'Landscape Painter, Jamaica' by Vivian Virtue (An Analysis)


Photo by Claudel Rheault on Unsplash

In this poem, the speaker observes an artist painting the Blue Mountains. First, the painter sets up his easel then his brush, likened to a hummingbird, moves from palette to canvas to create a vibrant and realistic representation of the Blue Mountains. 

The poem is also a dedication to Albert Huie (1920-2010), who was given the title 'Father of Jamaican Painting' and who became the first Jamaican to be recognised internationally for his prowess with the palette and paintbrush. His artwork focused on vivid portrayals of Jamaican landscapes and painting portraits of black Jamaicans and Jamaican life which were not typically the subjects of artwork. He was extolled for his discerning eye and his ability to showcase Jamaica's beauty. He inspired national pride for the country by using the strokes of his brush to influence how Jamaicans viewed themselves. Michael Manley, former prime minister of Jamaica, praised him for bringing the 'magic of the Jamaican landscape' to the limelight. In 'Landscape Painter, Jamaica', Vivian Virtues uses poetry to pay homage to the artistic talents, technical skills and contributions of Albert Huie.


Reminder: It is always helpful to establish the context that may have informed the writing of a poem. It will help you in gleaning a greater understanding of its meaning.
 

Literary Devices

The poet uses a variety of devices to capture the process of the artist setting up his easel, selecting the appropriate colours from the palette then painting the landscape. Literary devices are also used to portray the different elements of the scene that the painter wishes to place on his canvas.


Metaphor

- 'a tireless hummingbird' (line 5)
- 'puddles of pigment/bloom in the palette's wild small garden' (lines 7-8)
- 'against the wide blue screen of morning'  (lines 11-12)
- 'His brush a hummingbird' (line 23)


Personification 

- 'The mountains pose for him/In a family group' (lines 9-10)
- 'The little hills fidgeting' (line 25)
- 'And behind them, aloof, [s]houldering the sky, patriarchal in serenity, Blue Mountain Peak bulks' (lines 14-16)

Simile

- 'low green foot-hills/Sprawl like grandchildren about the knees of seated elders' (lines 12-14)

Oxymoron

- 'Changelessly changing' (line 26)

Alliteration

- 'puddles of pigment' (line 7)
- 'professional', 'positions', 'perfect', 'preparedness' and 'pleasant' (stanza 4)

Imagery

Visual imagery is the predominant image that is used in this poem. The poet uses language that invites readers to visualise the actions of the artiste as he paints the mountains as well as specific aspects of the scenery the artist is trying to capture.

Examples

- 'his brush [d]ips, darts, hovers now here, now there' (lines 5-6)
- 'puddles of pigment' (line 7)
- 'both straddling precariously/A corner of the twisted, climbing/Mountain track' (lines 2-4)
- 'And the professional gaze/Studies positions'  (lines 17-18)

TONE

- captivated
- appreciative

MOOD

- admiring
- curious

THEMES
  • Nature
  • Art

Key Points

  1. Setting up his tools and positioning himself on the mountain track is a challenging activity for the artist and this is noted by the observer. It also reveals the artist's commitment to being present at the location of his subject, regardless of the challenges.
  2. The artist uses his brush deftly in order to move the colours from the palette to the canvas.
  3.  Before he can paint the different features of the landscape, the artist has to ensure, using his 'professional gaze' that all is perfect. He is like a photographer, awaiting the right moment to capture the mountains. This reveals the artist's attention to detail and his precision. It is clear he is meticulous.
  4. The poem highlights that the process of creating art is one in which the artist typically painstakingly ensures that the scene he seeks to depict is done accurately. The mountains are easier to paint as line 9 states that the 'mountains pose for him'. However, the foothills are more difficult to paint, possibly because of their variations in size and their positions - compared to the massive mountains they are much smaller. So by indicating that the 'little hills [are] fidgeting' in line 25, the poet seeks to give the reader an idea of the parts of painting that can be frustrating so they can appreciate the care that is given to producing an artwork that is a true representation of the landscape. 
  5. Virtue highlights the artist's respect for his craft as well as the place he seeks to paint. Huie was known for this in his lifetime and his works, on display in museums internationally and locally, are testament to this and his invaluable legacy.

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