surprisingly ramshackle father who let his kids run wild. They all remember a boisterous sociable happy childhood, the exact opposite of his. Lady Salisbury grew into a formidable hostess and manager of the Hatfield Estate, which employed well over 100 staff. Parliamentary colleagues nicknamed him ‘Buffalo’ because he was big (well over 6 foot), solemn and obstinate. In 1870 he built a big ugly red-brick holiday home near Dieppe on the Channel coast of France, naming it Chalet Cecil.

Victorian Prime Ministers

Lord Derby – February 1858 to June 1859 (Tory)
Lord Palmerston – June 1859 to October 1865 (Whig)
Lord John Russell – October 1865 to June 1866 (Whig)
Lord Derby – June 1866 to February 1868 (Tory)
Benjamin Disraeli – February 1868 to December 1868 (Tory)
William Gladstone – December 1868 to February 1874 (Liberal)
Benjamin Disraeli – February 1874 to April 1880 (Tory)
William Gladstone – April 1880 to June 1885 (Liberal)
Lord Salisbury – June 1885 to January 1886 (Conservative)
William Gladstone – February 1886 to July 1886 (Liberal)
Lord Salisbury – July 1886 to August 1892 (Conservative)
William Gladstone – August 1892 to March 1894 (Liberal)
Lord Rosebery – March 1894 to June 1895 (Liberal)
Lord Salisbury – June 1895 to July 1902 (Conservative)

Posts Salisbury held

Member of Parliament: 1853 to 1866

He never canvased to be an MP but was simply appointed one by the Earl of Exeter to a pocket borough.

Secretary of State for India: 1866 to 1867

In 1865, his older brother died, he inherited the title of Cranborne, and in 1866 Disraeli appointed him Secretary of State for India.

Salisbury was blamed for mishandling the Orissa famine of 1866, a disaster which affected the east coast of India from Madras northwards. At least a million Indians died, roughly one third of the population of the area. New to his brief, Salisbury believed his officials and experts who said it wasn’t serious, until it was too late, leaving him with a lifelong suspicion of experts. It made him quick off the mark and insistent on spending whatever it took to save lives in later Indian famines. The scale of the disaster made educated Indians realise maybe Britain wasn’t the all-powerful protector she pretended to be. The famine was one among many triggers for Indian nationalism.

Fear, awe and respect

Salisbury thought Britain’s rule over India was achieved by psychological means. There was no way 250,000 (mostly native) troops could hold down 250 million people if they chose to rebel against them. Earlier India officials such as Macauley had recommended that a select number of upper class Indians be educated, in English, up to western standards, in order to become intermediaries between western and Indian culture. Salisbury was sceptical about even this colonial, patronising idea, in fact he thought it was catastrophic since it just produced a class of ‘seditious article writers’. He thought India was vital to Britain’s prestige in the world i.e. vis-a-vis the other powers, and must be kept down by ‘fear, awe and respect for the law’ (p.139).

As Secretary of State for India, where British resources depended to a large degree on prestige rather than actual resources employed, Salisbury…was one of the first people to appreciate quite the extent to which militarily the British Empire was a gigantic bluff. (p.178)

And, criticising the more enlightened policies of Gladstone’s Liberals, Cecil declared in a speech that:

‘They will not learn that these tribes, these vast uncivilised multitudes, are not governed merely by the sword. They are governed by the imagination. They are governed by their fears.’ (p.293)

As Roberts summarises:

He stood out against the Whig ethos propagated by Macauley and others that Britain’s duty was simply to prepare Indians for eventual self-government. In Salisbury’s view, India was a prize that should remain Britain’s until it was forcible wrested from her. (p.216)

The 1867 Reform Act

The big issue was electoral reform in which Disraeli dished i.e. scuppered the Whigs. Salisbury made himself a master of electoral statistics and predicted reform would eliminate support for Tories. Salisbury made a big speech attacking Disraeli for rubbishing the Whig bill in 1866 then introducing one which was even more radical in 1867. Disraeli calculated that the newly enfranchised middle classes would be grateful to the Tories. Salisbury had done the math and said they wouldn’t and they weren’t. In fact he was fanatical about research, and always read everything he could get his hands on about whatever issue was at hand, electoral reform in 1867, and then again in 1885, being classic examples.

In opposition: 1868 to 1874

Gladstone’s Liberals won the 1868 election and were in government for 6 long years which they devoted to reforming all aspects of British law and society

Cranborne’s father died and he inherited the title of Lord Salisbury, the big house at Hatfield and a seat in the House of Lords. Roberts describes the ecclesiastical and political issues around his election as Chancellor of the University of Oxford, the core of high Anglican high Toryism.

Roberts also has a passage describing Salisbury’s unexpected interest in new technology. He was an early adopter of electricity and built a laboratory at Hatfield House where he carried out quite serious experiments about light. Cecil had a surprisingly scientific openness, for example he refused to be drawn into attacking Darwin after the ‘Origin of Species’ was published.

Secretary of State for India: 1874 to 1878

Queen Victorian wished to be awarded the title Empress of India was sharpened when a newly united Germany, after its victory over France, declared itself an empire in 1871, so there as a danger that her daughter, Vicky, who had married the Crown Prince of Prussia, would take precedence over her, a mere queen. Also the Tsar made a state visit to Britain in 1874 after the marriage of his daughter to the Duke of Edinburgh. In other words, everyone else was, or was becoming, an emperor – why not her?

The delicate handling of the issue, for British public opinion, abroad, and, of course, in India itself, are covered by Robert with typical thoroughness. He describes the great hou-ha that was held across India on the declaration on New Year’s Day 1877 (p.215).

The extremely complicated manoeuvring during the crisis triggered by uprisings against Ottoman rule in Bulgaria and Serbia in the summer of 1876. The Turks crushed the Bulgarians with great brutality, sending in mercenaries (the notorious bashi-bazouks) who were allowed to rape, pillage and murder at will. Gladstone publicised all this with his famous pamphlet of September 1876, ‘Bulgarian Horrors and the Question of the East’.

You have to understand that this was all caught up in the long-term consequences of the Crimean War. The Crimean War had been fought to prevent Russia’s extension of its influence into the Balkans i.e. further into Europe, at the expense of the Ottomans. The Treaty of Paris which concluded it pledged the allies i.e. France and Britain, to come to the support of the Ottomans.

