The Burnt Orange Heresy

by Charles Willeford

  Copyright © 1971 by Charles Willeford

  Cover © 2020 Abrams

  Published in 2020 by The Overlook Press, an imprint of ABRAMS. All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without written permission from the publisher.

  Library of Congress Control Number: 2019938599

  ISBN: 978-1-4197-4045-9

  eISBN: 978-1-68335-801-5

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  For the late, great Jacques Debierue

  c. 1886–1970

  Memoria in aeterna

  Nothing exists.

  If anything exists, it is incomprehensible.

  If anything was comprehensible,

  it would be incommunicable.

  —Gorgias

  PART ONE

  Nothing Exists

  1

  Two hours ago the Railway Expressman delivered the crated, newly published International Encyclopedia of Fine Arts to my Palm Beach apartment. I signed for the set, turned the thermostat of the air-conditioner up three degrees, found a clawhammer in the kitchen, and broke open the crate. Twenty-four beautiful buckram-bound volumes, eggshell paper, deckle edged. Six laborious years in preparation, more than twenty-five hundred illustrations—436 in full-color plates—and each thoroughly researched article written and signed by a noted authority in his specific field of art history.

  Two articles were mine. And my name, James Figueras, was also referred to by other critics in three more articles. By quoting me, they gained authoritative support for their own opinions.

  In my limited visionary world, the world of art criticism, where there are fewer than twenty-five men—and no women—earning their bread as full-time art critics (art reviewers for newspapers don’t count), my name as an authority in this definitive encyclopedia means Success with an uppercase S. I thought about it for a moment. Only twenty-five full-time art critics in America, out of a population of more than two hundred million! This is a small number, indeed, of men who are able to look at art and understand it, and then interpret it in writing in such a way that those who care can share the aesthetic experience.

  Clive Bell claimed that art was “significant form.” I have no quarrel with that, but he never carried his thesis out to its obvious conclusion. It is the critic who makes the form(s) significant to the viewer! In seven more months I will reach my thirty-fifth birthday. I am the youngest authority with signed articles in the new Encyclopedia, and, I realized at that moment, if I lived long enough I had every opportunity of becoming the greatest art critic in America—and perhaps the world. With tenderness, I removed the heavy volumes from the crate and lined them up on my desk.

  The complete set, if ordered by subscribers in advance of the announced publication date—and most universities, colleges, and larger public libraries would take advantage of the prepublication offer—sold for $350, plus shipping charges. After publication date, the Encyclopedia would sell for $500, with the option of buying an annual volume on the art of that year for only $10 (same good paper, same attractive binding).

  It goes without saying, inasmuch as my field is contemporary art, that my name will appear in all of those yearbooks.

  I had read the page proofs months before, of course, but I slowly reread my 1,600-word piece on art and the preschool child with the kind of satisfaction that any well-done professional job provides a reader. It was a tightly summarized condensation of my book, Art and the Preschool Child, which, in turn, was a rewritten revision of my Columbia Master’s thesis. This book had launched me as an art critic, and, at the same time, the book was a failure. I say that the book was a failure because two colleges of education in two major universities adopted the book as a text for courses in child psychology, thereby indicating a failure on the part of the educators concerned to understand the thesis of the book, children, and psychology. Nevertheless, the book had enabled me to escape from the teaching of art history and had put me into full-time writing as an art critic.

  Thomas Wyatt Russell, managing editor, Fine Arts: The Americas, who had read and understood the book, offered me a position on the magazine as a columnist and contributing editor, with a stipend of four hundred dollars a month. And Fine Arts: The Americas, which loses more than fifty thousand dollars a year for the foundation that supports it, is easily the most successful art magazine published in America—or anywhere else, for that matter. Admittedly, four hundred dollars a month is a niggardly sum, but my name on the masthead of this prestigious magazine was the wedge I needed at the time to sell freelance articles to other art magazines. My income from the latter source was uneven, of course, but with my assured monthly pittance it was enough—so long as I remained single, which was my avowed intention—to avoid teaching, which I despised, and enough to avoid the chilly confinement of museum work—the only other alternative open to those who selected art history as graduate degrees. There is always advertising, of course, but one does not deliberately devote one’s time to the in-depth study of art history needed for a graduate degree to enter advertising, regardless of the money to be made in that field.

  I closed the book, pushed it to one side, and then reached for Volume III. My fingers trembled—a little—as I lit a cigarette. I knew why I had lingered so long over the preschool child piece, even though I hated to admit it to myself. For a long time (I said to myself that I was only waiting to finish my cigarette first), I was physically unable to open the book to my article on Jacques Debierue. Every evil thing Dorian Gray did appeared on the face of his closeted portrait, but in my case, I wonder sometimes if there is a movie projector in a closet somewhere whirring away, showing the events of those two days of my life over and over. Evil, like everything else, should keep pace with the times, and I’m not a turn-of-the-century dilettante like Dorian Gray. I’m a professional, and as contemporary as the glaring Florida sun outside my window.

