Thursday, December 14, 2017

Sex, Drugs and Rollickin' Roles: Christmas and Our Ever-Changing Relationship with Nature

​Traditions of the Winter Solstice

Christmas is an ancient feast that has many positive associations for people around the world. While the bible places the birth of Christ in Bethlehem it does not say when, but by the 4th century the Churches in the East were celebrating it on January 6 and the Churches of the West on December 25.

One thing is certain about Christmas is that it is rooted in many traditions and superstitions relating to nature that existed long before Christmas and many have continued in one form or another to the present day. The many strands of Christmas can be seen in the variety of different traditions associated with, or originating in, places all over Europe. These strands are, inter alia, the solstice, the Nativity, Saturnalia, Yuletide, St Nicholas, Father Christmas, and Grandfather Frost (Ded Moroz).

The association of Christmas with its earlier midwinter nature worship traditions declined as the Church exerted its power and authority over pagan practices and in more recent centuries as the industrial revolution took people away from the land and into the cities and factories. Since then industrialisation has taken over many aspects of people’s lives as they shifted from being producers to consumers.

As direct contact with nature declined and scientific knowledge was applied to production, our lives were made easier by an abundance of relatively cheap goods and food. These benefits have come at another price though as industrialisation and technology the world over pushes nature further and further into ecological crises. There is much discussion and debate about the potential for a tipping point as the destruction of ecosystems and climate change move headlong towards irreversible damage of the Earth's biosphere.

This has come about, partly due to our alienation from nature, but also due to a system which blinds us to the excesses of production through mass media, and Christmas has become the vehicle for the worst excesses of industrialisation, commercialisation and commodification. However, this is a gross distortion of its roots in respecting nature and nature worship which was ultimately about a heightened awareness of survival in an unpredictable world.


The predominant figure of Christmas has become Santa Claus (Dutch: Sinter Klaas) and originated in the stories around St Nicholas, the 4th century Bishop of Myra (Turkey), giving anonymous gifts to help people in need or trouble.[1] In many European regions St Nicholas came door to door with a bishop's mitre and crosier on his feast day, December 6. He was accompanied by his helper Ruprecht or Krampus as he is known in the Alpine regions. Krampus is depicted as half goat and half demon and punished misbehaving children with a rod. 

It is believed that Krampus derives from the much earlier pre-Christian Norse mythology and that he was the son of the god of the underworld Hel. While the name  Krampus is believed to originate from Krampen meaning 'claw', Ruprecht is believed to be from “Hruodperaht” meaning “gloriously shining one” another name of Wotan. Their negative status is likely the result of Christian attempts assert dominance over the pagan peoples of the time, in the same way that the Celtic goddess Bridget was demoted by the Christian church to St Bridget. Krampus is an evil fertility demon who scares children (reversing his earlier role as fertility god) with his hazel wood rod:

"The hazelnut was holy to Donar, the God of marital and animal fertility. The hazel wood rod was considered a great rod of life. With this symbol of the penis, women and animals were beaten "with gusto" in order for them to become fertile." [2]

This fertility rite has continued to the present day on Easter Mondays in the Czech Republic when young women are whipped with a braided rod of willow called a pomlázka to "assure womankind with good health, fresh look and keep fertility. The girls then give coloured or painted eggs to boys and men as a sign of their thanks and forgiveness."


​During the 12th century the church tried to end the Krampus celebrations but it seems that, like with many popular traditions, they re-surfaced and were re-integrated back into church traditions. Unlike the 'demonised' Krampus, the Christian St Nicholas distributed typical gifts of nuts, dried fruits, chocolate, spices and toys.[3] These gifts were also symbols of fertility. Hazelnuts helped people survive winter as they could be easily stored and were rich in fats and vitamins. Apples were associated with the Tree of Paradise and dried fruits such as oranges and lemons served as fertility symbols in the Mediterranean countries as they were the first fruit of the year and thus herald a good harvest.[4]


Another major association of Norse mythology with Christmas is the reindeer pulling the Santa's sleigh. The first mention of St Nicholas in the air in popular mythology is of him "riding jollily among the tree-tops, or over the roofs of the houses, now and then drawing forth magnificent presents from his breeches pockets and dropping them down the chimneys of his favourites" is by Washington Irving in his satirical work, A History of New-York from the Beginning of the World to the End of the Dutch Dynasty, by Diedrich Knickerbocker (1809). At this point St Nicholas was not associated with Christmas and presents were exchanged on the night before his feast day on December 6.

