clean of expression
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    Task of court painter articulate formalized resistance to change slim space of freedom overwhelmingly explored by Holbein veiled sympathy and by emancipated brush of Velázquez catching of impermanence in permanence of rank.


    Ambassador Peter Paul Rubens crucial contribution to Velázquez. Not improbable Velázquez followed copying work in Royal Collection mid 1630s Rubens in Madrid on diplomatic mission. Suppose Velázquez saw what he did to Titian Andrians donated to Spanish king a few years later in 1639. True, Rubens could not have painted his Andrians with Titian original before his eyes but why not from sketches had brought with him from early years in Rome?

    Velázquez saw and learned Rubens performed rather than copied Titian. Saw free hand action reading comparatively neat and crisp visual propositions. Glenn Gould said something like loose and supple hand being necessary prerequisite of supreme joy. Servant and sovereign in one. Holds for Gould ambassador of Bach. As well as for court servant sovereign Velázquez. Supreme joy about him. In sense of craftmanship. Cf John Coltrane A Love Supreme dead serious love no flirting nothing crowd pleasing but from supple source.


    Rubens not so much composer and inventor as outstanding performing artist repeatedly hired for producing big machines. False front buildup powerful vacuum strong longing for attachment and intimacy realized in his family portraits. When painting near and dear painted like when copying Titian, pure performance for simple reason nothing had to be invented where nothing amiss.

  • [1831]

    Brushwork would be daubs of paint on canvas if not tracing image in mind of beholder.

  • [1832]

    Structure-by-tempo paramount to Gould. Pianist might experience initial discomfort of deprived space of articulation when playing organ since keys not weighted for subtle touch. Pressing key on organ is simply opening valve. First impression of talking in soundproof chamber vocal coloring lost until accepted by accommodation. Gould said early training on organ taught him tempo was all! From micro pauses to overall timing. Primary way finger playing organist articulate organization of sounding space.


    Nothing to touch in mirror but mirror itself. Rembrandt abstained from mirrors in his paintings. Velázquez, Rembrandt's peer in brushwork knew vision reach beyond touch made a point of significant blur matter of tactile experience.

  • [1834]

    Sight is one since light is one. What source of light enables dream vision? Could dream light be turned up for better seeing?

  • [1835]

    Picture is image intercepted by surface.

  • [1836]

    Velázquez include even what overlooked.


    Mirror portrait Rokeby Venus smeared and diffuse, painter looking at and in mirror leaves vague. When Rubens depicted reflected face of Venus, prism-cut mirror edges and her portrait same degree of accuracy odd twin sisters one of them like peeping through some kind of mobile hole in wall looking at sister when mostly me and my projection reflection can be told apart.

    Meeting beholder gaze way self reflection regularly manipulated in motion picture letting beholder sneak into protected sightline of self immersion. Velázquez loose loop of pink ribbon retarded on top of smokey distant greys that do not reach face they suggest. Cf musician positioning voice of instrument close to where intonation happens or far away from it or somewhere else between whisper and distant. Listen to Miles Davis Sketches of Spain for touch of Velázquez.

    Try see very face of mirror whilst steadily looking at your face, takes will-power get glimpse of yourself only vaguely present yet what articulation requires, what Velázquez was after. Are not best performers only vaguely present? Are we not very sensitive to performer know all too well what they do little else than see themselves in mirror we put at their disposal by our presence? Bob Dylan seem largely developed vague indifference of Velázquez, no clear division setting things apart but intertwined.

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