a lot of time
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  • [1557]

    Nothing endearing about Caravaggio illumination. Clarifying light is never for atmosphere. Titian, early influence on him but stripped of temperature.

    [1558]

    Still of Caravaggio and Vermeer much same localized differently: eye of storm and glimpse of eye.

    [1559]

    Caravaggio did not invent chiaroscuro but took temperature out of it. Titian without glow.

    [1560]

    Barren gloom does not bother Caravaggio Jerome slightest. Cf comfy Dürer Jerome space, little like children nursery soft warm lion for soft toy warming feet on if need.

  • [1561]

    Mistake of many a Caravaggio follower taking gloom of clarity for atmosphere.

    [1562]

    Caravaggio self portrait St Francis in arms of angel and Wittgenstein long-winded confessions to friends of even ridiculous errors both touching and slightly comical stearn individuals pushed themselves beyond reason but of course right. Is it not true one could have done better in almost every situation? St Francis purity of truth-and-love living example.

    [1563]

    Caravaggio chiaroscuro never explored naked or occluded light such as soon after widely done organize intimate space around source of uniting light much like at fireplace as normal normative as had been vanishing point of perspective.

    His groping gloom-of-clarity, translated by Rembrandt and George de la Tour defining source of light, as unambiguously as cogito of Descartes fundament of thinking.

    Lantern in Taking of Christ does not help illuminate scene more effectively than any flickering smartphone signalling presence in sea of public event.

    [1564]

    Chiaroscuro painter take into account facing light is meeting face of something or someone. A draftsman intent on volume no such distinction of face value. And remember chiaroscuro logic of sculpture in ancient Egypt, modelling only front of figure, face facing light of sun, leaving backside unshaped trailing shadow of dark.

    [1566]

    Perspective portray passage of sight through some particular region and all the way to infinity without leave footprint of transport. Portrait face-to-face articulation more problematic since infinity blocked by eyes looking back at beholder. Giacometti captivating because eye contact preserved across process of vanishing. Makes one see same in Rembrandt.

    [1567]

    Leonardo gravitational force figures circling planets in space affected by pull of their joint mass ultimately super heavy black hole of some kind. Is not Leonardo Virgin and St.Anne with Christ Child and Young John the Baptist double planet with a couple of moons orbiting around them. Point is Leonardo conception of emotional interaction in space was complete without regard to mechanical constraints machines necessarily observe and exploit. The contrivances jotted down around planet family commentary in the negative of what a planet family is not.

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