The point of a detailed account like Roberts’ is to take you right into the Cabinet of the Prime Minister of the day, Disraeli, and describe in very great detail the different positions of the 12 men who comprised it. And this issue split them up into half a dozen factions as the crisis dragged on and a host of different responses, political, diplomatic and military all emerged.

Basically, some of the Cabinet thought the Ottoman Empire was irrevocably doomed to collapse and so we should never have pledged to prop it up. This led to the view that the Crimean War should have never been fought and was a colossal mistake. But this didn’t mean we supported Russia and its restless aims for expansion. Some supported Russia but opposed any expansion of its territory or power. Some thought we should continue to prop up ‘the sick man of Europe’. Some trod a middle way, trying to find a formula to support the Christians in the Balkans – the Bulgarians and Serbs – without insulting the Turks and without allowing undue Russian influence. Some went to an extreme and thought the European powers should partition the Ottoman Empire and civil servants in European capitals began drawing up suggestions for who would get where.3

Queen Victoria was a confirmed Russophobe. I was startled to learn that she threatened to abdicate no fewer than five times through the course of the crisis, leading Salisbury to speculate privately about her sanity (p.174). Disraeli had made it his policy to suck up to Her Majesty, maybe because it was good politics to have the monarch behind you, maybe because he saw it as his duty as ‘a minister of the Crown’, maybe because he liked sucking up.

Foremost in everyone’s minds was how to keep the route to India, the jewel in the British Crown, open and secure, but there were multiple answers to this problem: the most extreme was letting Russia invade and conquer through Bulgaria and down into Ottoman territory until she, possibly, took Constantinople and restored it as an Eastern orthodox Christian capital, as Russian extremists wanted to. In that case, some Cabinet members were for a) pre-emptively seizing Constantinople ourselves or b) sending an Expeditionary force to seize the Dardanelles i.e. the gateway from the Black Sea. The point of this would be to prevent the Russian fleet from freely passing through it and staking a claim in the Eastern Mediterranean. A simpler route would be to annex Egypt, thus securing the south east Mediterranean and the Suez Canal. The rearguard position was continuing to prop up the sick man – and our power and influence in the region – hoping something would come along.

The enormous pleasure of a book like Roberts’s is that he takes you right into the detail of this complex chess game, in which everyone – not just Russians, Ottomans, and neighbours like Austria – had multiple points of views and proposals, but even within the British cabinet there were multiple beliefs and strategies and that these kept changing and evolving as the situation changed.

Thus Salisbury was chosen to attend the Constantinople Conference (December 1876 to January 1877) to try and sort out the crisis, very usefully meeting the heads of all the important states en route (including huge, coarse, very clever Count von Bismarck), but Roberts shows in great detail how his ostensible aim of securing peace between Turkey and Russia was secretly sabotaged by Disraeli and his ally Lord Derby who, along with the Queen, loathed Russia, but couldn’t be seen to be supporting the perpetrators of the atrocities. Roberts’ suggests that Disraeli’s reputation for two-faced slipperiness was well deserved.

Anyway, the peace conference failed and so Salisbury’s mission failed, but many commentators in the press realised that he had been set up to fail by his boss. It was a hugely useful experience of the realities of power and diplomacy for a man who was to become Foreign Secretary then Prime Minister.

And so war between Russia and Turkey broke out, lasting from April 1877 to Match 1878, with Russia recruiting Bulgaria, Romania, Serbia and Montenegro to her side. Russia won. Her army fought all the way to the gates of Constantinople at which point the western powers intervened again.

In victory Russia reclaimed provinces in the Caucasus but more importantly, the principalities of Romania, Serbia, and Montenegro formally proclaimed their independence from the Ottoman Empire and, after almost five centuries of Ottoman domination, the Principality of Bulgaria emerged as a free nation.

So there’s one layer of pleasure to this narrative, which is watching the drama of high politics play out like an episode of House of Cards. But there’s a huge additional pleasure deriving from Salisbury’s Eeyorish character, always pessimistically convinced of the worse – ‘Things that have been secure for centuries are secure no longer,’ (p.274) – a doom-laden attitude which very often converts into hilariously satirical attitudes and observations. Roberts cites from Salisbury’s letters and dispatches countless examples of ironic reversals and witty sarcasms, a permanent attitude of ‘amused cynicism’ (p.215).

His unexpected juxtapositions aren’t on the level of Oscar Wilde’s deliberate paradoxes, but indicate the taste for aristocratic humour which characterised the age:

‘General Ignatiev is an amusing man without much regard for truth and an inordinate vanity which our Embassy takes every opportunity of wounding.’ (p.159)

Salisbury was an inveterate phrase-maker’ (p.247). Epigrams came naturally to him:

‘No one is fit to be trusted with a secret who is not prepared, if necessary, to tell an untruth to defend it.’ (p.194

Good government avoids one of the causes of hate; but it does not inspire love.’ (p.214)

And ran in the family. Salisbury’s daughter, Maud, accompanied him on his journey across Europe to Turkey, and kept a diary. Roberts cites her being told by beaming Ottoman officials that they were travelling on had been built by the Emperor Constantine in the fourth century, to which she politely enquired whether anyone had mended it since.

Beaconsfieldism

In 1876 Queen Victorian rewarded Disraeli for his toadying services to the nation, by making him Earl of Beaconsfield. From this point onwards contemporaries, and Roberts, refer to him as ‘Beaconsfield’.

From 1878 to 1880 the leading opponent of the Tories, William Gladstone, gave a series of speeches as he campaigned to win the parliamentary seat of Midlothian in Scotland. There were 6 very long speeches and over twenty shorter ones, addressed to halls full of thousands of voters, which harped on four main themes. He charged Disraeli’s administration with: financial incompetence, neglect of domestic legislation, and mismanagement of foreign affairs. In particular he charged Disraeli with a strategy of distracting public opinion from the economic and financial problems of Britain by means of foreign adventures. Gladstone gave the name Beaconsfieldism to ‘the immoral, bullying acquisition of territory almost for its own sake’ (p.212). One Tory critic defined it as: ‘occupy, fortify, grab and brag’ (p.227).

Foreign Secretary: 1878 to 1880

As mentioned above the recurring concerns of Britain in foreign affairs were: continual wars, unrest and Russian threat in the Balkans; management of Egypt and her southern extension, Sudan; management of South Africa and fractious relations with the Boers and the irritating little states like the Transvaal which kept being claimed or created with resulting tribal wars where we had to decide where we stood. And above all else, the running sore of Ireland.

