Записи с темой: nederlands (список заголовков)
12:15 

Lika_k
Искусствоед
And yet there is no sense here of a drive toward personality, of marking the work with an unmistakable sense of individuality. The work has this unmistakability about it, when one gets to know the signatures of individual painters, but I do not believe that was their goal—their attention was turned outward, toward that which was to be represented. There is an odd quality of egolessness about these pictures, when one takes them as a whole; they represent a grand, collective visual enterprise, a kind of a team inquiry into reality, and they abandon the stuff of personality in order to look deeply at the world. In this fiercely burning gaze, personality seems burned away. (One can see exactly where this practice of abnegation ends, in Rembrandt, where suddenly the glorious, entirely idiosyncratic Self is everything.) But in my beloved still lifes, this hasn’t happened yet; the painter’s overt attention is turned toward the world.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: r, nederlands, english-american, doty, mark, d, art, 21, 17, rembrandt, harmenszoon van rijn

12:08 

Lika_k
Искусствоед
as Norman Bryson has pointed out in a very useful book of essays on still life called Looking at the Overlooked—that everything in this upclose, bodily space is delineated with such clarity. We’re accustomed to not seeing what is so near to us; we do not need to look at things that are at hand, because they are at hand every day. That is what makes home so safe and so appealing, that we do not need to look at it. Novelty recedes, in the face of the daily, and we’re free to relax, to drift, to focus inward. But in still life the familiar is limned with an almost hallucinatory clarity, nothing glanced over or elided, nothing subordinate to the impression of the whole.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, bryson, norman, b, art, 21, 20, 17

12:03 

Lika_k
Искусствоед
The profusion of minutiae,’’ the catalogue says, ‘‘underlines the impossibility of being able to completely chart, let alone comprehend, the still life."

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: 21, d, citatus, art, nederlands, english-american, doty, mark

11:55 

Lika_k
Искусствоед
Erasmus thought such painting made us ‘‘twice pleased, when we see a painted flower comparing with a living one. In one we admire the artifice of nature, in the other the genius of the painter, in each the goodness of God."

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: english-american, e, doty, mark, d, citatus, art, 21, 17, 16, nederlands, erasmus of rotterdam

11:32 

Lika_k
Искусствоед
Someone and no one. That, I think, is the deepest secret of these paintings, finally, although it seems just barely in the realm of the sayable, this feeling that beneath the attachments and appurtenances, the furnishings of selfhood, what we are is attention, a quick physical presence in the world, a bright point of consciousness in a wide field from which we are not really separate. That, in a field of light, we are intensifications of that light.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

11:29 

Lika_k
Искусствоед
And yet there is no sense here of a drive toward personality, of marking the work with an unmistakable sense of individuality. The work has this unmistakability about it, when one gets to know the signatures of individual painters, but I do not believe that was their goal—their attention was turned outward, toward that which was to be represented. There is an odd quality of egolessness about these pictures, when one takes them as a whole; they represent a grand, collective visual enterprise, a kind of a team inquiry into reality, and they abandon the stuff of personality in order to look deeply at the world. In this fiercely burning gaze, personality seems burned away. (One can see exactly where this practice of abnegation ends, in Rembrandt, where suddenly the glorious, entirely idiosyncratic Self is everything.) But in my beloved still lifes, this hasn’t happened yet; the painter’s overt attention is turned toward the world.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: art, 17, nederlands, doty, mark, d, 21, english-american

11:26 

Lika_k
Искусствоед
But still life is about the given. And in both senses of the word: that which is always at hand, which we take for granted, and that which is offered, proffered, which the world provides for us, the now. At hand: to be grasped, to be lifted to the mouth.

It is an art that points to the human by leaving the human out; nowhere visible, we’re everywhere. It is an art that points to meaning through wordlessness, that points to timelessness through things permanently caught in time. That points to immensity through intimacy. An art of modest claims that seems perennial, inexhaustible.

Deep paradox: things placed right next to us, in absolute intimacy, yet unknowable. Full of history, but their history is mute; full of associations with particular people, moments, gestures, emotions, and all those associations unavailable now, nothing left of them but a residue, as if accumulated feeling could dissipate into the air, into a haze or vapor of human presence. And perhaps that’s another of the paintings’ secrets: they satisfy so deeply because they offer us intimacy and distance at once, allow us to be both here and gone.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

11:16 

Lika_k
Искусствоед
All those painters, all their lives looking at reality with such scrupulous attention, attention pouring out and out, and what does it give us back but ourselves? What is documented, at last, is not the thing itself but the way of seeing—the object infused with the subject. The eye moving over the world like a lover.

And so the boundary between self and world is elided, a bit, softened. And that is another secret of these pictures: these tulips and snails, grapes and cheeses are, at last, human bodies, if bodies could flower out.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: d, art, 20, 17, nederlands, english-american, doty, mark

11:13 

Lika_k
Искусствоед
Coorte’s asparagus, his gooseberries and shells, distill this quality down to its quietest, most startling essence: the eye suffuses what it sees with I. Not ‘‘I’’ in the sense of my story, the particulars of my life, the way my father tended his old asparagus beds each spring, the way my beloved loved the forms and colors of shells. But ‘‘I’’ as the quickest, subtlest thing we are: a moment of attention, an intimate engagement.

