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In chapter 5 of ‘Chronicles. Volume 1’ Dylan enthuses
as follows about a modern artist:
‘Suze's favorite current modernist artist was Red
Grooms, and he became mine, too. I loved the way everything he did
crushed itself into some fragile world, the rickety clusters of parts
all packed together and then, standing back, you could see the complex
whole of it all. Grooms's stuff spoke volumes to me. He was the artist
I checked out most. Red's stuff was extravagant, his work cut like it
was done by acid. All of his mediums — crayon, water-color, gouache,
sculpture or mixed media — collage tableaus — I liked the way he put
the stuff together. It was bold, announced its presence in glaring
details. There was a connection in Red's work to a lot of the folk
songs I sang. It seemed to be on the same stage. What the folk songs
were lyrically, Red's songs were visually — all the bums and cops, the
lunatic bustle, the claustrophobic alleys — all the carnie vitality….
I loved the way Grooms used laughter as a diabolical weapon.
Subconsciously I was wondering if it was possible to write songs like
that.’
With such a glowing recommendation, I just couldn’t
help but crush some of Red Grooms’ rickety clusters onto a Freewheelin
cover. This backdrop is taken from a 1964 painting called ‘Purple
Umbrella’. The snowflakes add a seasonal touch as they fall upon
Santa’s three reindeers Rudolph, Dancer and Blitzen who are cunningly
disguised as Rough Collies. Bob is blowing the snowflakes away and if
you look closely you will see Suze’s hand making its way towards Bob’s
heart. But there’s something in the way she smiles that shows she
wouldn’t be able to hold on to him very long. |