  • Russo-Turkish War (April 1877 to March 1878)
  • Second Afghan War (November 1878 to September 1880)
  • First Zulu War (January to July 1879)
  • Egypt

Congress of Berlin

Roberts gives an intricate account of the multi-layered diplomacy which brought an end to the at the Congress of Berlin, June to July 1878, for which he was rewarded by the Queen with the Order of the Garter (as was with Disraeli).

Afghanistan

Many in the Foreign Office panicked about Russian intentions in Afghanistan i.e. it was placing diplomats there with a view to infiltrating/overthrowing the Amir, with a view to eventually invading India. Salisbury was sceptical about this talk of Russia attacking. He believed that the expansion of the Russian empire, or ‘the Russian avalanche’ as he called it, was unstoppable but was moving east across central Asia.

‘If it keeps north of the Hindu Kush it may submerge one caste of Muslim robbers after another without disturbing our repose.’ (p.145)

The Afghan war was the fault of Lord Lytton, the viceroy of India. Lytton’s despatches had become steadily more hysterical and Salisbury predicted to a cabinet colleague that he expected him [Lytton] would no conduct operations ‘so as to achieve the most brilliant results – lose the greatest number of men – and spend the largest amount of money’ (p.221).

Sure enough Lytton disobeyed instructions to disengage and sent a British force to force the Amir to accept a British representative at his court, which was defeated at the Khyber Pass. This forced Salisbury’s hand because he believed Britain must be seen to be strong.

The Battle of Maiwand

The war included the Battle of Maiwand on 27 July 1880 when Afghan forces under Ayub Khan defeated an admittedly smaller British force consisting of two brigades of British and Indian troops under Brigadier-General George Burrows, some 969 of whom were killed.

The point of mentioning this is that when British forces were dispatched to south Afghanistan in 2006 their bases in Helmand Province turned out not to be very far from the site of the battle and they discovered that local Afghan leaders and fighters still remembered it as a great patriotic victory over the infidel invader. The moral being that we, the British, have forgotten or never even knew most of our imperial history whereas, for scores of nations which we fought and conquered, our violent interventions are very much part of their national story.

The Anglo-Zulu War

From Wikipedia:

Following the passing of the British North America Act of 1867 forming a federation in Canada [Salisbury’s friend and ally in Disraeli’s cabinet] Lord Carnarvon thought that a similar political effort, coupled with military campaigns, might succeed with the African Kingdoms, tribal areas and Boer republics in South Africa. In 1874, Sir Bartle Frere was sent to South Africa as British High Commissioner to effect such plans. Among the obstacles were the armed independent states of the South African Republic and the Kingdom of Zululand. Frere, on his own initiative, sent a provocative ultimatum on 11 December 1878 to the Zulu king Cetshwayo and upon its rejection sent Lord Chelmsford to invade Zululand. The war is notable for several particularly bloody battles, including an opening victory of the Zulu at the Battle of Isandlwana, followed by the defence of Rorke’s Drift by a small British force from attack by a large Zulu force. The British eventually won the war, ending Zulu dominance of the region.

Salisbury in several places rages against the way the men on the spot, politicians or viceroys or diplomats or sometimes buccaneering businessmen like Cecil Rhodes, were forever stirring up trouble and starting conflicts which the government back in London then had no option to follow through. It was true of both the Afghan and Zulu wars where the same ends might have been achieved through diplomacy, trade and deals.

Roberts tells how Salisbury couldn’t understand why the Queen was so keen to allow the son of the exiled French Emperor Napoleon III (who had sought refuge in Chislehurst in Kent) Prince Louis Napoleon Bonaparte, to accompany British forces, but she insisted. He was promptly killed on 1 June 1879 by Zulus who stripped his corpse, all except for one blue sock bearing the initial N from which he was identified.

Egypt

Salisbury wanted to exercise ‘informal empire’ over Egypt not officially annex it. In theory Egypt was run by a Khedive appointed by the Ottoman Sultan. In practice, in return for propping up the Sultan and broadly supporting him against the Russians, Britain was allowed to interfere in Egypt. Apart from anything else Britain had huge sums invested in the Suez Canal and associated businesses. When the stroppy Khedive Ismail Pasha threw out British representatives, Salisbury had the British ambassador to Istanbul ask the Sultan to oust him in favour of his son, Tewfik Pasha, who would be more pliable. A few weeks later Salisbury wrote with typical dour cynicism to a colleague:

‘The only form of control we have is that which is called moral influence, which in practice is a combination of nonsense, objuration and worry.’ (p.229)

I had to look up ‘objuration’. It means ‘a firm binding by oath’. Salisbury’s cynicism is deliberately witty but it’s also bullshit, isn’t it? We also had a massive army (in India a truly huge army), the Royal Navy (which bombarded Alexandria and docked at Istanbul to threaten the Sultan with their guns), and various instruments of financial control through the City of London. A lot more tangible than ‘nonsense, objuration and worry.’

British troops used Egypt as a base to head south to defeat the forces of the Mahdi in what is now the Sudan. Despite all Salisbury and other British politicians’ insistence that the occupation of Egypt was purely temporary, it was, of course, strategic and long term, designed to secure the Suez Canal and the route to India (p.343). British troops didn’t leave Egypt until 1956, leaving a deep legacy of suspicion and resentment.

Tory defeat in 1880

The Tories were surprised at the scale of the landslide which turned them out in the 1880 election: Liberals 352, Tories 237, Irish Home Rule MPs 60 (p.238). Beaconsfield was ill, he had looked tired at the Conference of Berlin, had fluffed his lines and missed sessions due to chronic asthma (p.203).

Leader of the Opposition: 1881 to 1885

Salisbury took up some of his old hobbies including experimenting with electricity and collecting seaweed. Beaconsfield continued as Tory leader until his death in April 1881.

The Liberal Party had only been founded in 1859 as a coalition of anti-Tory forces. As the number of Radical Liberal MPs increased, it alienated the other wing of the party, the landed aristocratic Whig faction (p.244). In opposition, one of Salisbury’s cunning plans was to subtly egg on Gladstone’s radicalism, specially regarding Irish Home Rule and electoral reform, in order to inflame the Radicals’ expectations and rhetoric and so scare the landowning Whigs that they would come over to the Tories. There’s huge amounts of that kind of Machiavellian scheming in this book.

