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The Guardian - UK
The Guardian - UK
Lifestyle
Skye Sherwin

Stanley Spencer’s The Dustman or The Lovers: an ecstatic suburban fantasy

Stanley Spencer, The Dustman or The Lovers, 1934 (detail, full image below).
Stanley Spencer, The Dustman or The Lovers, 1934 (detail, full image below). Photograph: © The Estate of Stanley Spencer Bridgeman Images.

An angel at my table …

This 1934 work is certainly true to Stanley Spencer’s famous remark: “I am on the side of angels and of dirt.” It portrays a dustman, returned home to the arms of his wife. She lifts him up like Christ ascending to heaven, or an ecstatic child, in their front garden.

Modern life is rubbish …

In a career full of offbeat reimaginings of biblical scenes, this is a strikingly strange painting, with its confusion of maternal and adult sexual love. Recalling both the Resurrection and the Adoration, the onlookers offer gifts: a holy trinity from the dustbin – a cabbage leaf, teapot and jam jar.

Critical mass …

Although Spencer is often compared to another English visionary, William Blake, his artistic touchstone was Giotto. His figures have both the volume and stagey otherworldliness of the master’s.

Wonder pants …

Spencer said this painting was like “watching the inside of a sexual experience”. Its unique turn-ons included the wife’s “bliss of union” with her husband’s corduroy trousers.

Stanley Spencer, The Dustman or The Lovers, 1934.
Stanley Spencer, The Dustman or The Lovers, 1934. Photograph: © The Estate of Stanley Spencer Bridgeman Images.

Included in The Enchanted Garden, Laing Art Gallery, Newcastle upon Tyne, to 7 October

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