The Hammock Papers: Transfixed.

23 November 2024

Transfixed.

Rubens, Self-Portrait,1638

Good Lord ...

I remember going to the Uffizi 20 years ago, and tourists were walking around like zombies taking video footage of the entire experience, not pausing to look at the work. I’m in favor of tolerating hybrid spectatorship, where you look at the work and maybe take a photo as well. Obviously, going too far in either direction is also not great: If you’re only experiencing something through mediation, why are you there? And the “slow looking” movement comes across as pretty conservative—it’s excessively reverential and technophobic. I want to make a case for both being possible, for being with your phone as a way of close looking.

It was 1994.

We had left home early in order to arrive when the doors of The Toledo Museum of Art opened.

It was The Age of Rubens exhibition.

Brushstrokes. I can still see the light above the painting revealing the individual furrows created by the individual hairs of the brush that Rubens had held to paint that glove 350 years prior to that moment. We were there nearly all day, but kept coming back to that painting to gaze in astonishment at time, visibly streaked across that canvas.

Transfixed.

On the way home we stopped for dinner at a restaurant that had bagna cauda on the menu. I can still hear her faint giggle as she leaned in, allowing me to gently dab the glistening olive oil from her chin with my starched white napkin, her eyes fixed on mine as she continued chewing and smiling.

What a grand day. No pictures were taken. None were needed.

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WOLFGANG AMADEUS MOZART

"When I am, as it were, completely myself, entirely alone and of good cheer – say travelling in a carriage or walking after a good meal, or during the night when I cannot sleep – it is on such occasions that my ideas flow best and most abundantly. Whence, and how, they come I know not ; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this dainty morsel to account, so as to make a good dish of it. That is to say, agreeable to the rules of counterpoint, to the peculiarities of various instruments etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised, and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it like a fine picture or a beautiful statue at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What a delight this is, I cannot tell."

MARCUS AURELIUS

"Is your cucumber bitter? Throw it away. Are there briars in your path? Turn aside. That is enough. Do not go on and say, 'Why were things of this sort ever brought into this world?' neither intolerable nor everlasting - if thou bearest in mind that it has its limits, and if thou addest nothing to it in imagination. Pain is either an evil to the body (then let the body say what it thinks of it!)-or to the soul. But it is in the power of the soul to maintain its own serenity and tranquility."

VINCENT van GOGH

"What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge. As time passes, other things are increasingly excluded, and the more they are the faster my eyes see the picturesque. Art demands persistent work, work in spite of everything, and unceasing observation."

DAN CAMPBELL