under the arch
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    S-curve structurally foreign to tectonics of cathedral set her off from wall. Contraposto of Erechteion caryatids could not have been traded for S-curve without producing impression of collapsing structure as if made of overcooked pasta. La vierge dorée Amiens.


    Corinthian acanthus capital bale of hay strung together, leaves come out on top of it. Ionic volutes squeezed under pressure. Sculptor in Cruas completely missed the meaning, saw no compression of classical capital rather penetrable vegetation afford passage for somebody bend his way out into clearing greeting us with open arms. Beautiful.


    Restricted space and mass of masonry. Maker of Eve of Autun read free-as-think-tank-bath-tub into narrow space of lintel. Maker of loud lamenting Jeremiah in Moissac stuck-in-sticky-grip of trumeau about to free himself by transcend? Does not Giacometti Venetian Lady somehow remind of Jeremiah but without all that breaking loose ado? Is not an escapologist performance act of awakening? those beautiful kings and queens of Chartres know nothing about.


    Slippery image Feast of Herod on edge between low relief and linear depth. Gattamelata epitome of sculpture in the round. Would not Donatello have nodded in affirmation of Caravaggio match of sight and touch in Doubting Thomas?

    Exposure conncect the two: Caravaggio emergence into light  Donatello from surface-of-relief to linear depth-of-perspective. Go Whale Safari read Donatello correctly huge body slow roll into visuo-tactile domain.

    Exposure, core of Florentine arts since early 1400s. Brunelleschi and Masaccio same for architecture and painting. Stepped out of flatland of icon and linear perspective respectively. Go Florence under ocean get sense of body-of-space alternative to linear perpective.

    Masaccio herald of linear perspective right but terribly wrong, demonstrate with helplines how eyesight collect into point of vanishing when rather work other way round incorporating, almost sinking beholder in same tank swim with dolphins in ocean no vanishing point pinned to horizon.

    Yes, there are flatfish but progenitor obviously fish-in-the-round. Brunelleschi Dome opposite development: from flat to round. The very flat decorated chequered walls of basilica so bent as to produce transitional facets of form retain memory of flatness when enter realm of round between curved ribs meet in crown of lantern.


    See parallel and opposition of Ludovisi Throne Aphrodite and Eve of Autun. Grace of Aphrodite helped out of waters where Eve glides peacefully sleepy dolphin difference of classical clarity-of-division and entanglement of Frankish extraction immersion.


    In linear perspective straight-line objects favor urban predilections. Underlying notion light being composed of perfectly linear beams reach eye not compromised. Dürer explicit: point of view connect to any chosen spot of object by beam registered as a perforation of picture surface.

    Vermeer depth relates to surface differently, more as if objects seek surface where matter and light meet and marry in brilliance of surface tension. Heavy shadow of gray-spotted seal circling under surface now and then catch breath and glimpse before sink back silent. Toni Frissell took photograph of Lady in Aquaspace 1947.

    Jostein Kjærandsen talked about amazing rainbow of colors of hoverfly wings, have been more or less ignored by zoologists because routine portray them against backgound white, kill patterns of shimmering colors, fingerprint of individual hoverfly. Ekaterina Shevtsova photograph of Hoverfly.

    Michelangelo never exposed his figures to the public eye, like did Naumburg ‘celebrity sculptor’ catching Ekkehard and Uta et al in slightly awkward situations. Cf. Michelangelo immersion (Pietà Rondanini) sealed from disturbance of confrontation. His David exception. Not even Bernini, for all his encompassing concerns about helping his audience to a smooth transition from actual to fictional space. Rather make one feel uneasy in company with Cornaro family members on the balcony, as if being among dummies fill empty seat in theater (cf. cut cost for movie shot save number of extras).
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