there was nothing left to do
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  • [152]

    No watch-me-close about icon only irrefutable material intimacy of hold in hands. Gold is gold from any distance but density of that weight at any distance remembers icon by touch. What would screening an icon mean?

    [1883]

    El Greco Toledo view inspired by Giorgione Castelfranco skyline. Distant city rather Flemish than Italian in origin. Rural rather than urban perspective and vice versa in Italian city state Ambrogio Lorenzetti smoothly running machinery of City Siena from inner city perspective what city can do for countryside whereas Limbourg brothers et al rather from unlimited countryside perspective observing pursuits of shifting seasons as source even of urban-minded aristocracy as in Les Très Riches Heures du duc de Berry.

    Giorgione-El Greco connection no leaving nor approaching, or crossing of city limits but indicating hometown as anchor point of visionary otherwise afloat in fantasy. Home not as in going home or leaving home but steady home indisputably in geography of mind.

    Giorgione fashioned paradigm of cool appreciation so dearly appreciated by Nexus relevant up to this day. Would not have happened had not El Greco been transplanted twice from highground Crete to laguna labyrinth of Venice and then to Toledo. Was not Toledo combination of both? Both obvious terra firma qualities by its hilltop situation like Crete rising from the sea but also exposed to tempestuous weathers at sea level case of Venice. Are not El Greco skies written in maritime terms?

    Seen elsewhere combination of map and land in battle pieces. That young man holding map does he not remind of El Greco son holding torch illuminating Burial of Count Orgaz? Map and torch and map or torch for same reason: illumination.

    Who can tell what is more important, light or canvas? Point is painter cannot but unveil and articulate light of support. Map held up by young man not just any piece of paper to scribble upon, like kerchief not any piece of fabric good for wiping but more like flag in wind map exposed to wind like landscape itself.

    Hospital de Tavera, solid renaissance structure sailing on cloud so as not to block other buildings had it been placed where it actually sits in the city.

    Duchamp reunited with friends in Toledo regularly. His nude in Étant donnés holding up bec auer lamp, she, very much mediator along lines of Giorgione and El Greco. Distinct Toledo feel about Étant donnés.

    [1884]

    Common to Affinitas and Origo articulation of distance between here and there. Affinitas acknowledged and explored point of view which is no point at all but a panorama of intimate details (Vermeer) while Origo marks the point of vanishing, where all measures are lost. The vanishing-point is not a pont of view.

    Neither way option to Passio masters like Vincent and Grünewald both of whom underway all along, not knowing where it started nor where end. Wrong! Knowing perfectly well but then in terms of before-and-after rather than of here-and-there.

  • [1885]

    Merit of picture is provision of watching value does not come out of the blue. The nude provides watching value for picture maker like story-telling reading value to writers since time out of mind.

    [1886]

    Critical eye take measure of value, what eye measure is: agent of perception.

    [1887]

    Evidence is mutua,l Olympia look back at Manet making her party of firsthand authentication, of fact overseeing the act of being watched, conspiracy of mind and value for the good of any beholder standing in for painter.

    [1888]

    Driftwood passing in complete stillness branch of riverbank tree trailing in stream catching eye of sedentary attention revealing embedded force of otherwise unperturbed flow.

    Family group Giorgione Tempest comfortably embedded adrift in charged silence of nature, Titian Venus posing restfully against background maids causing slight commotion. Without turbulence of some obstruction one would not notice being carried away in stillness.

    [1889]

    Desnuda and vestida companion pieces and divided superposition. Why would one guess desnuda painted first but best beheld in second place?

    Tabula rasa cleaned tablet blank wax slate ready to be re-impressed even and again. Writing and drawing exploit integrity of surfaces of support. There is clean table under laid table. A map can be folded out on support of tabletop, see Gunnar Olsson account in ABYSMAL. Or Rembrandt canvas rolled out on table be used for an ironing board according to Duchamp and so forth. Without integrity of support no clarity.

    Canvas to support image of her nudity is her clothes. Clarity is idea with appeal considered in the nude afforded by some kind of clothing to reveal and support it.

    Integrity of support expressed by some token. Could be chequered. Pattern, proof of existence of clothing. Even tattoos. 2D visual arts are special only in that they enable self portrait and strip tease. Stripped building or melody as self portrait means something but then as translation of what graphics achieves more directly. Goya was simply very graphical. His clarity both dark and desire.

    [1890]

    Valet de chambre Velázquez namesake of painter no relative in background doorway momentarily retarded by glimpse of king and queen posing for portrait. Could have supplemented certificate of caption: Velázquez fuit hic but which one would really insist on being there? A glance raising no eyebrows all there is. Happenstance far cry from distinction.

    [1891]

    Toledo El Greco rock in the river his Aegean birthplace revisited inlands middle of Spain high ground and harbor of safe returns.

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