Article
America
Character
Culture
Politics
5 min read

What would make America great again - humility

Hubris, Hope and Humility - and how they fit together in the court of King Donald

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

Elon Musk sits next to Donald Trump on a plan, while giving the thumbs up gesture with both hands.
Office of Speaker Mike Johnson, Public domain, via Wikimedia Commons.

Over the inauguration weekend, I was in Texas. Trump-Vance flags still fluttered in the cold wind, now more in triumph than soliciting votes. This was in the middle of the biggest winter storm to hit the southern coast of the USA in 65 years, where four inches of snow ground cities to a halt. The seemingly endless cycle of American TV news channels were caught between fascination with Storm Enzo, and the return of a political hurricane in Washington DC.  

President Trump’s first few days broke upon the world rather like a fresh storm. When a new government takes over, it is customary to sound a note of hope for the future, uniting the nation, cautious anticipation for a new dawn, pledging to try one’s best for the people and so on. Yet Trump’s speech was optimism on steroids. He announced the beginning of a ‘golden age’ for America. “From this day forward” he claimed, “our country will flourish and be respected again all over the world. We will be the envy of every nation, and we will not allow ourselves to be taken advantage of any longer.” 

Elon Musk went even further. This election, he said, was a “fork in the road of human civilisation.” As a result of the good Republican voters of the USA, “the future of civilisation was secured”, as he looked forward to a day when the stars and stripes would even be planted in the soil of the planet Mars.  

There is a fine line between hope and hubris. Many commentators have contrasted the gloomy outlook of Keir Starmer with the upbeat optimism of the Republicans in Washington. American always outdo us Brits when it comes to can-do optimism, yet this was something else.  

Hope lifts people’s spirits. It gives a sense of possibility and points to an unknown but bright future. St Paul asks “who hopes for what they can see?” Hope recognises that the future is not entirely in our hands, that events - and our own stubbornness and pig-headedness - can derail the best laid set of plans. It knows that the future is uncertain and yet, because of a simple trust that the world came from goodness and will end with goodness, believes that sometimes despite, rather than because of our efforts, the future is bright.  

Hubris, however, is when human confidence goes into overdrive. In the classical world, writers such as Hesiod and Aeschylus saw hubris as the dangerous moment when a mortal claimed to be equal to, or better than a god.  

Phaeton was a teenage boy racer, a son of the sun god Helios. He took hold of his dad’s chariot for a day, thought he could steer better than his aged parent, drove too fast, too close to the earth, burning it up and thus earning a trademark lightning bolt from Zeus for his pains. Arachne was a weaver who thought his cloth more beautiful than that of Athena, the goddess of all weavers. And of course, the most famous of all, Icarus, made himself a pair of wings, soared just a bit too high, melting the wax that held them together, plunging him into the sea like a burnt-out satellite falling, falling and then sinking into the dark blue depths of the vast ocean. A trip to Mars anyone?  

Yet without a dose of humility, the modesty that recognises not everything is in their control, that they will get things wrong, and need to admit it when they do, they will only generate antagonism and disharmony. 

There are, of course, parallels in Christian literature. The Tower of Babel is the story of a civilisation that thought it could build to the skies, to reach and rival God himself. God was not impressed and confused the speech of the uppity humans so they could no longer understand one another. King Herod - grandson of the one visited by the wise men at Christmas - dressed himself in finery, smiled smugly at the acclaim of the crowds that his was ‘the voice of a god and not a mortal.’ No sooner had he said this than ‘an angel of the Lord struck him down, he was eaten by worms and died.’ 

These are ancient stories of brash and overblown self-confidence, that a human could do what only the gods can. They recur in pretty well every human strand of wisdom. Hubris usually arises from an insecure desire to be better than anyone else, better even than the gods, or God. It is essentially competitive. If greed is the desire to be rich, then hubris is the desire to be richer than everyone else. It creates comparison, jealousy, and yes – envy - in fact, that is the point - to be the envy of everyone else. Of course, social media is full of it. It is hard to like hubristic people. They generate envy or resentment, or when they fall, a delicious dose of Schadenfreude. None of which are particularly good for us.  

The opposite of hubris is humility. The root word for humility is the same as humus, humour, humanity. It derives from that ancient biblical story of the human race being fashioned by God out of the dirt. It punctures holes in our self-importance, reminds us of our lowly origins. It is the precious ability to laugh at yourself. Humility is appropriate for us precisely because we are not gods, and woe betide us if we think we are. We are instead poised between the earth and the heavens, sharing in the divine image, capable of great things, maybe one day even reaching Mars. Yet we are also capable of great cruelty and harm, frail and liable to get things badly, sometimes catastrophically, wrong. Once we forget our dual nature, made to be like God, yet moulded out of the earth; with huge potential for creativity and yet with a tendency to over-reach, a flaw within that leaves us vulnerable to temptation, we are in danger of blundering ahead like bulls in the proverbial China Shop.  

And this is the danger that Trump and Musk are flirting with. I wish them well. I really do. Maybe they will make America great again. Maybe they will usher in an age of prosperity and order. Yet without a dose of humility, the modesty that recognises not everything is in their control, that they will get things wrong, and need to admit it when they do, they will only generate antagonism and disharmony. And they will probably do more harm than good.   

Fyodor Dostoyevsky once wrote “Loving humility is a terrible force: it is the strongest of all things, and there is nothing like it.” Humility ends up being stronger and achieves more than hubris. Jesus was said to be “gentle and humble in heart.” And he changed the world more than anyone else. Donald and Elon – watch and learn. 

