they want him to drop
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    Difference of ‘envoy’ and ‘actor’: Holbein’s Ambassadors are identified by style while Watteau actors by the set. Curtain behind ambassadors, not that of theatre or if so, then like when manager of establishment appears in front of curtain to give some supplementary information. When curtain drawn neither style nor mask needed to prove that actors perform since the set transforms any presence on stage to stage-production

    Floorboards of theatre mark anywhere whereas Holbein’s French Ambassadors stand firm on tiles of colored marble mosaic in Palace of Whitehall copied from Roman Cosmati paving of 12th 13th centuries, to prove and establish their presence in a defining locale of that foreign land to which they are: the ambassadors


    Vincent farmers rest in home nature while Le Nain farmers pose in front of nature as conjectured by urban mind.


    Rembrandt posed his models in windows behind tables et cetera did not separate but connect beholder and model. Cf invisible screen separating beholder from Le Nain figures, divide of shop window, uneasiness of sitting, town people commission showing tenant farmers having been forced to sell off their property to those who portrayed betrayed them.


    Hendrickje posed Basheba and Susanna and painter portrayed himself in guise of Paul. Would this suggest scena approach like developed by Le Nain brothers? No, Rembrandt never set his models against a false front hence no impersonation. And Hendrickje is even less theatrical than she would be if not seen through her given biblical persona. Cf wonderful complete failure of role playing of little girl Easter witches.

  • [1936]

    (i) Origo desire to control desire
    (ii) Affinitas sharing in the same
    (iii) Compassio vibrant music and pain
    (iv) Nexus amalgamate appearance and apparition
    (v) Scena mask and exposition.

    Conceive of these modes of presence as domains of articulation developed within (i) Italian (ii) Netherlandish (iii) German (iv) Spanish (v) French context respectively.


    Atttitude and move of Watteau figures suggest hide-and-seek nature of Scena. Would this be case also of Origo or Affinitas? No, controlled desire of Origo is Giotto dead earnest as any geometry and Rembrandt Affinitas does not know of any games people play.


    Watteau imagine and construct episode from observations of solitary action, figure annotations. Writing in style of Watteau would it not be like inventing story from overhearing only one end of phone call?


    Rembrandt touch of mutual understanding and Watteau asymmetric exploratory moves as observed in game of chess.

  • [1941]

    Wittgenstein building-site-language-games and Watteau stage-set-games alike in affording tentative testing ground of following in compliance with rules. Or even not in case of Duchamp.


    Those people leaving one-love-island of Cythera do they not linger return back to everyday life? Wittgenstein Investigations written by someone return delayed by and from one-language-seduction?

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