PETITS SOUVENIRS
To say it variably is of the prime tasks of the poet. And I’m almost certain
it’s hyperbole, but I don’t believe, at this hour, I’ve ever been
more delighted and informed by a work of literature before.
Such Learning! “Get me a hammerhead Corvette!”
Valuable lessons collect in the journals of many who keep them, and this, I call
upper middle-class, even wealthy, painter, writer, colourist Eugene Delacroix
is example of such.
On the hook to J. A. M. Whistler and the circuitous ways of happenstance
for guiding me to Delacroix; increment, I should be very much too friendly
with inaction; add awry, deliberate loll and loaf egregious
were his name not mentioned here and early, despite his contemptable stand
on turmoils of his day like the american Civil war and that of the boers Downunder,
whence in future he may get more consideration and treatment
than he has to date, because his views and battles For Art are legendary
and should be! as hinted in another place – J. A. M. W. I mean.
- Early in his tome Delacroix writes to himself, “L’habitude de l’order dans les idées
est pour toi le seule route au bonheur; et pour y arriver, l’order dans tout le reste,
même dans les choses les plus indifferentes, est necessaire.” “Cultivate
a well-ordered mind, it’s your only road to happiness, and to reach it,
be orderly in everything, even in the smallest details.”
Thus, and with more in great number, both specific to life in general and painting,
drawing, representations of nature in particular, Delacroix teaches one of the ideals
true art finds it must come to, to do good, large work, found in this work.
Separation of Art and Science - to say that in art there is no science,
or that in science there is no, or little art, is, in Delacroix and others,
shown Rousseau! standing in the shifty slush of life-denying haunts of falsehood
deliberate or otherwise, they thought to make land.
And it baffles now, and brings crier call, how any artist, of what stripe may,
even a scientist! shall there do without Delacroix’s thoughts and observations,
even though this is my `late’ go ‘round to.
- And then what difference does anything anyway make!? The impossible
to answer question. Perhaps the only one.
So painters wanting a bolster or lesson in colour, contour, method, off-tram here!
Musicians inviting both notation, intoxicated point, counterpoint
(that Mozart once flicked to the dust in advice against) and improvisation,
you too should get off here! Watch out Baudelaire!
Well then, the poet? You, I assume, are alike all the rest of that breed, ready,
at full search and rescue of every aspect, sign-totem, inflection and possibility of art,
ideas and language, so add if you have yet to, this mind to cache.
This wordy (review)…I designate in my conceived negative brackets of mathematics,
or Yeah right! antonym (ready irony) of language, because often more embarrassed
by the loss of good-taste civic than informed in any real way by art criticism,
I desire to, in the anecdote of antiquity and my dear Mother, say primarily
what is good and little opposite (That’s a joke!) within flow-capture,
within which the professional critic will find no bit of criticism nor much
being able to keep up, as probably haven’t, instead, in fact, hagiologies enter.
- And I don’t apologize, since, as against much biting criticism (again, Ha ha!)
roused is energy and enthusiasms, so that at these intervals, unless otherwise stated:
these reviews are of of paean, kudo, praise, I pray.
In this, among primary sources, I used – The Librairie Plon, French text par Andre Joubin
with its gifty quires, signatures; the La Palantine, Geneve; and the handy red Phaidon
translation of Lucy Norton chin-up on that splendid missal India paper.
Across citizens! in keeping with Delacroix’s useful on brevity in writing,
which may correspond to that reserve noticeable in the best of art,
I will in brief, attempt the readers’ patience and detentions more.
-------------- Diversion (journal inspired!?!)
To this dimension: Consider an agreement of terms! Like in the good old U.N. |
The tendency toward disorder in any system has to add its increment,
i.e. number, in the numberless. | Then, with number, material may be present;
i.e. a list, measurement, an article, a thing; or perhaps to form independent power is added,
i.e. The Animated! Man manufactures. God Designs! |
End Diversion ---------------------------------------
Early in the Journal too, Delacroix tells us that… ?
“‘Corot goes deeply into a subject; his ideas come to him
and he develops them as he goes along;’ this is the right way to work.”
Work along. Take what comes; and yet he too planned!
And I greet with laurel his friendship with those lights of his time, even though,
he was as stubborn for solitude as the best of um.
There was M.M. Beyle & Dumas, Mme Sand, M. Chopin, Horace Vernet, M. Rossini,
his troubles with his senior M. Ingres that I’m not sure we know enough about;
and oh! to shutter his untiring Jenny would be unspeakable;
constance! You are loved!
- This man who loved Daphne-turned, touched judicious on the geometry
of wave mechanics, if I’m not mistaken, or at least he went three-layer or so
for their (waves) dependent-upon-locale on the globe and sand make-up etc.
explanation for the distinct-place patterns he found in different locales;
that there was something un-studied there. - He mentioned
the regular features of beauty, which recent surveys of faces,
using the term symmetry, suggest. - An effort could even be made,
to imply that he may have anticipated, fallen upon, put letters to
Whistler’s so-called ‘secret of drawing’ twenty-two years before
in his, Delacroix’s, 11 January entry of 1857, in which, in his notes
for a Dictionary of Fine Arts, under the heading “Drawing. (we find) From the center
or from the contour.” And although said to be and indeed never completed by him,
he puts such a good start on his Dictionary in the January and February entries
that year, and right through 1860, that it actually startles and even better makes
his book. But again, as he and others have said, such comes/came from
the study and practice of a lifetime. - His attentions to the details of everything light hits,
and shadow, i.e. “younger subjects have lighter shadows,”
and that “the edge of every shadow contains violet,” very much intrigue.
– His admonishments against impatient handling, one of the challengers of finish,
will lesson every artist. - The translations of the eye that, in arts that need same
may bring the very fugitive finish the artist was concerned with.
- And while we’ve all read others of his era, and those immediately following
and before, oring mournful predictions for the future of man,
his June 1856 thoughts seem extraordinarily prescient.
- Nor did architecture, sculpture or music find themselves without setting;
and writing again, gets an informed, airy, often stern place,
as in turns it is buoyed and embarrassed, though I was fed poetry I thought,
and rapture. But that I suspect, was because a tremendously striving artist was at work.
Now, none of this a reader may find sticks out for them in the plenty of this work.
Still, like Life itself one must stand for her – Nature, which is art,
and the Melancholy after-awe she too brings. And I end by pointing
to what he said one-day mid-life, “Spent the whole day by myself;
Jenny and Julie went to Paris to fetch the wine. Worked all the morning
and arranged my papers in great good spirits. About two o`clock
I began to feel tired and walked across the fields towards Soisy.
“I went farther than usual, but still not as far as the great avenue;
like Robinson Crusoe, I am busy exploring the interior,
and shall end by knowing all the country within reach of my legs...
that night I was enraptured by the stars. How quiet it was!
How much nature accomplishes in this majestic silence!
What a racket we make, who are doomed to cease and leave no trace behind!”
- I get your meaning! Long term. But Dude! what you Delacroix have left,
does so far remain!
Copyright © 2017 (23 July – 04 August) Joseph Marcel Duvernay.
Note: “Petits souvenirs” – Delacroix; entry 31 August 1855. = “Brief memoranda”
– L. Norton.
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