The book of Deuteronomy is unique among the five books of the Torah in that much of it is written in the first-person singular. The book is essentially a speech crafted and delivered by Moshe, with the imprimatur of God. As a genre, it is different from the rest of the Torah, which can largely be divided into the categories of narrative, law or poetry. While Deuteronomy contains all of these components, it also functions as a kind of sermon, rooted in the subjective, personal voice of Moses, that is intended to inspire and strengthen the Jewish people as they enter the land of Israel. The genre and perspective of the Deuteronomy is also interwoven with its message. There is an earthly nature to the book as a whole – it is practically oriented and interested in the human institutions necessary to interpret and actualize God’s covenant in the land of Israel. As Moses says toward the end of the Book (30:11-14):
Since March of this year, the Met Breuer, a new annex of the Metropolitan Museum, has hosted a remarkable exhibit called “Unfinished.” The works of art exhibited consist primarily of unfinished work from the Met’s permanent collection, including paintings by Rembrandt, Titian, Van Gogh, Klimt and many other noteworthy artists. Some of the works included were abruptly abandoned by their creators for various external reasons such as death, illness, or a more lucrative commission elsewhere. They feature unpainted spots of canvas, rough blurry lines or pencil sketches that are still visible. These pieces are striking in how they display the creative process of the artist at work – many display a startling unintended beauty in their incomplete form. Other paintings displayed, particularly the more modern works, were intentionally created with an unfinished or provisional quality, similar to a piece of jazz music.
Many of the pieces in the exhibit don’t fit neatly in either category however – they were neither accidentally abandoned nor purposefully designed to feel incomplete. These are works that an artist stops painting because he or she decides that it captures something essential in an unfinished state that would be lost once completed. Often these paintings were not made at the behest of wealthy patrons, or for the purpose of commercial gain, but rather remained in the artist’s personal collection. See John Singer Sargent’s outdoor scene of his sister and her friend for example, or Rembrandt’s intimate portrait of his housekeeper turned life partner Hendrickje Stoffels.
At their best, all three types of paintings challenge the notion that a “perfect” piece of art is always the most effective one. The unpainted spaces and rough backgrounds of these pieces give them a raw or urgent quality. There is a dynamism to them that would be lost in a more refined, yet calcified, final product. Continue reading ““Unfinished-ness” in Art, Judaism and the Poetry of Eve Grubin”