Electoral reform

The big issue at the end of Gladstone’s ministry was electoral reform. Eventually he passed two acts, the Representation of the People Act 1884 (known informally as the Third Reform Act) and the Redistribution of Seats Act 1885. Both were passed by the Liberal House of Commons but strongly resisted in the House of Lords led by Salisbury. This was for the simple reason that both acts tended to favour the Liberal, Whig and Radical interest at the expense of the aristocracy.

For the first time Britain was divided into 670 constituencies of roughly equal size, each returning just one Member of Parliament (previously many constituencies had returned two MPs, who tended to be one Liberal and one Tory, who didn’t even bother campaigning against each other. In other two-member constituencies the fractured Liberal Party had handed one to a Whig and one to a Radical. Salisbury cannily calculated that forcing them to choose one or the other would drive wedges between the two factions.

A lot more constituencies were created in cities, but Roberts shows that Salisbury, with characteristic thoroughness, had done intensive research into British psephology and correctly guessed that although some of these cities might turn Liberal or Radical, a lot of Britain’s big cities now had extensive suburbs and the inhabitants of these were just as scared of working class radicalism as the aristocracy (p.306). This was referred to ‘villa Toryism’ and came to be seen as a legacy of Disraeli.

A small symbol of this was the establishment in October 1882 of the periodical the National Review, designed to produce intelligent journalism for these middle-class Tories.

‘Caretaker’ prime minister: 1885 to 1886

Roberts chronicles the extraordinary manoeuvrings which surrounded Salisbury’s first spell as Prime Minister. In February the Liberals were defeated in an amendment to a bill and Gladstone immediately resigned. But the organisation required by the new Reform Act had not yet been put in place and wouldn’t be until the end of the year so, if he accepted power, Salisbury was faced with the unappetising prospect of being Prime Minister of a minority government for 6 months which was just long enough to make numerous mistakes and, at the next election, be unceremoniously chucked out. It’s fascinating to read the long maze of negotiations this led to, centrally getting Gladstone to agree to pass various nuts and bolts laws and acts which needed to go through. Gladstone had done the same thing to Disraeli in 1874; Salisbury had watched and learned.

There were two other problems. Salisbury wasn’t a shoe-in for Prime Minister. He sat in the House of Lords whereas the leader in the Commons throughout the period in opposition had been Sir Stafford Northcote, 1st Baronet [Eton]. Northcote expected the job but was widely seen to be too weak and lacking drive whereas Salisbury (as we’ve seen) enjoyed nothing more than making swingeing attacks on his enemies.

The second problem was Winston Churchill’s father, the radical and unreliable Lord Randolph Henry Spencer-Churchill (Eton). Randolph had set himself up with a cohort of followers on the Radical wing of the Conservative Party the leaders of which came to be referred to as ‘the Fourth Party’ (Churchill, Henry Drummond Wolff, John Gorst and Arthur Balfour). He promoted something called ‘Tory democracy’, that the Tories should accept the 1885 Reform Act, and the rise of the working class which lay behind it, but ensure the boundaries and details were drawn up to their advantage. A flashy update of Disraeli’s ‘One Nation Conservatism’. He created the National Union of the Conservative Party, created to ‘organise propaganda to attract working men’s votes, registration, choose candidates and conduct elections’, had many followers but refused to serve in Salisbury’s cabinet unless various demands were met.

Salisbury’s juggling of all these issues, trying to square various circles, makes for fascinating reading, insight into the real, smoke-filled rooms nature of actual party politics, more like a soap opera or school playground, with gangs and threats and changing alliances, than anything to do with principles, let alone serving the country.

Salisbury only finally accepted the job when Queen Victoria shed tears and pleaded with him. It was called a ‘caretaker’ government. He was 55. Lord Northcote was gutted but rewarded by being made Earl of Iddlesleigh and packed off to the Lords. Apparently, this is the origin of the expression, being ‘kicked upstairs’.

It is impossible to take the honours system seriously when you see titles like this being used with the utmost cynicism as rewards for mediocrity or being a big donor to party funds or simply to shut people up and get them out of the way. The people these made-up ‘titles’ get handed out to are generally lapdogs, the superannuated or inconvenient mediocrities who need to be shut up. That the givers or takers of these ‘honours’ then get on their hind legs and spout about ‘honour’ and ‘tradition’ and all the rest of it is risible, pathetic: see the way Boris Johnson simply rewarded key allies with peerages, damehoods and knighthoods. Dame Priti Patel. Or Liz Truss’s ‘honours’ list which even the Daily Telegraph described as ‘shameless’.

IRELAND

Salisbury was as solid as a rock against any form of home rule or national assembly for Ireland, because:

  • the 1800 Act of Union was a bulwark of property rights, law and order
  • it would be a slippery slope, the first step on an irresistible drive towards independence
  • as the first and nearest colony of Great Britain, giving Ireland any measure of home rule would immediately trigger calls for the same from every other colony in the empire, especially India (cf pages 574, 587)
  • it would mean abandoning the minority of the population of Ireland who were active supporters of the Union i.e. mostly in Ulster
  • on a moral level, it would be an ignoble surrender to the forces of violence (what was later called terrorism) i.e. the continual low-level agrarian protests and occasional murders all across Ireland
  • losing our prime colony would undermine Britain’s prestige in the world, make us look less powerful, and also
  • an independent Ireland led by people who hate us would become a serious security threat, even a starting point for invasion by enemy powers (as it had been for the French during the Revolutionary Wars)
  • a neutral or hostile Ireland would threaten Britain’s ability to import food in time of war (p.587)

Ireland quotes:

‘Are we to cut our country in two and, in the smaller portion, are we to abandon a minority of our own blood and religion to the power of their ancient enemies, in spite of their bitter protests against the debasing and ruinous servitude to which we propose to leave them?’ (p.586)

There was also rabid anti-Catholicism. Salisbury wasn’t just an Anglican, he was a fierce insister on the rights and perquisites of the Church of England in all its aspects. There was, therefore, a strong element of religious bigotry in his opposition to Home Rule for Ireland. It’s not just in the last few years that politicians have come up with superficial trivialising jingles: it was about this time that ‘Home Rule means Rome Rule’ began to be repeated by the lighter minded Conservatives and chanted at meetings and conferences (p.380).

