Classic and Contemporary Poetry: Explained

"Gradations of Black (Third Floor, Whitney Museum)" by John Updike is an eloquent reflection on the varying interpretations and uses of black in modern abstract art, as seen through the lens of several prominent artists' works. This poem not only showcases Updike's sharp observational skills but also his deep appreciation for the nuanced expressiveness within these works of art. Through his descriptions, Updike explores how each artist manipulates shades and textures of black to convey distinct emotions and conceptual depths.

Updike begins with Ad Reinhardt's "Abstract Painting 33," describing the black used in the painting as something akin to a deep, enveloping atmosphere. He draws a comparison to the disorienting experience of groping for a light switch in the dark, suggesting that while the painting initially appears uniformly black, a closer inspection reveals subtleties—a "slightly, slightly brown" tinge in the corners—inviting a more profound engagement and self-awareness from the viewer.

Next, Frank Stella's "Die Fahne Hoch" is depicted with its "right-angled stripes, dark gray, upon black ground" that are both lustrous and granular, reminiscent of a "shiny hide of some hairless, geometrical reptile." This vivid imagery captures the painting's stark, rigid formality and its texture, which contrasts sharply with the more atmospheric black used by Reinhardt.

Mark Rothko's "Four Darks in Red" is portrayed as holding grief, with its black that both absorbs and reflects light. Updike beautifully describes how the sheen on the painting's surface both invites and rebuffs the viewer's gaze, creating a dynamic interplay of depth and surface. This quality, coupled with the comparison to "a rag that oily Vulcan uses," suggests a laborious, almost industrial process behind the artwork, imbuing it with a tactile, worn texture that holds emotional weight.

Clyfford Still's "Untitled" is described with dramatic flair, with black "laid on in flakes of hardening tar" likened to a dragon's scales. This comparison not only enhances the visual texture of the painting but also introduces a mythic element, suggesting a powerful, almost primal force behind the abstract forms. The viewer's reflection appearing as a "murky helmet" in the painting emphasizes a confrontational, immersive experience.

Finally, Franz Kline's "Mahoning" is depicted with broad, sweeping strokes that seem to actively block out light, described as "barred radiance." Over time, the black "gobby girders" of the paint have developed cracks, revealing the "dead white underneath." This image of aging and decay not only speaks to the physical properties of the materials used but also metaphorically suggests a deeper, perhaps hidden, layer beneath the immediate surface.

In "Gradations of Black," John Updike deftly articulates the profound complexity of black as used in various iconic paintings. Each description serves as a testament to the distinct emotional and visual impact of black in the hands of different artists, highlighting their unique approaches to form, texture, and the interplay of light and darkness. The poem itself mirrors a thoughtful stroll through a museum gallery, offering insights that might resonate with viewers as they move from one artwork to another, each artist presenting a different narrative told through shades of black.

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