a vague sound so low
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    [1531]

    Seven Works confused plurality adverse to Caravaggio concentric energy. Different from Velázquez whose split vision allowed for unexpected diversity could have pulled that Seven Works with success.

    [1532]

    Devotion of Magdalene self command of Christ abandon and restraint incised contours trunk of cross show, look close, through her head and body as though her abrupt emotionality interferred even with Masaccio plan.

    Conception of body of Christ Pompeian in character. Assume extant samples for Masaccio to see his bodies set against immeasurable depth of gilt orthodoxy met and married across millenium and half of imagination.

    Rogier van der Weyden visited Rome 1450. Translated immeasurable depth of orthodoxy to curtained wall (cf mangled linen). Consistent no leak of linear perspective oozing through. Everything close at stroke of hand Carel Fabritius even. Could have had it from Rogier. Goldfinch. Sense of background surface in such detail.

    [1533]

    Caravaggio Judith a joke could have been some family daughter from Flanders turn butcher. Rogier van der Weyden within range of Caravaggio.

  • [1534]

    Caravaggio troublesome guide whose techniques quickly picked up by others. But with less concern to serve.

    [1535]

    Attraction of Titian repulsion of Bronzino opposite forces of magnetism. Caravaggio figures either immersed in themselves or frozen locked up in and from themselves as perpetrators of violence. Caravaggio himself opposite from himself lastingly.

    [1536]

    Mirror yourself in frameless full-length mirror lean against wall, observe floorboards break and slope down and away from you. Paving of courtyard in Caravaggio Beheading of St John rather tilted opposite direction, lifted at far edge ever so slightly... What I want to say at least. Like floor of some theaters. Inclination distinct enough force attention down to ultimate humiliation, head of John pressed to the ground.

    [1537]

    Choreographic quality about Rogier van der Weyden as well as Donatello. While figures of former tend towards miming latter towards dance proper. Imagine miming dance. What? Would it not break spell of dancing? Dance expected take place in space of free movement while mime in constricted space of invisibly furnished rooms. Rogier space definitely confined where Donatello always suggests step of dance ie of unrestricted space. Dance and mime overlap. Miming dance, only revealed as double act at start and end, performed by mime or not. Cf video clip from performance.

    [1538]

    Dancing, more private than thinking more public than speaking articulate passion. Donatello explored passion of vicarious suffering in The Lamentation as well as subtle protocol of courtship and a lot in between. Simply outstanding in range of expression. Vincent and Manet in one.

    [1539]

    Passion, Donatello contribution to cool geometry. Are not his carvings in relief somewhat problematic confusions of geometry and passion? Botticelli and Leonardo got it from Donatello.

  • [1540]

    All expansion loop back to body of dancer when finally coming to rest. Things are different with singer in that voice is expansion throughout. A voice does not return to the vocal organs of singer when last note of recital fade away. Opera last breath simulation thereof though.

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