But Roberts gives the game away, on the same page, about Ireland and the whole imperial ethos, by telling us that the very First Earl of Salisbury had been instrumental in the wholesale CONFISCATION of land in Armagh, Cavan, Derry, Donegal, Fermanagh and Tyrone between 1607 and 1609 and selling it in lots roughly the size of parishes to Scottish and City businessmen for settlement. He makes it crystal clear that the Protestant English stole the land from its rightful owners, then distributed it according to English law and from that point onwards, for the next 400 years, insisted it was a bulwark of English law when it was plain for any bystander to see that English law was, in that case, just a form of organised thieving, looting, imperial confiscation.

To then turn around and claim that this act of grand larceny, the organised theft of an entire nation’s patrimony, represented the epitome of ‘law and order’ and defending the theft amounted to ‘the most sacred obligations of honour’ (p.276):

Hartington looked upon the Irish Question primarily as one of defending property and landowning rights. (p.367)

is either to lie to yourself or be guilty of ridiculous hypocrisy. Ask any Irish historian what they think of English ‘honour’ and ‘legality’.

Roberts’ long account of the lengthy manoeuvrings about Home Rule is interrupted for a brief mention of how the British ‘formally annexed’ Upper Burma. The king of Burma, King Theebaw, was negotiating a convention with France but Salisbury was having none of that – Burma had little or no value in itself but might be a useful conduit to western China, and the French certainly weren’t going to have it! — so he sent a force of 9,000 troops who smashed the Burmese army, overthrew the king and put him in prison, installing a friendly Buddhist in power.

Invading foreign countries, overthrowing their traditional rulers, making them subservient to British rule. Only a special kind of mental perversion could talk about this in the same breath as ‘preserving law and order’ and ‘the inviolable rights of property’ and ‘the most sacred obligations of honour’, let alone think that ‘Britain’s greatest contribution to civilisation and mankind [was her] empire’ (p.370).

The violent overthrows, the coups, the imposition of rule by military force, the suppression of opposition voices, were all carried out to defend British strategic and business interests. The fact that they were dressed up in fancy rhetoric was what prompted continental observers like the French or Germans to routinely accuse the British of stunning hypocrisy.

Anti-democracy

It’s worth exploring the thinking behind Salisbury’s opposition to expanding the franchise. Basically he thought liberty was based on a) property and b) tradition and c) the law which upheld them. Only people with property have an interested in the existing system. Give the vote to people who have no property and their opinions will be wild and unpredictable, harmful to tradition, security, property etc. It would be mob rule, unjust, arbitrary and destructive. This is why he often referred to ‘the tyranny of numbers’. Just because a majority of the voters vote for something doesn’t make it right.

If you start from the position that property is the bedrock of liberty, then it follows that all attacks on property are, to the same extent, attacks on liberty. Thus Salisbury put a wide variety of reforms, such as extending the franchise or a graduated death duties, under the heading Attacks on Property which, in Salisbury’s mind, was synonymous with Attacks on Liberty.

It’s a coherent and logical position, but one which doesn’t take account of poverty. Its twinning of liberty with property, the more the better, gives no representation, voice or opinion to the large number of people who have little or no property: should they have no say in the running of the country? No, according to Tories of Salisbury’s stripe.

This was because he had nightmares that enfranchising the working classes and the poor would encourage in them, or demagogues, a wish to overthrow the aristocracy and take the money and property of everyone better off than themselves. He had a lifelong fascination with, and horror of, the French Revolution, not only read books on the subject but amassed a collection of pamphlets and ephemera, often some up from Paris bookshops and second-hand stalls (p.541). The conclusion he drew from it was that it was the fault of weak-willed liberals who set off with the best of intentions but broke down the constitutional checks and restraints and so opened the door to Terror and tyranny. That’s how he viewed the Liberals of his day: as well-intentioned but weak-willed types who, by attacking ‘privilege’ and ‘property’, threatened to sweep away restraint and open the door to anarchy.

Ironically, however, the actual result of electoral reform was virtually the opposite: as a result of the 1884 Reform Act, during the 1890s Salisbury began to worry that the effect of widening the franchise would not be revolution but the opposite, the triumph of super-patriotic Jingoism which, with his incurable pessimism, he regarded as almost as bad.

Salisbury sayings

‘The commonest error in politics is sticking to the carcasses of dead policies.’ (p.173)

When a member of his own party objected to the way bits of other countries were traded like counters at the Berlin Conference, Salisbury robustly replied:

that if our ancestors had cared for the rights of other people, the British Empire would not have been made.’ (p.185)

Comedy

At the Conference of Berlin in the summer of 1878 it was very hot. At the Kaiser’s residence in Potsdam there were mosquitoes, but at Berlin there were ‘minor powers. I don’t know which is worse.’ (p.201).

Of the army hero and adventurer Colonel Frederick Burnaby, who had undertaken a 1,000 mile midwinter expedition across Central Asia, he wrote: ‘I cannot see any reason for interfering with the natural right of a Briton to get his throat cut when and where he likes,’ (p.218). (Burnaby was subsequently killed in hand-to-hand fighting against followers of the Mahdi at the Battle of Abu Klea, 16 January 1885.)

When, at the time of the Congress of Berlin, an Admiral Hornby demanded that preparations for war with Russia be stepped up, Salisbury wrote to a cabinet colleague that:

‘If Hornby is a cool-headed, fearless, sagacious man, he ought to bring an action for libel against his epistolary style.’ (p.192)

At a tricky point of negotiations with Sultan Abdul Hamid II, Salisbury wrote to the British Ambassador at the Sublime Porte, Sir Austen Henry Layard, that they might get their way in small matters with the Sultan but at the risk of inflaming his Muslim people and risking revolution, which was ‘rather like burning down a house to procure roast pork.’ (p.237).

‘To those who have found breakfast with difficulty and do not know where to find dinner, intricate questions of politics are a matter of comparatively secondary interest.’ (p.250)

In 1889 the Shah of Persia, Nasr-el-Din, visited England for a month. When he was taken to see a model modern prison, he asked to see a gallows in action. On being told that no-one was due to be hanged that day he offered one of his own entourage (p.543).

Of the Daily Mail Salisbury quipped that Alfred Harmsworth had:

‘invented a paper for those who could read but not think’ (p.668)

He liked to say that bishops came in two mutually exclusive categories: those who were fit to be made bishops but unwilling, and those who were willing but unfit. A lot of bishops died and needed to be replaced during his premiership, he appointed 38 new bishops, more than any other Prime Minister before or since. He joked: ‘They die to spite me’ (p.676).