However, in a poem written in 1822, Clement Moore has St Nicholas arrive with his presents on the night before Christmas and in "a miniature sleigh, and eight tiny reindeer" who "would mount to the sky [...] with a sleigh full of toys" and then go down the chimneys to deliver his gifts thus shifting celebrations of St Nicholas in the United States from his feast day on December 6 to Christmas Eve on December 24 instead.

The phenomenon of flying animals has long been associated in Norse mythology with Wotan and his flying eight legged horse Sleipnir, and with Thor and his flying goat-drawn chariot. 

​"Odin and Sleipnir" (1911) by John Bauer

Wotan is depicted as one-eyed and long-bearded in Old Norse texts and is a fierce god associated with wisdom, healing and war. Children would leave straw in their boots for Sleipnir by the hearth and Wotan would exchange it for a gift in return for their kindness. Thor was also depicted as a fierce god of thunder and lightning, storms, oak trees and fertility. Another god, Morozko, the powerful and cruel Slavic god of frost and ice could freeze people and landscapes at will, became known as Ded Moroz (Grandfather Frost) but was eventually demonised by the Russian Orthodox Church. As our fear of nature declined and Christmas became more of a child-centered celebration, the depictions of these gods became less fierce over time.

'Thor and Tyr in their Goat-Drawn Chariot’, 1925. From “The Book of Myths” by Amy Cruse, 1925

The flying aspect of Santa's reindeers is believed to refer to the reindeers' fondness for Fly Agaric mushrooms associated with Old Nordic Shamanism. The Shamanic 'flight of the soul' was part of the culture of people in arctic Europe and Siberia who would communicate with the souls of their ancestors in an altered state of consciousness helped along by the hallucinogenic mushrooms.[6] Like the Church attempts to eradicate the earlier fertility traditions and the gods associated with them, shamanism has been considered mere superstition and attacked by both Churches and governments alike.

It seems that what shamanism and fertility rites have in common is the idea of directly engaging with nature to secure desired material or spiritual goals. Both Krampus and Shamanism have been associated with Satan who "uses deception and demonic spirits seeking our destruction" yet their popularity has ebbed and flowed over the centuries without disappearing altogether.

Rollickin' Roles

Similarly the Bacchanalian aspect of Christmas celebrations is a survival of Saturnalia, the Roman celebration of Saturn the "god of generation, dissolution, plenty, wealth, agriculture, periodic renewal and liberation" which could also be described as an engagement with the cycles of nature. Saturnalia was "a time of feasting, role reversals, free speech, gift-giving and revelry" held on December 17 of the Julian calendar and was subsequently extended to 23 December. Saturnalia originated as a farmer’s festival to mark the end of the autumn planting season in honour of Saturn (satus means sowing).

According to Justinus, the 2nd century Roman historian, these celebratory aspects of Saturnalia derived from, and were explained by, its origins with pre-Roman peoples of Italy who:

"were the Aborigines, whose king, Saturnus, is said to have been a man of such extraordinary justice, that no one was a slave in his reign, or had any private property, but all things were common to all, and undivided, as one estate for the use of every one; in memory of which way of life, it has been ordered that at the Saturnalia slaves should everywhere sit down with their masters at the entertainments, the rank of all being made equal."

Once again the association with nature and the Golden Age (when people lived in peace and harmony) forms the basis of a celebration which was to be co-opted by the Church and eventually attacked for its excesses. According to a Puritan minister in 17th century England, Increase Mather, Christmas occurred on December 25 not because “Christ was born in that month, but because the heathens’ Saturnalia was at that time kept in Rome, and they were willing to have those pagan holidays metamorphosed into Christian [ones]. Stephen Nissenbaum, in his book The Battle for Christmas, writes:   

“Puritans believed Christmas was basically just a pagan custom that the Catholics took over without any biblical basis for it. The holiday had everything to do with the time of year, the solstice and Saturnalia and nothing to do with Christianity.”

Presumably the masters could not cope with the concept of equality and saw Saturnalia instead as a role reversal. In pre-industrial England people would elect a Lord of Misrule who would be in charge of Christmas festivities and who even had license to poke fun at the nobility.[7] Yet the Lords of Misrule were an important aspect of Christmas as the reversal of traditional social norms was a safety valve for class tensions in England. It was around this time that the personification of Christmas as Father Christmas began to appear. 

