I think your idea of "flat affect" felt in severe mental illness being reflected in these paintings is very interesting. However, with regards to de Chirico and Rousseau, I do struggle to get past their technical limitations as painters. The talk about "self" I also found interesting, having read lots of Zen Buddhism (influenced by Hinduism, of course), which talks about the universal "Self", common to all conscious beings in physical reality. Anyway, keep these talks coming. I'd be interested in your views about Christmas, childhood and the chains of nostalgia. Keep on keepin' on.
Hi Steve, I hear you about the technical limitations. With de Chirico that never bothered me that much because, for whatever reason, I find his images so atmospheric. Rousseau - it has taken a long while, but he has definitely grown on me once I found a way (via colour) past the initial childish effect. Maybe there’s no hope for me and a beret plus polo neck jumper will become my inevitable fate?? Very best, Paul.
The architecture presents a dense and impenetrable, solid, and lasting character. The architecture itself seems judgemental and harshly unwelcoming. Hardly human, or compassionate to a human world. It rejects. Blocks. Stands looming.
"Without getting all hortilogically pedantic about it". We must protect this man at all costs :) I think you would like research by Thomas Fuchs on schizophrenia.
You’re right. I show a few Hopper paintings in the first 2 Rear Window talks - like de Chirico, he has an amazing ability to make sunlight seem miserable! Very best, Paul.
The small sliver that we see of the continued wall farther to the right is not just at a higher level than the wall that is directly before the train. It is also small, narrower..which seems to indicate that it is in the distance.
Yes, the idea is that postmodern art is reflecting the lack of grounding in our contemporary social situation - the endless fragmented screens etc. very best, Paul.
What do you think De Chrico's relationship to the idea of the sublime was? Do you think his idea of melancholy is like an internalisation of the sublime?
Great question - yes, I think he sees the sublime in the tension between the passage of time and its constancy (Nietzsche’s notion of eternal recurrence). He translates his modern experience using ancient/classical images & atmospheres. Hope that makes sense, very best, Paul.
@@DrPaulA.Taylor So the infinite in a way, like from his painting The Nostalgia of the Infinite. He was a follower of Nietzsche’s ideas wasn't he but Nietzsche did pronounce that the sublime was dead. I was thinking that maybe the idea of representing the idea of the sublime in the awe inspiring way of John martin or Caspar David Friedrich was being internalised to be the internal space of the mind instead.
It just refers to the unconscious/subconscious - those elements of the human mind not controlled by reason. Goya supported Enlightenment values. The thing he missed, however, was the consequence of too much reason/“rational” bureaucratic structures e.g. the millions of deaths that resulted from the state apparatuses of both Left and Right in the Twentieth Century. Very best, Paul.
@@DrPaulA.Taylor I see….Reason is taking a break,right? I’m reminded of the song by Handel: As steals the morn upon the night And melts the shades away: So Truth does Fancy's charm dissolve And rising Reason puts to flight The fumes that did the mind involve Restoring intellectual day. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PVCtCxnJyKY.htmlsi=m99FNozZy2uWQo1c
