Calm - hooked by sheer wildness of the galloper - TJC in Getty Jan 25 2000 - encapsulated in a framed morceau below text - taken hooked by rider's flashing hair & arm flung forward demanding that this horse anchored to ground by hind-legs go forward anywhere at all impossibly there it stays at edge of Calm as if to race off into some other pictorial space presumably pendant Storm -
then TJC notices peculiar relation to [peculiar] structure of wash-house/stable building - an NP overlap - horse appears to rest belly on a block which by analogy must be assigned to a brick pillar base of the building - behind- it horse seems stuck immobilised to pillar in spite of all urging urgency of posture of rider - as stuck in place as any picture cloud in picture sky - & time of day famously undecidable - Claude Seaport in NGLondon was assigned to morning & to evening until Martin Davies discovered a clock at 2.45 pm. Tempting eh?
Wash-house comes in later in TJC text - & little tower behind - what belongs to what as structure lines and edges of light and dark confuse - orderly Poussin contrives paointing-grammatical disorder here as in Eliezer & Rebecca for Jean Pointel - close/slow reading discovers as NP paintings composed of morceaux zones implied unstated sub-frames
clouds/rocky mountains made of same colours become distinguishable as TJC notes - soft cloudy vapourous clouds also cloud nearest to rock same colours cd be a very large detached pieces of mountain about to fall as if on citadel - same colours different material - cf Echo fading in to rock TJC remarks on later in Louvre Narcissus - there's much there of same kind in that painting he doesnt note - but mountain lump can't be meant to fall on citadel because it is meant for many miles away - surface/space game as with horse/pedestal or in Confirmation I woman points as if poking someone in the eye, but no, becasue there is an implied pictorial space between - interesting to read these NP thoughts coming to light in TJC ?first time he's encountered such in NP? this concealed/unconcealed visible structuring of picture illusions fast-forwards to Rene Magritte 1920s & Marcel Duchamp & his succession in 1960s
good these discoveries alone shd disconcert exclusive attention to what are supposed to be the signifieds of Poussin's graphics - in which supposition graphic 'signifiers' are commonly so taken for granted that they are not looked into go unnoticed - disturbing iconology a la Pan with necessity to regard the intelligencee that informs painting of motifs
cheers T
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