​Father Christmas 1848

He was associated not with children, presents, chimneys or stockings, but with adult merrymaking and feasting. During Christmas 'great quantities of brawn, roast beef, 'plum-pottage', minced pies and special Christmas ale were consumed' and people enjoyed singing, dancing and card games resulting in 'drunkenness, promiscuity and other forms of excess.' Thus when the Puritans took over government in the 1640s they tried 'to abolish the Christian festival of Christmas and to outlaw the customs associated with it'. The satirical Royalist poet, John Taylor, wrote in The Complaint of Christmas:

"All the liberty and harmless sports, with the merry gambols, dances and friscals [by] which the toiling plowswain and labourer were wont to be recreated and their spirits and hopes revived for a whole twelve month are now extinct and put out of use in such a fashion as if they never had been. Thus are the merry lords of misrule suppressed by the mad lords of bad rule at Westminster."

However by the 1650s it was reported that the taverns were full on Christmas day, churches were decorated in rosemary as usual, Christmas Boxes had been given out, presents exchanged and mummers paid despite the bans. Worse still violence broke out in London when:

"a large crowd of Londoners gathered to prevent the mayor and his marshalls removing the Christmas decorations which some of the city porters had draped around the conduit in Cornhill. The confrontation ended in uproar, with arrests, injuries, and the bolting of the mayor's frightened horse."

The Christmas celebrations returned with Charles II in 1660 and showed once again the attempt to impose a narrow religious view on the multifaceted ancient traditions of people had failed.


Somewhat earlier, in the 14th and 15th centuries in Germany, craftsmen began to decorate their guild halls with trees and adorning them with fruits and nuts. This eventually led to the German, Charlotte, who married King George III in 1761, potting up and decorating a yew tree and initiating the custom in England. Legend has it that in Germany, St Boniface, an historical figure from the 7th century, saw a group of people honouring the sacred tree, Donar's Oak (sometimes referred to as Thor's Oak) somewhere around Hesse, became angry and chopped the tree down (and added insult to injury by using the wood to build his church). 

St Boniface chopping the oak tree

Sacred trees and sacred groves were very important to the Germanic peoples and were too important to be cut down. Again we can see that the earlier traditions of pre-Christian society revolved around revering nature:

"some were wont secretly, some openly to sacrifice to trees and springs; some in secret, others openly practiced inspections of victims and divinations, legerdemain and incantations; some turned their attention to auguries and auspices and various sacrificial rites; while others, with sounder minds, abandoned all the profanations of heathenism, and committed none of these things."

Over time, cutting the evergreen tree and bringing it indoors became an important part of Christmas traditions [see my previous article on Christmas trees] despite church proscription, because of its shamanic-pagan past.

Another early nature-based tradition is the wassail in England. Wassailing is a very ancient custom that is referenced in history as early as the eighth-century poem Beowulf. The word 'wassail' is believed to be derived from the Old Norse 'ves heil' and the Old English 'was hál' and meaning "be in good health" or "be fortunate." The wassail had an important significance for farmers:

"In parts of Medieval Britain, a different sort of wassailing emerged: farmers wassailed their crops and animals to encourage fertility. An observer recorded, "They go into the Ox-house to the oxen with the Wassell-bowle and drink to their health." The practice continued into the eighteenth century, when farmers in the west of Britain toasted the good health of apple trees to promote an abundant crop the next year. Some placed cider-soaked bread in the branches to ward off evil spirits. In other locales, villagers splashed the trees with cider while firing guns or beating pots and pans."

Wassailing the apple tree

The Apple Tree Wassail lyrics anticipate the next year and a good crop:

"(It's) Our wassail jolly wassail!
Joy come to our jolly wassail!
How well they may bloom, how well they may bear
So we may have apples and cider next year."


Solstice and the Unconquered Sun

Our awareness of mid winter and the solstice ('sun stands still') is shown to go back to the late Neolithic and Bronze Age with Newgrange in Ireland and Stonehenge in England. In both cases the monuments have been aligned to the solstice, sunrise at Newgrange and sunset at Stonehenge. It has been the occasion of celebrations, rituals and gatherings as the sun appears to be reborn and the days start getting longer again. After this time food became scarce (January to April) which were known as the 'famine months'. It was the last feast of the year as cattle were slaughtered and wine and beer were ready for drinking. The 'rebirth' of the sun was known as Sol Invictus or the ‘unconquered sun’ god during the Roman Empire in the 3rd century CE and the Emperor Aurelian dedicated a temple to Sol to be celebrated on December 25. Solar deities have been represented as both gods and goddesses in different cultures and are particularly important in mid winter when the sun is low in the sky. In many countries in Europe the tradition of the Yule log burning was an important festival to help strengthen the weakened sun. 

