packet of notes
    [1730]

    Certain laboriousness about Leonardo and Dürer even when model close at hand and well studied as apart from Rembrandt fluent capturing even of exotic motifs as if thoroughly known through long acquaintance was not the case his down to earth nudes remind of no classical norm captured fleeting moment few others even registered before snapshot photography. Since no reason in his mind be perplexed by diversity no labor of execution either.

    [1731]

    Girl watch arrangement two dead peacock from behind hooked on window shutter remember Joseph shop window display with mousetrap for sale in Mérode Altarpiece. Same sense of divide promoting passage of commodities, echoing passage as of annunciation.

    Rembrandt collector of stuff had much to choose from had he wanted to but did but this display of something on display. Cf Duchamp shop window for triggering desire lifted out from fabric of ordinary with disclaimer (spoon 3141) 'penalty consists in cutting the glass and in kicking yourself as soon as possession is consummated.' Happens to desire of desire. Neither case of Rembrandt nor Duchamp.

    [1732]

    Picture emerge from vision 'evidence' from latin e- from, and videre: to see. Doesnot mean all art is evidence of anything since pictures are commodities. As such Rembrandt painting been proposed be used as ironing-board. When art is evidence then therapeutic or diagnostic. Grünewald therapeutic Goya diagnostic... No, much same, Grünewald and Goya alike. Rembrandt neither, simply on-going evidence without anything to recommend it which precisely is recommendation. Everyday understanding does not single anything out as special. Those peacocks in the eyes of a little girl are.

    [1733]

    Rembrandt late self portraits lexperienced. Early ones are projections examples of juvenile posing in front of looking glass. Experience is endless and unframed while projection is one out of many and scattered.

    [1734]

    Mondrian tree, volume and structure light and shade organize any vibrant image. When pier into sea then modeled on tree, trunk with rich crown.

    Prominent position of tree Leonardo Adoration of Magi setting parameters of light and shade as well as providing pattern of focus and periphery of dynamic grouping around Madonna and Child. Couple of men right of tree one gazing upwards another holding on to trunk observing former, read him follow pointing upwards right hand wonder. Raphael Transfiguration sick boy absorb truth above with inwards eyes, disciples only notice by pointing out direction of boy's attention.

    Leonardo Adoration trigger of Raphael Transfiguration. First shot Tarkovsky The Sacrifice closeup of Leonardo tree, camera follows trunk up towards coma. The Sacrifice is father and son raising together to blossom dead tree.

    [1735]

    Origo long stand involvement with groups from Giotto onwards, two directions of development, one exploring confrontation moment of betrayal etc and another absorption sacra conversazione. Leonardo combined the two, buildup of tension/attention goes with accompanying shock absorb depth of nature.

    With Raphael crumble of uniform space no shock absorption, group turns arbitrarily aggregated confused falling apart in spasmodic variation but in the eyes of evidence sick boy holding it all together. Beholder share deep responsibility of transfiguration.

    [1736]

    Vanishing point of perspective help concept much like point without extension in geometry. The train neither drops in speed nor size along way towards horizon but rising waters fade and vanish in peace if not broken and shattered on cliffs. Leonardo deeply involved in kinds of evanescence saw cliffs of rock store in stillness imprint of their own eruptive beginnings.

  • [1737]

    Buildings poor means of establishing sense of permanence collapsing where nature monuments transform. Transformation is permanent.

    [1738]

    Words of Christ wave of shock spread and recoil of commotion absorbed in peace of distant landscape against which tranquil countenance of Christ. See Ernst Gombrich, 'The Form of Movement in Water and Air,' in O’Malley, Charles D. Saunders, J.B. de C.M., Leonardo da Vinci on The Human Body, 1982. Cf turbulence of trapped fish in osier basket absorbed in immensity of sea.