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Review
Art
Culture
5 min read

The dot and the dash: modern art’s quiet search for deeper meaning

Neo-Impressionism meets mysticism in a quietly radical exhibition

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Van Gogh's painting of a sower, walking across a field as the sun sets.
Vincent van Gogh, The Sower.
Kröller-Müller Museum. Photographer: Rik Klein Gotink.

When Helene Kröller-Müller was introduced to charismatic art teacher H.P Bremmer in 1905, she came to view art as the conveyance of a spiritual experience. With Bremmer as her art adviser, she built an art collection and museum intended as a centre for spiritual life, set in the tranquillity of nature. A significant part of that collection is currently on show at the National Gallery providing an opportunity to see connections between modern art and spirituality which were always there but generally had not been highlighted by art curators or critics of the past. 

The focus of Radical Harmony at the National Gallery is the Neo-Impressionist art of Georges Seurat and Paul Signac. However, Kröller-Müller and Bremmer were also early collectors of the work of Vincent Van Gogh, an example of whose work is included in the show. As the Neo-Impressionists were artists who used small dots of paint to create their images while Van Gogh used broad dashes of pigment, this exhibition is an exploration of the spirituality of the dot versus the spirituality of the dash. 

Neo-Impressionists painted in small dots of pure colour. Viewed from a distance, the colours blend to create nuanced tones and an illusion of light. Now known as pointillism (although this name was not liked by the artists themselves), this technique simplified form and played with colour in an entirely new way, verging on the edge of abstraction. 

The Neo-Impressionist's dots of colour were carefully and deliberately placed to sit still on their canvases creating an overall sense of harmony and calm. It was this quality of peacefulness in their work that attracted Kröller-Müller. She spoke of these works being 'light and delicate, spiritual in content and style' and of Seurat's work as expressing 'emotion of religious-poetic disposition'.  

That was not how Seurat himself viewed his work. He viewed his approach as being more like a scientific method, but Kröller-Müller’s perceptions do have synergies with the work and religious inspirations of other Neo-Impressionist artists whose work is included here, particularly that of Jan Toorop and Johan Thorn Prikker. Both Toorop and Thorn Prikker also made works in a mystical Symbolist style, while Toorop, around the 1930s, became one of the most reproduced artists of his time, through his prints of Roman Catholic iconography. 

By contrast with the stillness of the Neo-Impressionist’s dots, the dashes used by Van Gogh possess a much greater sense of energy and movement. Each dash shows the direction of the brushstroke with which it was created and the cumulative effect of the dashes, set alongside each other, leads the eye across the image. Many of Van Gogh’s images, as which ‘The Sower’ included here, have a central sun forming a halo effect, with its rays, depicted as dashes, emanating from the flaming yellow orb and infusing the remainder of the image with its divine light and energy. Van Gogh viewed Christ as a ‘glowing light or blazing sun’ and used the dashes in his work to imply the divine presence in the world and its landscapes. 

In the exhibition, the contrast with dots that is provided by dashes is also apparent in a series of three heavily abstracted landscapes by Thorn Prikker, which draw on the approach of Van Gogh to create movement and energy throughout the entire image in contrast to the calm and stillness of landscapes created using dots of colour. Within their mystical Symbolistic images, Thorn Prikker and Toorop created a similar effect using continuous flowing sinuous lines. 

The contrast between the two styles was clearly apparent in the museum that Kröller-Müller opened in The Hague in 1913. There, in the spacious front room, Van Gogh’s paintings hung ‘powerful, dramatic & heavy’, ‘like life itself, like our reality’. In an adjoining room, ‘she created a lighter and more mystical atmosphere’ by hanging the works of Seurat, Signac and Théo van Rysselberghe. She wrote that as you came from one into the other, you would ‘suddenly stand in a completely different world’; being among the Neo-Impressionist works was to be where everything was light and tingling as ‘a French sun rises’. 

Bremmer and Kröller-Müller were early collectors of work by Van Gogh (as, too, was Anna Boch, an artist who also features in this show) regarding him ‘as the ultimate example of an artist who was filled with a sacred respect for everyday reality’. They also viewed Pointillism as ‘a spiritualisation of art’, as ‘applying the colour to the canvas dot by dot’ was done ‘in order to contemplate things more calmly and profoundly’.  

This focus on contemplation informed not only their collecting but also the design of the purpose-built museum that was opened in 1938, for which the artist Henry van de Velde was the architect. Van de Velde’s own Neo-Impressionist art also features in this exhibition, and he summed up the focus that he, Bremmer and Kröller-Müller had on contemplation of images in sympathetic architectural spaces, when he wrote of wanting: 

‘To establish the Dream of realities, the Ineffable soaring above them, to dissect them without pity to see their Soul, to strive for the pursuit of the Intangible and meditate – in silence – to inscribe the mysterious Meaning.’ 

Enabling such contemplation was the aim of these three and this exhibition reveals how and why they followed that aim. In doing so, the exhibition reveals more to us about the connections found and made between art and spirituality early on in the development of modern art. These are connections which have been overlooked in earlier discussions and presentations of Neo-Impressionism but which are being helpful and rightly rediscovered and represented in the present.  

Visit this exhibition to gain that understanding but also to take the opportunity, as Bremmer, Kröller-Müller and Van de Velde desired, to meditate in silence ‘to inscribe the mysterious Meaning’ of the works you will see. 

 

Radical Harmony: Helene Kröller-Müller's Neo-Impressionists, 13 September 2025 - 8 February 2026, National Gallery

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