Yule log

A large log, big enough to burn for the 12 days of Christmas, was brought into the houses and burned. It was believed to have originated with the Norse and the Celts who had large bonfires to welcome the return of the sun. The log was thought to have magical properties and the ashes were then used as fertiliser and as cures for both people and animals and would protect them for the year to come.



Throughout the world there have been many forms of nature worship demonstrating that people respected and feared nature in equal amounts over the millennia. We have a complex relationship with nature, indeed we are an important part of nature. We have to negotiate every aspect of that relationship, be it food, water, reproduction, climate (storms avalanches, floods, droughts, fires), the seasons, the geophysical (earthquakes, tsunamis, volcanoes), light (length of day, sleeping during hours of darkness) etc.
In the past people hoped and prayed that in the next year nature would allow them to live well again and consequently treated nature with respect. To do that people were careful not to over-exploit nature in various ways: by leaving land fallow, having food taboos, allowing areas to regenerate by moving on, by not over-using a food resource, thus creating the basis of sustainability into the future. Their respectful attitude to nature was reflected in what we call superstitions and paganism but it allowed them to celebrate Christmas without guilt in the knowledge that they had treated nature well and that nature would reciprocate with a bountiful harvest the next year.

Today, on the other hand, we are alienated from this way of thinking and living to the extent that people have lost direct control of their relationship with nature. The ever increasing industrial overproduction of meat, over-fishing, over-fertilisation, deforestation, air pollution and extractivism is pushing nature to extremes and already we are seeing the catastrophic results of this in climate change. Maybe as climate change brings ever fiercer storms and destruction of food production we will learn to respect and fear nature again.

[1] Nicholas: The Epic Journey from Saint to Santa Claus, by Jeremy Seal, p28
Pagan Christmas: the Plants, Spirits, and Rituals at the Origin of Yuletide, by Christian Ratsch and Claudia Muller-Ebeling, p33
Pagan Christmas, p36[4] Pagan Christmas, p52/3
From Stonehenge to Santa Claus: The Evolution of Christmas, by Paul Frodsham, p164
Pagan Christmas, p46/47
[7] C
elebrate the Solstice: Honoring the Earth's Seasonal Rhythms through Festival and Ceremony, Richard Heinberg, p107

Caoimhghin Ó Croidheáin is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin. His blog of critical writing based on cinema, art and politics along with research on a database of Realist and Social Realist art from around the world can be viewed country by country at

Wednesday, December 13, 2017

The Artistic Representation of War and Peace, Politics and the Global Crisis Old Forms, New Content: Art Dealing with Crises

The business of art is to reveal the relation between man and his environment. D. H. Lawrence