Sir Michael Hicks Beach, Chancellor of the Exchequer from 1895 to 1902 was so appalled by the rapidly escalating cost of the (second) Boer War that he repeatedly threatened to resign from the cabinet. So many times in fact, that Salisbury joked that he had a special drawer in his desk just for Hicks Beach’s resignation letters (p.744).

Balfour said of his uncle that he certainly believed that all men are equal, ‘by which he means, equally incompetent’ (p.746).

When the Liberal politician John Wodehouse, 1st Earl of Kimberley, attacked the dire management of the Boer War, Salisbury replied that:

‘A more gloomy collection of lugubrious vaticinations I never heard.’ (p.755)

In 1896 Victoria asked Salisbury to promote Lord Waldegrave from being a Lord in Waiting to the Yeoman of the Guard, because as a Lord he was constantly in her presence and she found him simply too ugly to look at (p.794).

Roberts says that Salisbury’s wit was the equal of Disraeli’s but different in kind, relying on ‘high irony rather than mere paradox’ (p.849). Discuss.

Roberts the fanboy

Roberts loves his hero:

Protecting the Royal Family from embarrassment, whether it be political in Berlin, financial over the Royal Grants, sexual over disappointed mistresses, or even highly tangential, as over the Cleveland Street Scandal, Salisbury simply saw as part of the duties of the premiership, and he carried them out impeccably. (p.561)

This is not the tone of an objective historian but of an impassioned fan. Robert devotes pages 336 to 338 to citing witnesses to Salisbury’s sense of fun, his dry humour and cynical wit:

Just as he could not write a boring sentence, so Salisbury was also incapable of uttering a commonplace or canting remark. Lord Rosebery [Eton] once wrote that reading old political speeches was as dull as drinking decanted champagne. Salisbury’s extra brut speeches are the exception, and of a vintage that is still effervescent. (p.208)

Roberts himself often mimics or echoes Salisbury’s drollness:

Sultans of Turkey lived on the grand scale, some compensation for their occasional short life expectancy. (p.161) [E.g. Midhat Pasha was dismissed as Grand Vizier during the Russo-Turkish War, banished to Baghdad and eventually strangled.]

They both have that lofty Tory irony, that droll detachment and amused good humour, which makes the book so readable.

Conclusion to part one

This is a magnificent biography, huge, compendious but written with a tremendous lightness of touch and good humour throughout, echoing the ethos of its subject who portrayed himself as a gruff old Tory but, as his letters and speeches reveal, was a lifelong humorist. It is an absolute goldmine of insights into every aspect of British domestic and foreign policy for the 35 years when Britain reached the peak of its economic and imperial might, 1867 to 1902. It is massively enjoyable on every level.

But none of this should blind us to the fact that Salisbury was the enemy. He was the rooted opposition to everything progressive that was attempted through the period. He stood for a level of privilege and entitlement that almost no one nowadays can conceive, an almost incomprehensibly dedication to the life-or-death importance of hierarchy, the aristocracy, the Church of England. Like all conservatives and authoritarians he thought that if any of this was tampered with it would open the floodgates to anarchy. Thus he resisted every move to give Ireland more home rule because he saw it as threatening a wider collapse:

He saw the [Home Rule] campaign in Ireland as merely the precursor for a general class struggle over the rights of property. (p.258)

Of course it didn’t. Trying to hang onto this world of privilege in the face of changing technologies, social norms and culture, in the increasingly embittered clinging onto India, in the embittered clinging on to Ulster, in the embittered fight against electoral reform (all leading to the climactic struggle between Tories and Liberals in 1911), it was these rearguard positions which nearly led to anarchy.

Above all, he held positions of power during the height of empire and openly admitted it was based on threat and intimidation. In Roberts’s view: ‘Salisbury believed implicitly in the politics of prestige and revenge’ (p.247).

The single biggest conundrum is how he managed to reconcile the windy rhetoric of his speeches about ‘the highest interests of Empire’ and ‘the most sacred obligations of honour’ (p.276) (cf Ireland p.351) with the acid cynicism of his private papers and correspondence, which bluntly state that we had to hang onto India and Ireland by whatever means possible because they’re what made Britain ‘great’.

You know the cliché ‘Patriotism is the last refuge of a scoundrel’? Well, every time you read a Victorian politician talking about ‘honour’ you can be sure it’s high-sounding cover for either he and his class clinging onto their wealth and privileges or, in an international context, for the British clinging on to countries they acquired by force, with no right or law or ‘honour’ involved in either.

Roberts’ central argument is that Salisbury kept the peace between jostling European Powers for a generation by his foresight and intelligence and diplomacy. This is all true and yet we know that the sweeping changes across all aspects of society which he held back for so long were inevitably going to come about, and it could be argued that, by delaying them for so long, Salisbury made the process of managing them when they became unavoidable (votes for women, rights for workers, Irish independence) much more violent and painful than they need have been if they had been addressed more sympathetically and much earlier.


Credit

Salisbury: Victorian Titan by Andrew Roberts was published in hardback by Weidenfeld and Nicholson in 1999. References are to the 2000 Phoenix paperback edition.

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Australia’s Impressionists @ the National Gallery

This is a very enjoyable, relaxing, easy-going exhibition. It’s small, with fewer than 50 works on display and a relatively short audioguide with only 15 items, meaning there is time to read and look and absorb all the works and then to stroll back through picking out favourites and re-examining them closely.

Australia’s impressionists

‘Australia’s Impressionists’ brings together paintings by three late-Victorian artists – Tom Roberts, Arthur Streeton and Charles Conder – who used new European ideas of painting in the open air to capture the urban and rural landscape of Australia. Their open air practice and the often quick, blurred finish of the works led to them being called ‘Australia’s impressionists’. They are joined here by a fourth Australian artist, John Russell, who spent most of his adult life in France, where he became friends with leading artists such as Monet and van Gogh, developing a genuinely European impressionist style and was even mentor to the young Matisse.

Tom Roberts (1856 to 1931)

Roberts was in fact born in England – in Dorchester, Dorset to be precise. His family emigrated to Australia in 1869. He returned to England to study art from 1881 to 1884 before returning to establish himself in ‘marvellous’ Melbourne in 1885. The wall label explains that Melbourne was an economic and social phenomenon, having grown from a few shacks in 1800 to become the second largest city in the British Empire by the 1880s, with bustling docks, warehouses and busy streets teeming with soldiers, shopkeepers, sheep farmers and well-dressed ladies.

