Paul's impressions of Monet's impression -
>But as he became increasingly blind, his pictures of the same place in the
>garden (those BIG canvases that were on display in Montreal at the time of
>the '99 AERA) don't seem to reveal an increasing
>transformation/approximation to any "unknown realities" but rather a
>blurring, dimming, and loss of color of what he had previously depicted.
>This produced sequences that rather chronicle my own experience with aging
>vision.
remarkable - i've seen the original panels in Musee L'Orangerie, a fwe
others in Mont Martre
and i've seen some at the Art Museum in Chicago -
what struck me was that looking closely at the paintings revealed
meaningless blurs of colour,
blurs of imagery, scenes bleeding into one another, and so on - a lack of
clarity, it seemed,
up close,
and then, by accident, crossing a corridor, glanced in at the paintings i
had observed and
was stunned by the detail and clarity, as if a photograph and not a
painting.
i've observed this in all exhibits i've visited featuring Monet - that the
clarity emerges with the suspension of conditioned perspective.
it is when you are not looking that the details are present, when you are
not inspecting the canvas that the experience emerges.
sometimes we have to let go and just let stuff happen to us, without
intruding our selves into the possible apprehensions that are always
there.
diane
**********************************************************************
:point where everything listens.
and i slow down, learning how to
enter - implicate and unspoken (still) heart-of-the-world.
(Daphne Marlatt, "Coming to you")
***********************************************************************
diane celia hodges
university of british columbia, centre for the study of curriculum and
instruction
==================== ==================== =======================
university of colorado, denver, school of education
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