Contemporary art is often criticised as pointless or overvalued by art market elites. Even the word 'artist' has lost much of its meaning. The many ongoing global socio-political crises seem to make even the idea of art fade into insignificance. Most art either reflects local reality (landscapes, cityscapes, portraits) or internal 'reality' (surrealism, conceptual art). But there are artists (in this case, I will focus on painters) who do not shy away from depicting the difficulties facing ordinary people or the elites who create those difficulties in the first place. Here we will look at particular ways in which painters deal with contemporary reality using old and new forms of art to draw attention to injustices or general social issues.  
When we see art that is trying to depict contemporary reality we can easily be drawn into the content of the picture without realising that the very forms used are themselves a result of conflicts of differing styles for formal and ideological reasons arising from within the artistic ‘community’ itself. While the forms can range from the purely abstract to the hyper-real, most socio-political art tends towards differing degrees of realism.
Historically, nationalist artists concerned with political change resisted modern forms and looked back into their own nation’s history for inspiration. For example, the intertwining of nationalism and art in Ireland has led, in many cases, to a very inward-looking identity, a striving for Irishness in Irish art (e.g. Celtic art), a misplaced resistance to centuries of colonisation. However, in Ireland, as James Christen Steward writes:
“As it has been throughout the century, internationalism in Irish painting can still be seen as emotionally fraught, the adoption of foreign influence as a form of emigration signifying Ireland’s colonization (specifically as a colonized woman). Those artists who have resisted internationalism have often sought consciously to invoke links between the individual, the community, and the Irish landscape to assert a sense of distinct identity, and this remains the case for Irish painters working in the landscape idiom.” [1]
However, there are examples of nineteenth century Irish artists who used their art and the new style of realism to highlight local social ills, such as James Brennan (1837-1907) as Claudia Kinmonth has noted:
“It was rare for artists to be able to afford the indulgence of painting precisely what they wanted to paint, so the blatantly unfashionable images by James Brennan, for example, were facilitated by his salary as head of Cork School of Art. He was further driven to depict the plight of families of farmers or fishermen at home by his altruistic involvement in the setting up of Irish lace schools and his work for the Great Exhibition in London. His careful attention to the minutiae of what was once commonplace, showing cabin interiors furnished with nothing but the barest necessities, provides some of the most useful windows onto social history.” [2]
News from America (1875) (James Brennan)
However, the realist form needed real subjects and they were not always enthused by the new attention and focus on their lives and occupations. Some artists converged on the Claddagh in Galway (in the west of Ireland) in the move towards realism and away from romanticism. These included socially engaged British artists. The international focus of realism on the peasant and working class allowed these artists to leapfrog nationalist concerns and paint outside their own community. The initial suspicions of the local people towards artists suddenly taking an interest in their lives soon changed, as is shown by the experiences of the English painters Goodall and Topham in the Claddagh. While at first perceived to be ‘tax-collectors, spies or Protestants’, they were eventually accepted by the people and even stayed with them.[3] Despite typical hostility to outsiders, Julian Campbell writes,
“It was here in the Claddagh and the fish market that a colony of Irish and British artists began to gather in the 1830s and 1840s, the period just before the Great Famine and the arrival of the steam train to Galway. Significantly, this was exactly the same time as the Barbizon School of landscape painters was beginning to form in the forest of Fontainebleau in France.  Unlike the earlier groups of painters in county Kerry whose interest had been primarily in landscape, the artists in Galway focused their attention on the everyday lives and activities of the Galway people in a series of genre pictures. […] The Claddagh provided an authentic fishing village of thatched dwellings to study, and the fish market much colourful activity to observe.” [4]
 Cottage Interior, Claddagh, Galway (1845) (Francis William Topham)
Barbizon School
The French Barbizon artists were initially influenced by the English artist, John Constable, to draw their inspiration directly from nature and to leave the formalism of the Classical style in the studio. Soon, however, this idea was developed by Jean-François Millet from painting the landscape to depicting the local people themselves:
“Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the field complete the main harvest. The owners (portrayed as wealthy) and their laborers are seen in the back of the painting. Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces. The women's bowed bodies represent their everyday hard work.”
The Gleaners (1857) (Jean-François Millet)
Ashcan School
As we move into the twentieth century even realism itself became institutionalized, producing reactions such as the Ashcan School in New York. They used a darker, rougher style of realist painting to express the poverty of the working class in the ghettoes. Artists working in this style such as Robert Henri (1865–1929), George Luks (1867–1933), William Glackens (1870–1938), John Sloan (1871–1951), and Everett Shinn (1876–1953) were not a formal group, but:
“Their unity consisted of a desire to tell certain truths about the city and modern life they felt had been ignored by the suffocating influence of the Genteel Tradition in the visual arts. Robert Henri, in some ways the spiritual father of this school, "wanted art to be akin to journalism... he wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter."”
Hairdresser's Window (John Sloan)
German Expressionism
Back in Europe, during the 1920s and 1930s German Expressionism was at its height and artists like George Grosz and Max Beckman focused less on the working class and more on decadent society and the rise of the Nazis. German expressionism contrasts with the Ashcan School on a formal level as expressionism presents ‘the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas’ unlike realism where the emphasis on objectivity is more important. The use of distortion, caricature and the general aesthetics of ugliness became the formal basis of the art of George Grosz who used this form as an implicit criticism of what he saw around him:
“In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects.”
Max Beckman looked back even further into the history of art and mixed expressionism with medieval aesthetics and forms to represent contemporary reality as he saw it:
“Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity. […] Many of Beckmann‘s paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamor of the Weimar Republic's cabaret culture, but from the 1930s on, his works often contain mythologized references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.”
Departure (1932-5) (Max Beckman)
Contemporary Visions
Contemporary versions of these approaches can be seen in the realist work of the American painter Max Ginsberg and the more expressionist approach of the English painter John Keane. Ginsburg’s painting Foreclosure has a baroque feel to it. While today baroque is associated with over-the-top exaggeration and opulence, it was rooted much more in realism than romanticism (a reaction to the Age of Enlightenment and the scientific rationalization of nature). The features of baroque consisted of dramatic tension, heightened realism, illusions of motion, and classical elements used without classical restraint. Ginsburg, like Beckman, is looking back at earlier forms to express contemporary dilemmas.
Foreclosure (Max Ginsberg)
His work is usually straight-up realism but the baroque style of Foreclosure allows him to use more dramatic expressions of the crisis in hand. His interest and concern is reflected in his comment on the painting:

