Записи пользователя: Lika_k (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

12:13 

Lika_k
Искусствоед
The dreamed-of balance: to be rooted in the house, in comfortable domestic alliance, in relation—and to have one’s freedom of association, too, weightless, with the quick mobility of air or fire. Both solid and spirited, both fixed and unbound.

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

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

12:12 

Lika_k
Искусствоед
A painting doesn’t especially seem like an object, since we seem always to be looking through it, into it, rather than at it.

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

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

12:10 

Lika_k
Искусствоед
A paradox, that all this light in front of us, on these canvases and panels of wood or copper, is not light, but an image of the fleeting world made out of sold stuff, emulsions of clay and minerals and tinting materials suspended in oil. Thus it is light built of earthly things, and in this way somewhat like ourselves, both solid and ethereal at once, both heavy matter and energetic quickness.

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

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

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

12:05 

Lika_k
Искусствоед
Svetlana Alpert says that looking at Dutch painting is less like looking into a window than at a map or a mirror; these surfaces are intended to stay surfaces; they are the rendered aspect of the world, concerned not so much with the illusion of depth that perspective tries to create as with a scrupulous rendering of the optical surface, things as they are loved by the eye. These rooms are witness to such acts of attention; here is testament to the eye’s profound engagement with the splendid look of things.

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

@темы: english-american, doty, mark, d, citatus, art, alpers, svetlana, a, 21, 20

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

11:52 

Lika_k
Искусствоед
There is a Japanese word for things made more beautiful by use, that bear the evidence of their own making, or the individuating marks of time’s passage: a kind of beauty not immune to time but embedded in it.

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

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

11:34 

Lika_k
Искусствоед
What makes a poem a poem, finally, is that it is unparaphrasable. There is no other way to say exactly this; it exists only in its own body of language, only in these words. I may try to explain it or represent it in other terms, but then some element of its life will always be missing.

It’s the same with painting. All I can say of still life must finally fall short; I may inventory, weigh, suggest, but I cannot circumscribe; some element of mystery will always be left out.

What is missing is, precisely, its poetry.

Part of what that poetry is, I think, is the the inner life of the dead, held in suspension. It is still visible to us; you can look at the paintings and you can feel it. This is evidence that a long act of seeing might translate into something permanent, both of ourselves and curiously impersonal, sturdy, useful.

Of what use, exactly? As advocates of intimacy, as embodiments of paradox, as witnesses to earth, here, this moment, now.

Evidence, thus, that tenderness and style are still the best gestures we can make in the face of death.

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

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

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

11:31 

Lika_k
Искусствоед
The self is emptied into things, and thus the things shine with an astonishing life.

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

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

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

11:28 

Lika_k
Искусствоед
We think that to find ourselves we need turn inward, examining the intricacies of origin, the shaping forces of personality.

But ‘‘I’’ is just as much to be found in the world; looking outward, we experience the one who does the seeing. Say what you see and you experience yourself through your style of seeing and saying.

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

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

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

11:24 

Lika_k
Искусствоед
‘‘Space,’’ Bachelard says somewhere, ‘‘contains compressed time. That is what space is for.’’ How sweeping and unmistakably French, that thrilling intellectual pronouncement!

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

@темы: philosophy, francaise, english-american, doty, mark, d, bachelard, gaston, b, art, 21, 20

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

10:59 

Lika_k
Искусствоед
I was possessed by vanitas; I needed no reminder.

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

@темы: vanitas, english-american, doty, mark, death, d, 21

Citatus

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