July / Independence Day / Cancer the Crab
The following analysis has been created not to provide a definitive interpretation of what the artist's narrative intentions for "July" are, but as an exercise in how to interpret it and most of his Magic-realism compositions. Smarkusz images range from commonplace to mysterious, and vary in symbolic intensity, but nearly all have meaning ranging from obvious to deeply hidden. He does not stop at including only meaning that is accessible to any who look deeply, but goes beyond, into personal material that only he or his closest aquaintances could possibly understand. However, by reading his biography and noticing the repetitive images and symbolism in his entire body of work, we come to learn the visual language he employs to enrich and deepen the mystery and meaning of his otherwise simply pleasant and colorful scenes. Having examined his work for over thirty years, I have come to appreciate how carefully interconnected and meaningful nearly every single element in his work truly is. He was gifted, and some would say obsessive compulsive to the point of genius or even insanity. The fortunate thing, is that Vincent turned what could otherwise be considered a disability into a unique ability, by applying it to his work as a visual artist creating deeply structured and richly meaningful magical imagery. Once you get a feel for how he expresses what he had to say, the mysteries appear and begin to unfold. Smarkusz worked on primarily two levels when constructing his images; with visual structure and with meaning, and uses the former to reinforce the latter:
Structure and Motion:
We enter the scene with a sweeping motion from flag to drum - a strong diagonal movement of the eye from upper left to lower right, beginning with the sharply contrasted flag, draping down towards the dark haired girl with the rifle. Continuing the motion, she is looking back and down at the leaping dog and the toddler playing his drum. He is looking back up at her and the flag. From then on, the flag is ever-present but of least interest.
Settling back on the toddler, the motion then continues with a strong horizontal from lower right to lower left as we look to see what the naked boys are focused on, and we pause.
The primary horizontal of subjects, in the lower half of the composition, and on the closest plane, is established within the frame.
Also, the triangular arrangement of boys looking down, girl looking back, and toddler looking up, is established as most interesting.
A strip of beach grass separates the most forward plane of boys and toddler on the sand, from the middle plane of marchers in the field.
On the plane furthest away, there is a simple green grassy hill, which is adjacent to a flat horizon against a clear light blue sky.
From the boys looking down at the crab, the eye goes up to see the girl with the flute. Then a second horizontal motion from left to right occurs. It is composed of a series of strong vertical elements: From girl with flute, to girl with flag, to girl looking back, to boy with trumpet, and back again. Both flute and trumpet reinforce the secondary horizontal of subjects, in the upper half of the composition, and on the middle plane, now established within the frame.
Further back, there is boy reaching for balloons and a balloon seller (as well as a girl behind the xylophone). They are the least prominent but most obscured and mysterious.
Finally, to the extreme right and upper right, the horizon vanishing in the distance and the balloons rising, creates an exit from the frame.
We reenter the exit and a strong diagonal from the baloons back to the crab (connected by color and structure) returns us into the composition where we are now free to explore at will.
Where and how the visual structure of this composition ends (upper right), gives us a strong clue as to the ending, and therefore the beginning, of a narrative and deeper meaning given to the subjects/objects by the artist (see below).
Narrative and Symbolism:
"July" is a simple celebration of summertime joy in hometown America. As with most of the artist's compositions however, it also contains wisdom, and in this case, a political statement. It is also an expression of Vincent's own independence and intelligence within the often mindless march of society.
Using the central theme of an Independence Day parade, the artist portrays qualities that he and fellow American's value. They are brotherhood and honor, the empowerment of women, patriotism while maintaining individuality, and even the practice of capitalism. Most central to this work however, is a yearning for the innocence of childhood, while at the same time valuing the need to relinquish one's naive notions about the world.
Smarkusz served his country and was deeply patriotic, but he also understood the importance of thinking for himself and marching to the beat of his own drum. He had an appreciation for both the hard choices and the simple joys of life.
On the surface, "July" is simply playful, with colorful characters enjoying their individual experiences within the context of a joyous social event. It is composed however, as an intricate arrangement of elements designed to capture the nuance of a deeper subject the artist intends to convey. In his unique style of magic realism and symbolism, Smarkusz strings together themes that are obvious, with those more subtle and yet profound. He does not take himself too seriously though, and everything is kept in perspective to the grand scheme of things.
We all recognize in this scene an Independence day parade and boys at the beach as themes of summer, but what about the details and the rest of the composition? Why is there a toddler playing the drum, and what is really going on with the boy and the balloons with a view to the horizon?
Surely one could argue that the details don't matter and to "just enjoy the scene", or that the artist's full intentions cannot be known for sure, or that to overly interpret a composition can ruin it's aesthetic effect. All of this is true, but at the same time there is no denying that some elements seem a little discordant or too specific to be understood as insignificant or accidental. To Smarkusz every little detail is carefully considered and placed. They are clues to an underlying message which in this case, seeks to temper the enthusiasm of being overly patriotic and naive as children or adults.