Thus one of the most arresting images in the show is Roberts’ Allegro con brio, Bourke Street West, an immense panorama of one of the busiest streets in Melbourne. The palette of duck egg blue for the sky overwhelmed by the sandy orange of the streets and buildings makes a tremendous impact as a depiction of an authentic Australian urban scene. But the title is important and symptomatic, too. Roberts had just returned from 4 years in London where he was much influenced by the Aestheticism of James McNeill Whistler, the pioneering American painter who gave his paintings titles from musical terminology like ‘Symphony’ and ‘Harmony’.

Although they were determined to paint the Australian scene, all three of these artists saw it with eyes conditioned by the latest developments in European art.

Allegro con brio, Bourke Street West by Tom Roberts (1885-6, reworked 1890) © National Gallery of Australia, Canberra and the National Library of Australia, Canberra

Allegro con brio, Bourke Street West (1885 to 1886, reworked 1890) by Tom Roberts © National Gallery of Australia, Canberra and the National Library of Australia, Canberra

While in London Roberts painted the city in a kind of foggy, blurry style which recalls Monet’s London paintings (e.g. The Thames at Westminster (Westminster Bridge) 1871). These made a big impression on his contemporaries and several examples are included here. (My favourite one dates from a later visit to London but is a splendidly evocative miniature of the base of Nelson’s Column in Trafalgar Square – all the more so since the visitor to this exhibition has just walked past this very scene.)

Trafalgar Square (1904) by Tom Roberts © Art Gallery of South Australia, Adelaide

Trafalgar Square (1904) by Tom Roberts © Art Gallery of South Australia, Adelaide

9 by 5 Impression Exhibition

In August 1889 Roberts helped to organise an exhibition of works by himself and colleagues in Melbourne. It was titled the ‘9 by 5 Impression Exhibition’ because many of the works were painted on the 9-inch by 5-inch lids of cigar boxes, an easy resource for poor artists. Although small, the sheer number of works (180-plus) in such a consistently shaky, blurry, swift, impressionistic style, made a big impact on critics (who didn’t like it) and fellow artists (who did). In some accounts the show is credited with marking the start of a genuinely Australian art. It was also distinctive for its fin-de-siecle and Aesthetic trimmings, with the walls of the gallery swathed in Liberty silks and the works bordered by large blocky frames, often painted a kind of modernist metallic tint.

Roberts brought back from Europe this taste for painting en plein air and did much to encourage friends and colleagues to do likewise, and to consciously depict the Australian scenery and life. He set up artists’ ‘camps’ in rural locations a train ride from Sydney or Melbourne (just as the French impressionists used the new suburban train network to go out to the suburbs of Paris to paint semi-rural scenes) although the commentary wryly points out that they weren’t exactly primitive, the one at Box Hill near Sydney having a separate ‘dining tent’ and even a piano installed.

As you explore the exhibition more you understand why the 9 to 5 works are placed right at the start – small, fleeting ‘impressions’ of urban scenes they may be, but they soon give way to large and sometimes enormous works depicting the countryside near Melbourne and Sydney.

Given that sheep farming was one of the fundamental activities in Australia it’s striking how few images of it there are in the exhibition. A Google search shows that Roberts did do many sheep-related paintings, including ones of herding and shearing, but there’s only one here, a big and dramatic composition, Break away! in which the mounted farmer is trying to stop sheep bolting for a dried-up waterhole during a drought.

A Break Away! by Tom Roberts (1891) © Art Gallery of South Australia, Adelaide

A Break Away! (1891) by Tom Roberts © Art Gallery of South Australia, Adelaide

This is a strikingly naturalistic work, concerned to give a realistic depiction of every detail, for example of the horse’s sweating coat, the cowboy’s lean, his braces, every detail of the fence. It’s great fun but it isn’t really impressionism.

Charles Conder (1868 to 1909)

Conder was also born in England, in Tottenham, north London. After a boyhood in India he was sent to Australia in 1884. In 1888 he moved to Melbourne where he met Roberts and Streeton. A notable early work is Departure of the Orient – Circular Quay. Note the high vantage point, as used by Roberts in the Bourke Street painting, the smudginess of the clouds and smoke from steamships, the sheen of rain on the dockside. But I saw more of L.S. Lowry in this work than Monet.

Departure of the Orient – Circular Quay by Charles Conder (1888) © Art Gallery of New South Wales, Sydney

Departure of the Orient: Circular Quay (1888) by Charles Conder © Art Gallery of New South Wales, Sydney

In fact Conder went back to Europe in 1890, never to return to Australia, and became deeply involved in the Aesthetic movement, mixing with leading artists and writers of the day including Henri Toulouse-Lautrec, Oscar Wilde and Aubrey Beardsley. Critics consider his later period less convincing than the earlier Australian paintings. Conder took part in the rural painting camps organised by Roberts outside Sydney or Melbourne. Towards the end of the show there’s a sequence of works by all three artists depicting beaches outside Sydney. Conder produced this work which became quite famous.

Points of interest include:

  • the text on the building at the right being cut off, as in contemporary photographs or the paintings of Degas who enjoyed chopping off objects mid-frame
  • the image is dominated not by a long sweeping beach but by the man-made walkway or bridge – bridges loom large in the works of the French impressionists and Whistler did a series depicting bridges of London in different moods
  • the (to us) absurd formality of these Victorian ladies and gents. The commentary picks up on Conder’s characteristic use of pink in the discarded parasol, ladies’ hat and newspaper held by the lying figure – I was more struck by the intense blackness of the top hat and the couple behind one of the bridge supports
A Holiday at Mentone by Charles Conder (1888) © Art Gallery of South Australia, Adelaide

A Holiday at Mentone (1888) by Charles Conder © Art Gallery of South Australia, Adelaide

Arthur Streeton (1867 to 1943)

Streeton was actually born in Australia, unlike the previous two who migrated there. The paintings of his here are among the largest, and the most evocative of rural Australia. This dramatic depiction of a mine works on what looks like a blisteringly hot day is initially striking for its scale, for the portrait format and for the brilliance with which he creates the slabby effect of hard rocks. It takes a while to focus on the small humans down at the entrance of the mine, and to realise that they are bringing out of an injured miner on a stretcher.

