a stranger and all that
  • [1799]

    Nexus mode, polarize and weld together: dream and immediacy into alloy of animation.

    [1801]

    El Greco cool appreciation of hallucination same matter of fact approach as Dali and Buñuel. Deposition in court rolling eyes waving arms hardly strengthens case of defence shows Daumier.

  • [1802]

    Exaltation exaggeration hallucination sticky words sticky fingers jam on handle passed around table. El Greco spoon is clean.

    [1800]

    El Greco son torch in hand illuminating introducing beholder to funeral mass none of guests overly impressed by liturgical attendance of St.Augustine and St.Stephen. Not even spectacular celestial commotion above their heads triggers more than casual glance of one or two guests at occasion. Nexus takes extraordinary for granted. El Greco had it from his son and the other way around.

    Father and son face beholder same act of illuminating scene means of torch and paintbrush basically same tools.
     

    [1803]

    Accurate setting does not impair hallucination. El Greco visions directly connected to everyday business as when city of Toledo anchors his vision of Laokoon to the city. Could have checked his house on that city view like on postcard.

    [1804]

    Breaking of the Fifth Seal nothing to localize scene in space or season since accounting for interval of martyr soul unveiled 'for a little season' in between moment of having been deprived and undressed of fashions of life and before receiving robe of heavenly white. Locker-room is little else than interval and passage wedged in between different dressed for occasion changing room episode but of Apocalyptic dimensions in El Greco case.

    Book of Revelation (6:9-11)
    'And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the WORD OF GOD, and for the testimony which they held: And they cried with a loud voice, saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth? And white robes were given unto every one of them; and it was said unto them, that they should rest yet for a little season, until their fellowservants also and their brethren, that should be killed as they were, should be fulfilled.'

  • [1805]

    One expects romantic painter be obsessed with distance and depth. Would not an accurate topographical account among otherwise awe-inspiring perspectives undermine credibility of that obsession? Painter doing nothing but portraits need not be obsessed with faces.