Is that the lesson, then, that ultimately I becomes an eye?

What is left of Adriaen Coorte but this? Isn’t that enough?

Certainly this is true of poetry, the poems of the dead. Where there was a person, a voice, a range and welter of experience compressed into lines and images, now there are only lines and images. Where there was a life, now there is a form.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

11:10 

Lika_k
Искусствоед
A painting of asparagus, a painting of gooseberries, a painting of five shells arranged on a shelf. Exactitude, yes, but don’t these images offer us more than a mirroring report on the world? What is it that such a clear-eyed vision of the particular wishes to convey? A way to live, perhaps; a point of view, a stance toward things.

Let me try to elaborate.

First, a principle of attention, simply that. A faith that if we look and look we will be surprised and we will be rewarded.

Then, a faith in the capacity of the object to carry meaning, to serve as a vessel. For what? Ourselves, of course. I mean that the objects depicted are, ultimately, soulful, are anything but lifeless. Of course they have lost their particular contexts, all the stuff of narrative, the attached human stories that would have placed them in some specific relation to a life, but they are nonetheless full of that life, suffused with intimacy. Louise Glu¨ck has written that poetry is autobiography stripped of context and commentary; this statement is true of still life as well—how else could these few things on the table before us, arrayed against the dark, glow with such a fierce warmth?

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

10:56 

Lika_k
Искусствоед
Zbigniew Herbert suggests that such paintings ‘‘increase the store of reality’’—they offer us more images, more world. More world, just when you think you’ve seen what there is to see.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: 20, 17, polish, nederlands, herbert, zbigniew, h, english-american, doty, mark, d, culture, citatus, art, 21

10:50 

Lika_k
Искусствоед
The most beautiful still lifes are never pristine, and herein lies one of their secrets. The lemon has been half-peeled, the wine tasted, the bread broken; the oysters have been shucked, part of this great wheel of cheese cut away; the sealed chamber of the pie, held aloft on its raised silver stand, has been opened. Someone has left this knife resting on the edge of the plate, its handle jutting toward us; someone plans, in a moment, to pick it up again. These objects are in use, in dialogue, a part of, implicated. They refuse perfection, or rather they assert that this is perfection, this state of being consumed, used up, enjoyed, existing in time.

But there’s the paradox—they are depicted in a moment of being seen, contemplated between the experience of tasting, smelling, devouring; but this depiction places them outside of time, or almost outside of it, in a long, slow process of decay, which is the process of oxidation, of slow chemical transformation, like the paint in Nellius’s medlar going cloudy under the influence of extruding crystals of arsenic. Whatever time may have done to the original fruits, their depiction is now safe from the quick corrosions of local time and subject to the larger, slower depredations of history.

And thus something of the imperfect, the quickly passing, the morning meal with its immediate pleasures has been imported into the realm of perfection, into the long, impersonal light of centuries.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, doty, mark, d, art, 20, 17

10:44 

Lika_k
Искусствоед
At first still life seems so entirely of this world—a clarification and celebration of what is—that it can have little to do with mortality. But in truth, the secret subject of these paintings is what they resist. What they deny is also the underlying force, more potent than lead or tin or orpiment, that makes these lemons glow with life. Everything in the field of our vision is passing. And some of these things will be here just the briefest while; these opened oysters, this already-spotted quince are right at the edge of corruption even as we catch sight of them.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

10:42 

Lika_k
Искусствоед
This was my first intimation that style had something to do with death.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21

10:40 

Lika_k
Искусствоед
I have friends who actually own a painting that feels like this, a panel from the seventeenth century. A physical fact, historic, material, but still like my construction made of memory in that it represents a poetic field of objects arrayed against the dark, things somehow joined in a conspiracy of silence, some whispered communion between them, a dialogue we cannot hear.

An old, collegial conversation, taking place not in the time of earth, from which these things have been plucked, but in the time of art, which is a little nearer to the time of eternity than our poor daily gestures. Unlikely circumstance, it seems to me, to possess such a picture, like owning a mountain or a great public building. How strange to own such a compressed vision of domestic interiority, such an artifact of intimacy. A vessel of feelings whose subject has long since vanished, but which remains, a fixed distillation of emotion.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21, 17

10:32 

Lika_k
Искусствоед
But then why resist intimacy, why seem to flee it? A powerful counter current pulls against our drive toward connection; we also desire individuation, separateness, freedom. On one side of the balance is the need for home, for the deep solid roots of place and belonging; on the other is the desire for travel and motion, for the single separate spark of the self freely moving forward, out into time, into the great absorbing stream of the world.

A fierce internal debate, between staying moored and drifting away, between holding on and letting go. Perhaps wisdom lies in our ability to negotiate between these two poles. Necessary to us, both of them—but how to live in connection without feeling suffocated, compromised, erased? We long to connect; we fear that if we do, our freedom and individuality will disappear.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: nederlands, english-american, doty, mark, d, art, 21

10:30 

Lika_k
Искусствоед
when we describe the world we come closer to saying what we are.

Mark Doty, "Still Life with Oysters and Lemon: On Objects and Intimacy" (2002)

@темы: poetry, nederlands, english-american, doty, mark, d, art, 21

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