First I owe you a confession about the
Lock Fragonard we saw the week
past, I did what I should never
do I self-censorship. My video
on the Origin of the world are now
restricted to adults by the grace of YouTube,
I preferred to keep to myself reading
I'm doing fine in this table. But I
changed their minds, and I will now book:
made of this cloth out of nowhere one knee,
and everything becomes clear. Fragonard has not
represented rape, but his fantasy. He
only took place in the man's head,
but if it pushes the lock is
although the intent to take action.
If violence against women are very
a large majority in the painting,
flesh of men are also undergone some outrages,
as we have seen with Saint Sebastian.
If an evil desire is assumed at the base of
violence against women, what about
violence against men? What is it
stronger than the desire? Death, although
sure, and nothing else. Death alone can
than desire, and it is she who
behind the mysterious veil
beauty. What is happening then when
painting, in a desperate rotation
on itself, seeks to represent the desire
reveal what lies behind the veil of beauty?
Let's start by Caravaggio, the Boy bitten
a lizard. At the prick, his body
disarticulates is, could we feminized
almost say, while his face disfigures
in the thrill of pain. The meat
holds more bones, Gilles Deleuze would have said,
everything falls apart. His identity disorder then,
the familiar and reassuring resemblance disappears,
lizard bite causes a gaping hole
in the fabric of reality. But knowing
life and manners of Caravaggio, which it
or its model is the most shaken, the
more devastated, which of the two staggers the
more greedily at the edge of death, the edge
cruelty, to the brink of destruction,
at the edge of vertigo? Continuing with a table
Caravaggio of inspiration, as sublime
as unknown, Herodias and head of St.
John the Baptist by Francesco Cairo. We have everything
First the feeling that if Herodias
is damaged, it is in the pain of having
John the Baptist lost. His head thrown
back, morbid whiteness of his teeth
in his mouth ajar like that
his eyes rolling, everything leads us into
this interpretation. Until some
thing as possible signs of a spasm
on his face, and the delicacy
livid with his fingers, do lead us to
that hand which grips between thumb and middle finger,
an almost invisible needle in
the language of the saint. While the reversal
Herodias becomes ecstatic, orgasmic,
erotic pleasure and pain. But
knowing that she is the mother of Salome,
it's the same Salome asked
for her mother to a reluctant Herod
to deliver to him on a platter the head of John
the Baptist, and finally Francesco Cairo
painted several versions of this famous
Beheading, which Herodias or the painter
is as close to overwhelm truth?
"Viva la Muerte!" Bellowed troops
Franco bloodthirsty during the
Spanish war. A cry that could have three
centuries ago to serve as a rallying
European caravagistes and to all those who
liked torturing male meat
their paintings. Okay, I go a
bit strong, but I think that a serious
painter worthy of the name is a murderer
lacks the courage of the prison.
