Peter Howson: Redemption in life's struggles

Peter Howson is one of 14 artists whose work is profiled in the final chapter - 'A Vibrant Contemporary Scene' - of Richard Harries' The Image of Christ in Modern Art. Howson's is one of the briefer profiles in this chapter, with Harries finding his depiction of Christ in Ecce Homo "troubled and troubling" and suggesting that Legion has a "disturbing effect" because "it reflects something of Howson's own fragility and torment." Throughout his career Howson has "concentrated on tough, working-class figures and those on the edge of society;" an approach, which when combined with his own "long battle against abuse and addiction," enables him to see aspects of the Gospel stories "that most of us prefer to gloss over."

The accuracy of these perceptions can be assessed currently as Flowers Cork Street has a survey exhibition of Howson's work which presents "a visual journey of Howson’s altogether fascinating life, with works that are both extraordinary and intriguing."

Titled A Life, this exhibition and the descriptions of it from the Flowers Gallery highlight the extent to which Howson has become an artist whose work is no longer viewed independently of his life. For much art, and for many artists, an attempt is made to view the artwork as an object in its own right with a life that is independent of the artist who made it. No such attempt is made here. The Gallery state that the "exhibition offers the opportunity to become a direct witness to a diverse range of varying incidents and torments he [Howson] has endured and encapsulated." The works shown can be described in terms of the chronology of his life: the dossers, boxers and misfits from the streets of Glasgow where he was raised, his battle with various addictions and personal demons, his work as a war artist, and his conversion to Christian faith.

The press notice concludes by again bringing life and work together:

"The theme of life’s struggles permeates the exhibition, as indeed it does Howson’s life, yet there’s a heroic strength in the works that lead one to admire not only him as a person, but his ability to capture this through a medium that arrests and inspires you."
 

Clearly, the drama and angst of Howson's life lends itself to this approach in a way that may not be the case with other artists. As in this respect, Howson's approach to his work takes issue with many of the central assumptions of the mainstream art world of which he is part. His is an essentially redemptive art which looks to convey instant messages and finds beauty in ugliness.  

 

What does it do though to his specifically religious images? On the one hand there is an element of personal testimony, as in the series of paintings inspired by the 12 steps of Alcoholics Anonymous. The first of these is included in this exhibition and this image of a central figure lurching on carrying a rowdy band of figures on his back while striding on in a field of bottles and debris mirrors Howson’s own struggle and ultimate determination to continue as an artist.

 

In scenes from the life of Christ, Howson thrillingly depicts a vigorous, decisive Jesus in settings of external and internal struggle such as the stilling of the storm and his prayer at Gethsemene. At times, however, as in Alpha and Omega, Howson seems to depict a Christ who is, as Harries states, "troubled and troubling." In this instance, where Howson is depicting the Christ seen in St John's vision on Patmos, he seems to have transposed the fear felt by John at this vision onto the wild features of the Christ he sees in the vision.

Howson's faith, however, isn't simply expressed in his imagery but also in his painting process and the balance of idea, message and technique that he aims to achieve in his work. As he explains in a recent interview for Studio International this is based on the Trinity theory. Howson is, therefore, a significant example of a Christian artist using traditional Christian iconography and enjoying mainstream success while acting in opposition to several of the central assumptions found in the contemporary art scene.
 

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