Fire’s On by Arthur Streeton (1891) © Art Gallery of New South Wales, Sydney

Fire’s On (1891) by Arthur Streeton © Art Gallery of New South Wales, Sydney

Streeton’s work is possibly the most accessible and enjoyable of the three. The second room of the show features a number of his really large paintings of rural Australia which make it look like paradise. Golden Summer was painted when he was just 21! painted at the artists’ camp at Heidelberg, outside Sydney, set up by him and Roberts. It was the first painting by an Australian-born artist to be exhibited at both the Royal Academy in London, in 1890, and the Paris Salon the following year, where it won an award. A reproduction can’t convey the size and the sheer sensual pleasure of this astonishingly assured masterpiece.

Golden Summer, Eaglemont by Arthur Streeton (1889) © National Gallery of Australia, Canberra

Golden Summer, Eaglemont (1889) by Arthur Streeton © National Gallery of Australia, Canberra

Nationalism

The commentary points out that the states of Australia only came together to form a nation in 1901. The late 19th century was a great era of nationalism in politics, an interest or concern or issue which spilled over into art, music and literature. And so, for Australian politicians, commentators and artists, there was a lot of debate about what made it a nation, what was ‘Australian-ness’ etc. The commentary points all this out but it would have been good to have more from the artists or maybe contemporary commentators on what they thought Australian-ness consisted of, what they thought the distinctive features of the Australian landscape, or light, or flora consisted of.

A handful of beach paintings are brought together later in the exhibition to show the distinctive white sand of beaches outside Sydney. But in fact one of the most striking things about the show is how European most of these paintings looked to me. My early impressions of Australia were formed by movies, specifically Nicolas Roeg’s Walkabout (1971) and Peter Weir’s Picnic at Hanging Rock (1975), or the TV series Skippy the Bush Kangaroo (1968 to 1970). Desert and drought and hard red rock, or lush sub-tropical suburbia.

Works like Streeton’s ‘Still glides the stream, and shall for ever glide’ (painted when he was just 22) are lovely but don’t look anything like the Australia I grew up seeing. It could be somewhere in the Cotswolds. The fact that the title is a quote from Wordsworth emphasises the Englishness of the imagination which is creating it.

'Still glides the stream, and shall for ever glide’ (1890) by Arthur Streeton © Art Gallery of New South Wales, Sydney

‘Still glides the stream, and shall for ever glide’ (1890) by Arthur Streeton © Art Gallery of New South Wales, Sydney

Naturalism

The entire exhibition is premised on identifying these artists as impressionists but I wondered. They remind me less of their French contemporaries and more of late-Victorian English naturalistic painters, as can be seen at the wonderful Guildhall Gallery. A painting like Golden Summer is not unlike some of George Clausen’s bucolic scenes of rural England.

How much these paintings are not really that impressionist is highlighted by the fourth member of the show:

John Russell (1858 to 1930)

Russell left Australia when he was 22, travelling to France where he made friends with the major painters of the day, including Monet and van Gogh. The section of 10 of his paintings here are completely unlike the preceding three artists.

In the Morning, Alpes Maritimes from Antibes by John Russell (1890-1) © National Gallery of Australia, Canberra

In the Morning, Alpes Maritimes from Antibes (1890 to 1891) by John Russell © National Gallery of Australia, Canberra

Now this has the full French impressionist feel, vague and blurry blobs of very light and bright colours used loosely to create an impression of a scene. Also no people – unlike all the examples above. Streeton, Roberts and Conder also depicted people-less landscapes, but they are concerned with accurately depicting it, whereas Russell seems much more interested in playing with the possibilities of oil paint and colour – pushing, stretching and experimenting.

This can be seen in his many paintings of the Breton coastline where he settled and lived for decades. Here he used Monet’s tactic of painting the same scene multiple times at different times of day to capture different light and mood, in this example the cluster of rocks off the Breton coast named Aiguille de Coton.

Aiguille de Coton, Belle-Île (about 1890) by John Russell. Kerry Stokes Collection, Perth © Acorn Photo, Perth

Aiguille de Coton, Belle-Île (about 1890) by John Russell. Kerry Stokes Collection, Perth © Acorn Photo, Perth

As might be expected from a friend of van Gogh’s, Russell experiments with oil paint to express not what he literally saw in front of him but the psychological impact of colour. Similarly the big crude super-obvious brushstrokes are designed to emphasise the paintwork itself rather than the ‘subject’.

Russell’s bold colour experiments led to his work being included alongside those of André Derain and Maurice de Vlaminck in the 1905 exhibition at the Salon d’Automne in Paris. A critic wrote that the works looked like they had been painted by ‘wild things’ or fauves in French, and this nickname was quickly applied to the movement which became known as Fauvism.

Russell’s section of the exhibition shows us hard-core French impressionism morphing into post-impressionism. One of the curators makes the case – in the very informative film which accompanies the exhibition and runs in a projection room off to one side – that Russell deserves to be better known and included in our accounts of late impressionism. Without doubt. But if you then walk out of his rather dazzling section and back past the restrained realistic works of Streeter, Conder and Roberts it makes you question the label ‘impressionism’ as applied to them. Plein air naturalism might be closer.

Ariadne

One of the most evocative images in the show is Streeton’s fabulous Ariadne (1895). For once this feels like a landscape which is impossible to confuse with England or even Europe. It could be a Mediterranean sky but the red rocks on the horizon and the mottled eucalyptus trees clearly indicate the Antipodes. No reproduction can convey the intimacy and power of this painting.

The commentary points out that it is typical of the French symbolism of the 1890s to deploy a mysterious, generally female, figure to point and focus a landscape, as is done here. But it’s only if you get really close to the painting’s surface that you can see details like the way the sandy beach is achieved by broad horizontal brushstrokes whereas the woman’s figure is made by vertical brushstrokes, as is the white of the tumbling surf. Or the way the vertical sweeps of the dress merge into the beach. The branches of the tree on the left are achieved with just one or two confident strokes. It is an astonishing masterpiece, and no surprise that this image was chosen for the posters and publicity for the exhibition.

Ariadne (1895) by Arthur Streeton © National Gallery of Australia, Canberra

Ariadne (1895) by Arthur Streeton © National Gallery of Australia, Canberra

Conclusion

This is a lovely exhibition, full of what’s-not-to-like images of turn-of-the-century Australia, urban and rural, and shedding light on a quartet of artists who are well worth knowing about.

The video

Most galleries nowadays produce at least one video about their exhibitions.


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More Australia reviews

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