Following
Part I of this series, today I take up art and the conditions of environmental law.
A survey of paintings and other works of art from Western Europe and North American reveals that air pollution was a salient fact in the pre-1970 industrialized West. This point, while basic, is not trivial, as one might have imagined that the relative lack of advanced legislation in this area was due to clean skies, or at least to a lack of awareness of the problem. Yet it is clear that artists from Turner to the French Impressionists and on through the American Works Progress Administration were fascinated by air pollution. The aesthetics and politics of this fascination will be explored later; at this point it will suffice to demonstrate its prevalence.
A good place to start is the French Impressionists. Though associated today with paintings in and of nature, they were strongly attracted to scenes of industrialization and modernizing landscapes. The movement was named after Claude Monet’s
Impression, soleil levant (1872-73, right), a painting relevant to our topic. The rising sun is indeed prominent in this landscape of Le Havre harbor, but the left side of the painting is dominated by smoke-belching smokestacks and their reflections in the water. Their activity suggests that the gray “mist” enshrouding the rising sun and streaked through the sky above and to the right is in fact the product of air pollution, not morning mists or the artist’s hazily romantic vision.
Many of Monet’s other paintings feature air pollution as well. His paintings of London typically feature chimneys and smokestacks spewing thick clouds of smoke into the air of a city covered in a thick layer of air pollution (often denoted “fog” in the works’ titles). Perhaps most striking are the paintings purporting to be studies of the effect of sunlight on the thick London air; the reference to sunlight in the names of these paintings seems almost ironic. In
Le Parlement, effet de soleil (1903, left), for instance, the sunlight indeed plays upon the Thames on the right of the picture, yet in the overall composition the sun’s rays are overwhelmed by the thick, polluted air, much as they are in other paintings in the Houses of Parliament series.
Dickens provides a literary counterpart to Monet’s paintings of London’s air pollution in the opening of
Bleak House:
London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. . . . Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snowflakes—gone into mourning, one might imagine, for the death of the sun . . . .