The artist is the toddler playing the drum, and he represents innocence. He looks up to the flag which rises above the frame and out of view towards a higher plane, elevating nationalism to a spiritual experience. Smarkusz was indeed patriotic and honorable. He joined the Army on his 22nd birthday, at the expense of an earlier start on his career as an artist. While many of his contemporaries in the Figurative Expressionist movement painted (even avoided service), Vincent served his country for over five long, arduous years. He returned to work alongside great artists of the movement in Boston during the early '50s only to then suffer with intense bouts of PTSD. He persevered in his craft however, and we get to enjoy and celebrate the fruits of his labor today.
We then see that the girl marching with her color guard rifle is looking back at him and at the dog leaping up with excitement. The boy and his dog are a classic American team and the dog is a symbol of fidelity and service (it is also a German shepherd - possibly alluding to our victory over the Nazi's in WWII). The young girl is obviously interested in the dog as a pet, and the toddler as a baby - reminders of domestic bliss and maternal duty. She is between identities as a caregiver at home and a defender abroad. She continues to march in the parade with rifle in hand, symbolically heeding her call to service in the defense of her country.
Allowing women in parades to represent the color guard, symbolically leading the charge in battle, is not insignificant, it is an acknowledgment of the equality of women and is uniquely American. In olden times, the flag bearer was on the very front line, armed only with the banner of colors. He was closely followed by a guard who's sole duty was to defend the flag bearer. He was to drop his weapon and pick up the flag if the flag bearer was cut down. If the guard is in turn cut down, the nearest soldier is obligated by honor to drop his weapon to keep the colors held high. It was a most honorable, courageous and dangerous thing to be.
Smarkus depicts the flag bearer as a strong looking young woman, perhaps even more so than the young man behind her. Together with her female guard they march off to war leaving innocence behind. Waging war is something only men could and would have done, not so very long ago.
The young man stands tall as he plays his trumpet symbolizing the call to arms, as the toddler drums along. In the army infantry, bugle calls are used to announce the change in daily routines at camp, here it calls the toddler to grow up. Bugles were also once used for signaling the charge. The toddler listens earnestly, assisting and emulating his elder compatriot. He too will become a soldier one day.
Off in the distance however, just beyond the bugle call, we are reminded that innocence is at stake, along with the loss of the childlike dreams of youth. The face of the boy reaching up for the balloons is hidden by his outstretched hand, reaching for a dream. He is just one of the many who will grow up to serve and die, like those who now rest in graves of the unknown soldier. The balloons represent his childhood dreams held in the hands of an opportunistic looking man, capitalizing on the ideals of youth. The peddlers face takes on a slightly sinister smirk as we fall into the spell the artist creates. But wait.....this is supposed to be a happy scene of holiday joy. Yes it is, but viewer beware. Enjoy the simple goodness of life, but pay attention, the artist hints. Vincent was patriotic, but he was also a war tested veteran, wary and aware of the complxities of life. The trickster often appears in his work, shape-shifting its way behind the scenes.
The innocent shepherd is eager to play, even lead, as we re-enter the joy of the musical march. The country girl playing the flute watches the parade in her straw hat and star spangled overalls. She is unique and confident, full of the Yankee spirit of a casual and independent character. She faces forward perpendicular to the parade designating her independence, and yet her instrument points directly forward and onward toward the destiny of the troops. Victory is ahead, in defense of the values we hold dear.
Mysteriously however, she may also be seen as the pied piper in impish disguise, seducing us to our doom. That would be a discouraging secret indeed, which the artist not so much emphasizes but acknowledges as one of the complexities of war. Rural America, the bread basket of the world, must succeed in her destiny as leader and savior. Are we like a parade of lemmings running off the cliff of destruction - the blindly patriotic and opportunistic leading the blind? Smarkusz loved his country dearly but he was certainly not blind to the dangers of nationalism. He cannot resist inserting a challenge into what is otherwise seen as straightforward and good. Support the team in matters of national interest but maintain your individual ability to think and act.
In this partial interpretation (disclosing perhaps only half of what I see) I have overemphasized the more serious side to this otherwise light and colorful picture. If I were to continue, other focuses of meaning would balance the mood, but I will leave that to you. Smarkusz was optimistic, but he was also honest. He wants so much to believe in the trust and goodness of youth but can't help lamenting the loss of innocence which patriotism requires.
The boys on the beach meanwhile, are truly engaged in a simple act of observing nature. They are gently playing with a naturally colored Dungeness Crab (zodiac sign for Cancer) so beautiful and innocent in its own way. They are oblivious to the complex social procession being enacted beyond the grasses, away from the warm soft sand on which they play. The toddler is with them, and his view of the parade now takes on an imaginary quality, as if he is daydreaming about his place in the grand scheme of things. Where does he fit between the simple innocence of nature and the complex truth of society.
A Fourth of July
It's the fourth of July and the sun is high
above in a clear blue sky,
strong are the colors of red, white and blue,
that wave as the parade goes by.
The color guard marches to the beat of a drum
in the year's most pleasant weather,
as the band plays J. P. Sousa's song
of "Stars and Stripes Forever".
Vincent the infant plays his snare
while watching the flag on high.
He often includes himself in his scenes
and signs his name nearby.
His brothers are also part of this scene
playing in the warm summer sand,
as beach grass sways in an ocean breeze
between themselves and the band.
Listen to and watch "Stars and Stripes Forever":