  Despite the air-conditioning I perspired so heavily that my thick sideburns were matted and damp. Here, in this beautiful volume, was the bitter truth about myself at last. Did I owe my present reputation and success to Debierue, or did Debierue owe his success and reputation to me?

  “Wherever you find ache,” John Heywood wrote, “thou shalt not like him.” The thought of Debierue made me ache all right—and I did not like the ache, nor did I like myself. But nothing, nothing in this world, could prevent me from reading my article on Jacques Debierue . . .

  2

  Gloria Bentham didn’t know a damned thing about art, but that singularity did not prevent her from becoming a successful dealer and gallery owner in Palm Beach. To hold her own, and a little more, where there were thirty full-time galleries open during the “season,” was more than a minor achievement, although the burgeoning art movement in recent years has made it possible to sell almost any artifact for some kind of sum. Nevertheless, it is more important for a dealer to understand people than it is to understand art. And Gloria, skinny, self-effacing, plain, had the patient ability to listen to people—a characteristic that often passes for understanding.

  As I drove north toward Palm Beach on A1A from Miami, I thought about Gloria to avoid thinking about other things, but without much satisfaction. I had taken the longer, slower route instead of the Sunshine Pa
rkway because I had wanted the extra hour or so it would take to sort out my thoughts about what I would write about Miami art, and to avoid, for an additional hour, the problem—if it was still a problem—of Berenice Hollis. Nothing is simple, and the reason I am a good critic is that I have learned the deep, dark secret of criticism. Thinking, the process of thinking, and the man thinking are all one and the same. And if this is true, and I live as though it is, then the man painting, the painting, and the process of painting are also one and the same. No one, and nothing, is ever simple, and Gloria had been anxious, too anxious, for me to get back to Palm Beach to attend the preview of her new show. The show was not important, nor was the idea unique. It was merely logical.

  She was having a tandem showing of naive Haitian art and the work of a young Cleveland painter named Herb Westcott, who had spent a couple of months in Pétion-Ville, Haiti, painting the local scene. The contrast would make Westcott look bad, because he was a professional, and it would make the primitives look good, because they were naively unprofessional. She would sell the primitives for a 600 percent markup over what she paid for them and, although most of the buyers would bring them back after a week or so (not many people can live with Haitian primitives), she would still make a profit. And, for those collectors who could not stand naive art, Westcott’s craftsmanship would look so superior to the Haitians’ that he would undoubtedly sell a few more pictures in a tandem exhibit than he would in a one-man show without the advantage of the comparison.

  By thinking about Gloria I had avoided, for a short while, thinking about Berenice Hollis. My solution to the problem of Berenice was one of mild overkill, and I half-hoped it had worked and half-hoped that it had not. She was a high school English teacher (eleventh grade) from Duluth, Minnesota, who had flown down to Palm Beach for a few weeks of sun-shiny convalescence after having a cyst removed from the base of her spine. Not a serious operation, but she had sick leave accumulated, and she took it. Her pale pink skin had turned gradually to saffron, and then to golden maple. The coccyx scar had changed from an angry red to gray and finally to slightly puckered grisaille.

  Our romance had passed through similar shades and tints. I met Berenice at the Four Arts Gallery, where I was covering a traveling Toulouse-Lautrec exhibit, and she refused to go back to Duluth. That would have been all right with me (I could not, in all honesty, encourage anyone to return to Duluth), but I had made the mistake of letting her move in with me, a foolish decision that had seemed like a great idea at the time. She was a large—strapping is a better word—country girl with a ripe figure, cornflower-blue eyes, and a tangle of wheat-colored hair flowing down her back. Except for the thumb-tack scar on her coccyx, which was hardly noticeable, her sun-warmed sweet-smelling hide was flawless. Her blue eyes looked velvety, thanks to her contact lenses. But she wasn’t really good natured, as I had thought at first, she was merely lazy. My efficiency apartment was too damned small for one person, let alone two, and she loomed in all directions. Seeing her dressed for the street or a party, no one would believe that Berenice was such a mess to live with—clothes strewn over every chair, wet bath towels, bikinis on the floor, the bathroom reeking of bath salts, powder, perfume, and unguents, a tangy mixture of smells so overpowering I had to hold my nose when I shaved. The state of the pullman kitchen was worse. She never washed cup, dish, pot, or pan, and once I caught her pouring bacon grease into the sink.

  I could live with messiness. The major problem in having Berenice around all the time was that I had to do my writing in the apartment.

  It had taken all of my persuasive abilities to talk Tom Russell into letting me cover the Gold Coast for the season. (The official “season” in Palm Beach begins on New Year’s Eve with a dull dinner-dance at the Everglades Club, and it ends fuzzily on April 15.) When Tom agreed, finally, he refused to add expenses to my salary. I had to survive in Palm Beach on my monthly stipend, and pay my air fare down out of my small savings (the remainder of my savings bought me a $250 car). By subletting my rent-controlled Village pad for almost twice as much as I was paying for it myself, I could get by. Barely.

