Though I've yet to see a single episode of Dexter, it is next on my list of shows to stream while procrastinating which is why I stopped to read an article concerning this gritty Showtime series about a vigilante serial killer. I then interrupted my process of pre-procrastinating by becoming enraptured by the article's banner pic and began writing this article. Thus we are in the fourth dimension of procrastination here where space and time bend so far backward that you actually feel like you might be getting some work done.
Anyway, my internal dialogue upon noticing Dexter's promo poster (top right) went something like this: "He's holding his chin in his hand rather confrontationally. Wait a minute, that's not his hand; that hand is dead. Ew, gross he's holding his face with some dead guy's hand. Oh dear, he probably killed that guy. Dexter thinks he's God or something. OH MY GOSH IT'S COURBET!"
That last leap may have been a bit far for non-art historians so allow me to explain. In 1845-46 when he would have been in his mid-twenties, Courbet produced a self-portrait (top left), also known as Man with a Leather Glove. The key feature of this image upon which I intend to focus today is the hand that grazes Courbet's cheek as he wistfully looks out from the canvas looking downward just enough to miss eye contact with us, his viewers. Though it's difficult to glean from this small slide, in better images it's pretty easy to notice that the hand has a significantly more finished quality than Courbet's face or any of the other surrounding details. (Finished in this sense refers to an art historical term meaning the treatment of the pigment on canvas, basically whether it has a glossy, varnished, smooth look or a rougher, matte, more textured appearance.) The effect of this disparity between the face and hand is an eerie sense that though the hand clearly connects to Courbet's arm and then his body, it feels as if the hand is not his own or that it is separate from his personal identity.
The hand is also disproportionately large, as big as his own head, and at the center of the painting it becomes the focus rather than Courbet himself. This opens a conversation about the hand as the instrument of genius which creates his art (note that there is a secondary focus upon Courbet's other hand as well), and begs the question about where the separation lies between cosmic, external inspiration versus the internalization and execution of said magic by the artist himself. Is this hand a simple sign of Courbet's egotism, an indication of the relationship between talent and skill, or a complex combination of both? (This third option is the most likely candidate. Incidentally, other Amy has completed research on this painting so I look forward to her contribution to this discussion.)
That conversation for now is beyond the scope because the real interest for my current purposes is the evident connection between this 19th portrait and a very 21st century pop culture pic. The visual connection between the two - by virtue of the two men's poses alone - I trust is clear to my readers. And what's better is the obvious art historical allusion in that the hand cradling Dexter's face is equally dis-associated with his person as is Courbet's. It may at first seem like the connection ends there being that Courbet's hand conveys a personal connection to genius whereas Dexter's disembodied appendage mostly connotes his murderous proclivities. Thinking more critically though, don't the hands essentially argue the same thing? They both basically say, "I am the creator/destroyer. I can control what exists and what shouldn't. I produce my work, driven by inexpressible motivations, which are beyond judgment by you who are ignorant to such feelings."
I was imminently pleased with the producers and art directors of Dexter who subtly re-presenting this history for us in the promotional media for their show. And in a final twist indicating art history's imminent depth, Courbet's original image itself was lifte
d from Michelangelo's master work on the Sistine Ceiling. The final piece falls into place when considering this hand of God. Courbet directly referenced this item in his self-portrait which the creators of Dexter then quoted centuries after that. Yes, Dexter feels like God and so does Courbet. And what better way to visually prove that than by using images from the collective consciousness of visual culture? So the next time you pick up a TVGuide or watch that ad campaign for Magic Make-up Eyelash Blast Something-or-other remember that what you're seeing probably has more history than you think. One can never forget, art is everywhere.Image credit: I put this one together myself with pictures from the public domain. My favorite part of this photoshop adventure was saving the .jpg to my desktop under the name "DexCour."
By the way, I've missed the last few weeks because I've been engrossed writing a lengthy essay on 1940s Memphis art and politics. Once that's uploaded to the web in about a month, I'll provide a link to it for my die-hard friends. Also, Amy's back in the country now which means she'll return soon to class this site up with a little archeo-ancient knowledge from Pompeii.
