around the screen
    [1589]

    Affinitas, not concerned with comfort Rembrandt Prodigal Son: consolation. Comfort from within, consolation from without.

  • [1591]

    Vincent preacher know little comfort obsessed with consolation. To mankind.

  • [1592]

    Grünewald Passio consolation through compassion. Nexus mean perspicuity. Goya know neither comfort nor consolation. Only gloom of clarity.

  • [1593]

    Take idea of icon in earnest refute beholder's share. Icon gracefully put at disposal to everyone. One has gracefully been given a name. One can change name but fact of having been given one cannot be undone.

    [1594]

    Neither late Titian of Crowning with Thorns nor Michelangelo of Pietà Rondanini offer consolation.

    [1595]

    Titian light does not dispel dark does not illuminate but glow of self-reference. Carnation, warmth of complexion sensed not as color of coating but breathing of life. Glow of glassworks steel of forge, same principle of solid transparence. How does see-through ice relate to window glass?

  • [1596]

    Sound of somebody switch fuse in the dark bygone era fingers fiddling metal and porcelain. Distinct and varied soundscape of friction and breathing darkness be listened to like chamber music. Flutes 40 000 years of age found in Hohle Fels same chamber of sound chamber of sight.

  • [1597]

    Watching is action, Giorgione expansion of Origo. Many of his figures keep on watching doing little else. Like mumbling is speech humming is music.

    [1599]

    Maids of Honor astrolabe bodies orbiting painter or Infantin Margarita or King and Queen. Almost nothing, near void dust of brush to suggest.

    [1600]

    Titian brilliance was it not step towards light and color aspects of same? Turn down turn up color like dimmer switch level of lumen. Not obvious to somebody handling pigment and paint. As it happened Titian and Leonardo paved way for Caravaggio chiaroscuro.

    Turner know not chiaroscuro because dark does not touch eye. A black Turner would be white or rather blank no grit. Weather is different touch eye. Stormy night of Hannibal Crossing the Alps touch eye.

    Light is weather and sight define life. Eyes are body parts. Turner took it very literal in big machines suggest extreme weather conditions linked to eyesight of protagonist, referred to landscape of his Napoleon as ‘sea of blood’ looks akward even ridiculous but imagine he saw him through bloodstained eyeglobe of Napoleon himself through lens of which which we see him stand ankle-deep in blood.

    Where is Hannibal? Are we not looking through lens of his eyes see Him Hannibal cross The Alps? See him self inverted eyesight built into eyesight, Goethe Farbenlehre turned literal. Remember Turner tied himself to mast of fishing boat in Channel stormy weather. To establish visceral unity of sight and scene.

    See how close Turner of Napoleon comes to Titian Europe And The Bull. The latter also light and color meteorologically considered. Could have called it Dawn Of Europe, had Titian been Turner. Was in a sense.