  I worked twice as hard, writing much better copy than I had in New York, to prove to Tom Russell that the Gold Coast was an incipient American art center that had been neglected far too long by serious art journals. Such was not truly the case, as yet, but there were scattered signs of progress. Most of the native painters of Florida were still dabbing out impressionistic palms and seascapes, but enough reputable painters from New York and Europe had discovered Florida for themselves, and the latter were exhibiting in galleries from Jupiter Beach to Miami. Enough painters, then, were exhibiting during the season to fill my Notes column on new shows, and at least one major artist exhibited long enough for me to honor him with one of my full-length treatments. There is money in Florida during the season, and artists will show anywhere there is enough money to purchase their work.

  With Berenice around the tiny apartment all the time, I couldn’t write. She would pad about barefooted, as quiet and as stealthy as a 140-pound mouse—until I complained. She would then sit quietly, placidly, not reading, not doing anything, except to stare lovingly at my back as I sat at my Hermes. I couldn’t stand it.

  “What are you thinking about, Berenice?”

  “Nothing.”

  “Yes, you are, you’re thinking about me.”

  “No, I’m not. Go ahead and write. I’m not bothering you.”

  But she did bother me, and I couldn’t write. I couldn’t hear her breathing, she was so quiet, but I would catch myself listening to see if I could hear her. It took some mental preparation (I am, basically, a kind sonofabitch), but I finally, in a nice way, asked Berenice to leave. She wouldn’t go. Later I asked her to leave in a harsh and nasty way. She wouldn’t fight with me, but she wouldn’t leave. On these occasions she wouldn’t even talk back. She merely looked at me, earnestly, with her welkin eyes wide open—the lenses sliding around—tears torrenting, suppressing, or making an effort to hold back, big, blubbery, gasping sobs—she was destroying me. I would leave the apartment, forever, and come back a few hours later for a reconciliation replay and a wild hour in the sack.

  But I wasn’t getting my work done. Work is important to a man. Not even a Helen of Troy can compete with a Hermes. No matter how wonderful she is, a woman is only a woman, whereas 2,500 words is an article. In desperation I issued Berenice an ultimatum. I told her that I was leaving for Miami, and that when I came back twenty-four hours later I wanted her the hell out of my apartment and out of my life.

  And now I was returning seventy-two hours later, having added two extra days as insurance. I expected her to be in the apartment. I wanted her to be there and, paradoxically, I wanted her to be gone forever.

  I parked in the street, put the canvas top up on the Chevy—a seven-year-old convertible—and started across the flagged patio to the stuccoed outside staircase. Halfway up the stairs I could hear the phone ringing in my apartment on the second floor. I stopped and waited while it rang three more times. Berenice would be incapable of letting a phone ring four times without answering it, and I knew that she was gone. Before I got the door unlocked the ringing stopped.

  Berenice was gone and the apartment was clean. It wasn’t spotless, of course, but she had made a noble effort to put things in order. The dishes had been washed and put away and the linoleum floor had been mopped in a half-assed way.

  There was a sealed envelope, with “James” scribbled on the outside, propped against my typewriter on the card table by the window.

  Dearest dearest James—

  You are a bastard but I think you know that.

  I still love you but I will forget you—I hope I never forget the good things. I’m going back

  to Duluth—don’t follow me there.

  B.

  If she didn’t want me to follow her, why tell me where she was going?

  There were three crumpled pieces of paper in the wastebasket. Rough
drafts for the final note. I considered reading them, but changed my mind. I would let the final version stand. I crumpled the note and the envelope and added them to the wastebasket.

  I felt a profound sense of loss, together with an unreasonable surge of anger. I could still smell Berenice in the apartment, and knew that her feminine compound of musk, sweat, perfume, pungent powder, lavender soap, bacon breath, Nose-cote, padded sachet coat hangers, vinegar, and everything else nice about her would linger on in the apartment forever. I felt sorry for myself and sorry for Berenice and, at the same time, a kind of bubbling elation that I was rid of her, even though I knew that I was going to miss her like crazy during the next few terrible weeks.

  There was plenty of time before the preview at Gloria’s Gallery. I removed my sport shirt, kicked off my loafers, and sat at the card table, which served as my desk, to go over my Miami notes. My three days in Dade County hadn’t been wasted.

  I had stayed with Larry Levine, in Coconut Grove. Larry was a printmaker I had known in New York, and his wife Paula was a superb cook. I would reimburse Larry with a brief comment about his new animal prints in my Notes column.

  I had enough notes for a 2,500-word article on a “Southern Gothic” environmental exhibit I had attended in North Miami, and an item on Harry Truman’s glasses was a good lead-off piece for my back-of-the-book column. Larry had steered me to the latter.

  A mechanic in South Miami, a Truman lover, had written to Lincoln Borglum, who had finished the monumental heads on Mount Rushmore after his father’s death, and had asked the sculptor when he was going to add Harry Truman’s head to the others. Lincoln Borglum, who apparently had a better sense of humor than his late father, Gutzon, claimed, in a facetious reply, that he was unable to do so because it was too difficult to duplicate Harry Truman’s glasses. The mechanic, a man named Jack Wade, took Borglum at his word, and made the glasses himself.