it was a quarter to five
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    Sign said Waiting Room. Had they come do waiting proper? Watteau innovator of body language. At long last self-sufficient contrapposto gotten rid of as well as calling of attention of Roman orator retired gesture. See how little remains of Kritios or Aulus Metellus in figure of Gilles. But of course who would support Gilles at referendum?


    Movie cliché somebody meet beloved behind bars close connection by separation. Trick of trade something sticking out into beholder space deep roots in Flemish art. Rembrandt made canvas his repoussoir enhance proximity.


    Embedded tableau vivant announced by backcloth Le Nain Watteau Manet matter of sight while intimacy of Affinitas happens in Rembrandt domain of touch equals friction of brush.


    Embedded tableau vivant of Scena cued on discontinuity. Backdrop of Le Nain. while Affinitas always continuous. Recurrent knife on verge of falling off or lemon peel spiraling down over edge or picture surface itself Rembrandt Vermeer. Duchamp possible draught through glass of window as suggested by openings of the Top Inscription in region of the Bride provides for possibility of indefinite depth.


    Repoussoir and background complementary aspects of Affinitas continuum. Venues with marked entrance and exit organize space similarly. Discover hitherto neglected emergency exit in Vermeer painting. No. All in texture.

    Bar at the Folies-Bergère. Is it not as though continuity of Affinitas and dis-continuity of Scena collapse in Manet imagination?


    Far eyes of bartender and temple servant persistently watching what is close at hands. Does not barmaid return far eyes of painter? Is not looking one another into eyes as far as one can see?


    No way of evading her pensive attitude no initiative nor anxiety improbable encounter. Is there not always moment of poised expectancy in immeasurable depth following on simple Can I help you?


    Imagine background of Barmaid plain wall her original solitude restored. Manet portrayed her from sickbed. Commotion of setting dim recollection single scene composed of two, diptych of sorts. Cf portrait of Maarten Nieuwenhove in Adoration by Hans Memling: division of single scene into couple of diptych yet overlap.


    Sparks and tinkling glassware spectacle of sound and sight bartender assist doing nothing. Stir of action elsewhere green feet of trapeze artist upper left corner as easily missed as crucifixion in Holbein’s Ambassadors, marginal cues provoking expanding space of perspective. 

  • [1998]

    At mass priest turn altar and congregation alternately in capacity of two-way mediator certain diplomatic suppression of individual case matter of general maintenance of ceremony.

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