“It is unconscionable that people are being evicted from their homes, especially when banks and corporations are being bailed out. This injustice is not supposed to happen in America.  In this painting I wanted to express the anguish and frustration of people in this situation.”
Ginsburg’s painting War-Pieta shows a similar interest in art history put to contemporary use. He writes:
“I wanted to bring attention to the horror of war, and in this case the war in Iraq. I thought of a mother losing her son and the Pieta paintings of the Old Masters and of Michelangelo's sculpture, Pieta, showing the Madonna mourning the death of her son. In my painting I sought to symbolically connect, and contrast, the image of a real mother screaming in anguish over the death of her soldier son with the Old Master images of the Madonna mourning the death of her son in a rather unreal, quiet and serene way. The torn fatigues, the mangled soldier's body and the flag symbolize one of the many young Americans who have been killed in this war.”
War-Pieta (Max Ginsberg)
The English artist John Keane uses expressionism as a form for dealing with Tony Blair’s ‘mercurial’ appearance at the Chilcot Inquiry into the Iraq war. While Ginsburg’s work depicts ordinary people in sometimes extraordinary situations, Keane has focused on those who caused them. Here we can see realism used as a form to depict the victims of a state agenda and expressionist distortion used to depict one of the executors of that same agenda.

Figure at an Inquiry no 5 (
John Keane)

However, the challenge for contemporary artists is not to fall into the trap of constantly portraying people as victims. Art must be inspired and inspiring. As an artist one can draw attention to the difficulties faced by people the world over but it is also important to recognize that everywhere there are people active in solving problems and trying to change society for the better, both socially and politically. The massive demonstrations against war in Iraq are a case in point:
“On February 15, 2003, there was a coordinated day of protests across the world in which people in more than 600 cities expressed opposition to the imminent Iraq War. It was part of a series of protests and political events that had begun in 2002 and continued as the war took place. Social movement researchers have described the 15 February protest as "the largest protest event in human history"”
Peace-March (Max Ginsburg)
Ginsburg describes the process of painting an image of many people of all ages and types on the streets demonstrating noting also influential artists and styles:
“The differences and individuality of people marching for peace is quite different than the mechanical sameness of soldiers marching. I took many photographs at a Peace March protesting the war in Iraq and selected ten of them that were good for expression and composition to use as reference. Attention was paid to the variation of individuals and the expression of determination. Based on these photographs, I made a compositional sketch for the grouping of figures, perspective and darks and lights. Then, with the aid of a grid, I transferred the drawings to the large canvas to scale. And then I proceeded to paint, in my usual direct alla prima style. I was greatly influenced by Ilya Repin's Religious Procession painting and Kathe Kollwitz' The Weavers.”
Subject / Object
The change in realism over time from Millet’s peasants to narrative painting has also seen the move from the depiction of people as oppressed objects to passive subjects to engaged subjects. It seems that the opposite happens with expressionist depictions – a shift from the subject to the object. By objectifying our problems, bad leaders etc a certain distancing is achieved. Images of unity in mass demonstrations counter media strategies of divide and rule while the subjective, up-close, prettified televised images of silver-tongued politicians need some objectification to put conservative policies and agendas into perspective. Socially and politically conscious artists counteract the controlled images of the state and find new ways of seeing by looking back to images and forms of the past while at the same time searching for new methods of depicting the problems of the present. 

 Caoimhghin Ó Croidheáin 27 July 2016
 [1] James Christen Steward et al, When Time Began to Rant and Rage: Figurative Painting from Twentieth-Century Ireland (London: Merrell Holberton Publishers, 1999) p.22
 [2] Crawford Art Gallery, Whipping the Herring: Survival and Celebration in Ninteenth-Century Irish Art (Cork: Gandon Editions, 2006) p.37
 [3] Crawford Art Gallery, Whipping the Herring: Survival and Celebration in Nineteenth-Century Irish Art (Cork: Gandon Editions, 2006) p.28
 [4] Crawford Art Gallery, Whipping the Herring: Survival and Celebration in Nineteenth-Century Irish Art (Cork: Gandon Editions, 2006) p.27
Caoimhghin Ó Croidheáin is an Irish artist who has exhibited widely around Ireland. His work consists of paintings based on cityscapes of Dublin, Irish history and geopolitical themes ( His blog of critical writing based on cinema, art