a long urgent shadow
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  • [1182]

    Embraced by Borromini, kept on distance by Bernini since scenography distance keeper by definition.


    Why visit Wittgenstein Skjolden cabin? Take up position from where obviously liked set out in imagination. Axiomatic quality of chosen setting, like Toledo to El Greco. And Forestay Waterfall, Lake Geneva, to Marcel Duchamp. Go visit where happened.

  • [1184]

    Euclid unveiled abundance of inferences welling forth from source of axiom. Go place where somebody started exploration and consider initial quality conditions.

  • [1185]

    With gratitude recall those moments of inspired work because right circumstances. Pollock strongly aware of what waiting had to do for painting to occur. Constructions are different largely worked out according to plan and schedule.


    How could painter's touch be synonymous with sight? Want to paint Mont Sainte-Victoire? Go there spend time like did Cézanne, couple of decades at least. James J.Gibson reminds information in light is infinite. Congruence of watch and touch take time. Life-time not enough. Act and process of painting for improved vision. Listen to Hokusai Katsushika:

    From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.

    Cézanne and Hsia Kuei meet in articulation of transparence. But then as process and composition respectively. Light, affords transparence to eyesight. Considered process in The East, light make see crisp or cloudy, fog lift, dusk/dawn, fade/appear etc. Not case of Cézanne. Who could tell whether weather at all in his world? Rather as if transparence transmitted structure his eyes trained to reveal/decipher. Accordingly, his images compositions in transparence.
    Tend to think of transparence as some medium, glass/window, ideally unstained without anything add or subtract to vision, no ripples nor filter effects. Until eyesight get worse of course. Enter Goethe Farbenlehre demonstrate color both ‘process’ and ‘composition’: a haze from which shades of color establish themselves in grammar-and-space of visual understanding.
    Why difficult conceive of chroma as haze? Because we tend to consider color as local. Blue sweater. But the blue of blues, is it not a haze in Goethe Farbenlehre terms? but then in grammar-and-space of musical understanding.
    Wittgenstein collected notes on color directly triggered and opposed to Goethe: color is language. Who right? Lesson learned: grammar and perception are not differentiated until they are.

    Cézanne confidence in space classicist aspect no Leonardo lurking collapse even imaginable.


    Both Jackson Pollock Number 1 (Lavender Mist) and Tohaku Hasegawa Trees both emphasis on emergence. Difference: Pollock like jazz solo, space of break in fabric, while Hasegawa emergence already underway in advance of first touch and expanding beyond last.


    Diluted washes sparse marks yet compellingly complete not swept in haze but clear as day nothing stop wandering eye of lookout.


    Subtle line of Matisse float like cotton fiber in air. Cf distinct dusty gesture of Schjerfbeck. Sinks into place like lead into mold, case of Mantegna. These masters obviously invited and embraced by the medium. Not all are, blank of drawing pad shattering endeavors of most amateurs with blunt force of its unresponsiveness.

    ...sinks into place like lead in a mold, certain affinity to Duchamp Nine Malic Molds affording enhanced sense of volume.

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