under the arch
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    Write by tip of pencil watch by brush of painter, friction largely lost in polish of no-resistance-media suspended in void relocating physical impression of weight such as footprint in mud to contrast of yes/no or on/of. Of which neither is vessel of the other but queued in line of code. Cf friction absurdly observed and preserved by jeans industry exploit and compete only with Rembrandt in value of tear and wear.


    Bernini screwed column very non-Greek. True, columns in contrapposto do exist best known Erechteion porch. Asked those ladies could they carry entablature and they did with ease and composure still do. But screwed column laying around would no more be asked than some drunk reeling around on premises.


    Anglo-Irish monks could have done great things in tympanum of classical extraction since really knew how to fill space like weeds invade whatever part of garden not policed haven of freedom.


    Autun sculptor Gislebertus or colleague figure and figures embedded/immersed in wall. Naumburg master literally step forth from shelter of wall and exposed. Giacometti distant horizon yet immer so close. Like Beckett space out of mind.


    Figure and wall association goes far back in the West. From Greek antropomorphous synthesis in tectonics (Erechteion) over niched figure Roman tradition (example from Uffizi) and northern immersed figuration (St Pierre Moissac) respectively. And so on up to Corbusier modulor of man diffused into abstraction of metrics nowhere to be seen but all around. Given a twist at Kiasma (Helsinki) slanting ceiling marks for measuring how tall.

    All finally over with less is more yet has not climber agility successful concept in modern adventurism and film industry re-establish association of figure and fabric on new gothic scale. Reference back to cathedrals wonder and awe of figured façade (Strasbourg).


    Density, of picture reality first observed in paleolithic art. Mark and imprint of say left hand on wall meet right hand from other side. High five metaphysic tint to it. Veronica's Veil same density of identity. Paleolithic footprint different because mould of mud decides unequivocally if right or left foot no icon. Then again mirror pairing re-introduce left and right as written into twosomeness of life. Pair Hreinn Fridfinnsson 2004.

    Rublev and Riemenschneider observe same density of picture reality. Rather than screen view such as by device of plotted registrations along lines of linear perspective.

    When Andrei Rublev completed his Holy Trinity been through every fact of it. Just like animator in Chauvet been through every fact of lionkind.

    Tilman Riemenschneider reality of The Holy Blood ca 1499-1505 limewood glass Sankt Jakobskirche Rothenburg ob der Tauber, altarpiece condensation of altarspace through tactile qualities and transparence. Remind of The Large Glass, material fact include condense whatever seen through it. Coffee-table-book occasions opposite, scatter dilute rather than act lens of matter.


    Jeremiah St. Pierre Moissac wriggle free from cloggy grip of wall. Exhumed and excavated Laokoon lifelong triggering event and inspiration to Michelangelo struggle of space, his Ignudi early extensive set of variations on same theme. Return resume two decades later picked up and morphed into single figure of Christ struggle for space but then as hatchling. Last Judgement fused with first helpless coming into the world.


    Graceful motion of Eve of Autun within fabric of masonry. Jeremiah wriggle free from grip of rock same but opposite. Pilgram self portraits in Stephansdom figure and fabric distinct yet connected.

    Figure and fabric in North figure and perspective in South. Michelangelo both north and south both sculptor and painter both perspective and mass.

    Last Judgement not framed hence no proper perspective. Cf window frame no frame for somebody leaning out window. Like does Pilgrim.

    Pietà Rondanini figure and fabric mother and son re-composed into broken block and limitless healing. On-going separation read backwards as on-going reunion.


    Michelangelo Lorenzo di Medici and Rodin Bronze Age immersed. In thoughts and sleep respectively. In another world. Naumburg Master on the other hand exposed Ekkehard and Uta, Hermann and Reglindis et al, to inspection of audience present in same place and space they are. Like excuse me in tight spot. And they make it like celebrities by putting up façade or fall victim failing do so.


    Donatello Feast of Herod low relief and vanishing-point perspective, mixed media catching the eye.

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