under the hat
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    [1963]

    Olympia different from her sisters: Venus of Urbino Rokeby Venus and Maya, insinuate something beyond act of portrayal. Olympia totally contained meand she looks like painter, same attentive eyes mutual immersion completely devoid of initiative beyond acknowledgment or him her.

    Two sources: Le Nain for one. From him Manet learned isolate figure even in group lonely soul. Original type of model being French wood mannequin for displaying haute couture in the 1600s from where even catwalk models got their zero set facial expression. Cannot resist read sorrow of soul into void of zero set eyes.

    [1964]

    Her expression that of painter makes Manet best self portrait in relaxed concentration difficult to portray because easily disturbed by vanity. All in eyes of beholder Daumier country, man planted in relative focus looking back observer like Manet bar-maid. Daumier cool Lester Young.

    [1965]

    Daumier and Goya painting and drawing no longer related sketch and complete but art and graphics latter no longer support former.

    Graphics political as in very graphical. Art personal. Signature art.

    Graphics undeniable language. Goya. Anonymous as in common. Grammar is anonymous. Signature no grammatical statement.

    Both mental not retinal. Goya explodes hopeless. Daumier reassurance reflected in thoughtfulness of anyone perceptive.

     

    [1966]
    Degas found his models backstage or observed in wings, his point of view that of stagehand. In other words: avoided picture surface to coincide with invisible fourth wall of theater. Cf. Manet who, in line with Le Nain and Watteau, let surface of picture co-occur with invisible fourth wall of theater.
     
    ‘Invisible fourth wall’ outdated concept yet constant in digital setting of pixeled presentation. Since various camera techniques developed concept of ‘screen’ let dominate depiction. Duchamp contemplated/articulated screen concept through notion of The Draft Pistons (in The Milky Way or Top Inscription) modelled on thin gauze billowing curtained open attic window from childhood family home memory.
     
    Beckett Endgame openly inspired by Duchamp. Notice Duchamp understanding of chessboard as screen allow for all kinds of draft events in mind of beholder. Cf. Beckett film Film. Done back at time when films were screened by lens projecting light inverted camera eye absorb light (projector and camera relate to one another much like fan and vacuum cleaner). Plot is: protagonist try put end to realm of picture-screen wherever turn up. Pictures, paintings, present little problem, turn face them to wall or cover or stow them away and that’s it. Still, projections emerge unstoppably from all corners of a mind watching the world. What imagination amounts to. Tricky, since Film goer in process watch screening of same film as something to be avoided.
     
    Jan Malmsjö Krapp's Last Tape, November 24, 2017, Dramatiska teatern, Stockholm. Opening scene: complete obscurity faintly breathing light rise and set on Krapp bent down head on table etc. Distinct Caravaggesque quality. In place of curtain, screen of gauze, so fine invisible adds just slight measure of diffusion onto Krapp, or as if projected on sparse mesh of fibers from behind. Suddenly, with a thud, curtain, obviously loaded, fall to floor. Rest is naked. Cf. relation: Krapp's taped and un-taped sound of voice. Draft event.
    [1967]

    Degas much of Origo solitary mind, his ballet dancer remind of  Donatello solitary figure.

  • [1968]

    Watteau staging relied on street observation. Manet saw and learned.

    [1969]

    Maid meet Manet beholder at altar of bar in temple of pleasure portrayed her from sickbed of his bedroom. Setting mirrored in picture mirage of recollection.

    [1970]

    Watteau 'theater' contingency of unconnected street observations: attitudes embedded un-noticed in passage, choreography no issue, turn relevant through capture on screen. Cartier-Bresson followed suit.

    [1971]

    Watteau eye but Cartier-Bresson did not transfer street observations to stage. Degas position somewhere in between unexpected backstage moments of defined choreographic lineage.

    [1972]

    Watteau and Poussin composed like for puppet show. Poussin arranged small paper clip figures on table set for purpose. Watteau  sketch pad collection of attitudes. Difference is Poussin picked his puppets from canon while Watteau from street.

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