I Meant, more, itself, evidently, unique. | 17 | I The secret of how to get inside the object so as to rearrange how it looked was as simple as peeing the door off wardrobe. Perhaps it was merely a question of being there. I Secret, merely, being. I 18 | reports from Y / A I The history of painting is often presented as a history of succeeding styles. In our time art dealers and promoters have used this battle of styles to make brand-names for the market. I History, styles, dealers, promoters, brand-names. | 19 | I What does all painting from the Paleolithic period until our century have in common?
Every painted image announces: I have seen this, or when the making of the image was I Paleolithic, century, common, image, announces. I 20 | I We have seen this. The this refers to the sight represented.. Non-figurative art is no exception. I Sight, non-figurative, exception I I reports from Y / A I Painting is, first, an affirmation of the visible which 21 surrounds us and which continually appears and disappears. I Affirmation, visible, appears, disappears. | 22 | A presents text Y/ I Without the disappearing, there would perhaps be no impulse to paint, for then the visible itself would impulse to paint.
I Impulse, paint, impulse, paint. | 23 | I Painting is an affirmation of the existent, of the physical world into which mankind has been thrown I Existent, hysterical, world, mankind. I 24 | Analyzes I Many millennia had to pass before an equivalent 'lifelikeness' was achieved in the depiction of the human body. At the beginning the existent was what confronted man I Millennia, likeliness, depiction, confronted. | 25 | a number of early cave paintings there are stencil representations of the human hand beside the animals. We do not know what precise ritual this served.
I Paintings, representations, human, animals. | 26 | I Painting was used to confirm a magical 'companionship' between prey and hunter, or, to put it more abstractly, between the existent and human ingenuity. I Magical, companionship, prey, hunter, ingenuity. I 27 | Analyzes I The encounters between painter and model- even if the model is a mountain or a shelf of empty medicine bottles. I Encounter, model, painter. I 28 | I When a painting is lifeless it it's the result of the painter not having the nerve to get close enough for a collaboration to start.
He stays at a copying distance. I Lifeless, nerve, collaboration, copying. | 29 | I Togo in close meaner forgetting convention, reputation, reasoning, hierarchies and self. It also meaner risking incoherence, even madness I Forgetting, convention, reputation, reasoning, researches | 30 | I Every authentic painting demonstrates a collaboration. Collaboration. | 31 | I The eye evolved and developed where there was enough light for the visible forms of life to become more and more complex and varied. Wild flowers, for example, the colors, are in order to be seen.
I Evolved, life, complex, varied | 32 | Argues Z I That an empty sky appears blue is due to the structure of our eyes and the nature of the solar system I Appears, structure, nature, system I 33 | A tells story Y / A I How did you become what you visibly are? Asks the painter. I Become, visibly | 34 | I I am as I am. I'm waiting, replies the mountain or the mouse or the child What for? For you, if you abandon everything else. For how long? For as long as it takes. There are other things in life. Find them and be more normal. I Abandon, everything, long, things, life. 35 | I There are other things in life. I Things, life I 36 | A tells story Y / A I Began and Robert and his brother White came to spend everything, because it was the Russian new year. I Russian, new, brother. I tried to draw Began. Not for the first time, I always fail because her face is very mobile and I can't forget her beauty. And to draw well you have to forget that. I Not, first, time, forget, beauty, forget | 38 | I This is your last chance tonight, Just draw her, John, draw her and be a man! I Draw, her, man, chance. 39 | I When they had gone, I took the least bad drawing and started working on it with colors- acrylic. I Bad, least, working. | 40 | I The portrait began to look like something. Her 'likeness' now was in my head I Likeness, head. | 41 | I The face began to lend itself to, to smile at, its own representation. I Lend, itself, representation I 42 | A tells story Y / A I I felt elated. Because I had done a small drawing I was leased with? Scarcely. The elation came from something else I Elated, pleased, scarcely I 43 | reports from Y / A I What is likeness?
I likeness I 44 | I The space has contours, and is different for each person mourned. This space with its contours is the person's likeness and is what the artist searches or when making a living portrait. I Contours, searches, making, living I 45 | analyzes Y / A I Sistine was among the great painters of the twentieth century. It has taken fifty years for this to become clear, because his art was both traditional and uncouth, and this mixture offended all fashionable tastes. I Great, minters, century, become, traditional, uncouth.
I 46 | Argues z I It is usually said about the late work of Titian or Rembrandt or Turner that their handling of paint became freer. I Became, freer. I 47 | A Tells a story of I Rueben painted his beloved Helene many times. Sometimes she collaborated. Sometimes not. When she didn't. She remains a painted ideal; when she did, we too wait for her. There is a painting of roses in a vase by Miranda (1949) in which the flowers wait like cats to be let into his vision. Collaborated, ideal, cats I Times, 48 | Argues I More and more people go to museums to look at paintings and do to come away disappointed.
What fascinates them? I Fascinates, museums. | 49 | Analyzes I In art museums we come upon the visible of other periods and it offers us company. We feel less alone in the face of what we ourselves see each day appearing and disappearing I Visible, periods, company, less alone. | 50 | I When painted image is not a copy but the result of a dialogue, the painted thing speaks if we listen. I Result, speaks, listen I I A tells a story of Y I I know of few things more sad than an animal who has 51 lost its sight. Unlike humans, the animal has no supporting language left , which can describe the world.
I Sight, lost, humans, supporting | 52 | Argues I It has been deprived of the existent and with this deprivation it begins to diminish until it does little but sleep, therein perhaps hunting for a dream of that which once existed. I Deprived, diminish, sleep I 53 | A tells a story of Y I The marquise De Sorry De Tollhouse painted in 1790 by David. A solicitude confirmed daily by networks of bodiless and false images concerning the world. Yet, their falseness is not and error I Falseness, concerning, world, networks. | 54 | Argues I Today, to try to paint the existent is an act of resistance instigating hope I Resistance, instigating, hope. I