Auto-Dictated entry

 OK so although I have, well, I guess I can say here that I learned about auto dictation on the iPad so, you know, I’m talking into my iPad now and it's just what the government wants; kind of funny. So maybe we can expect my “writing style" to sound more fluid. Also less dirtiness; for some reason I think I want to see the dirty words; a feeling of taboo which I think is a big driver and kind of an engine for my work; which is kind of terrifying. But, you know, I don’t know. Okay, I want to go a little further on that yeah I think I’m super privileged despite all the weird stuff to happen so I do have to __traverse_ bad experiences and stuff like that but at the same time it's kind of hard to go wrong being the son of a doctor in Florida and shit like that going to good schools and basically having a family that we could afford to participate in raising me and especially before middle school there is a kind of team around my household. 

Some experiences like a kind of you know, between our house keeper. Her name was Mary, kind of like a nanny. Sometimes she'd babysit. She had some kinds and some nephews, and we made something of a kids and nephews crew when we got together. I think it was Mary's cousin Tony that would come over to wash and detail our cars. He had twin boys named Tony and Antonio,  and they had scraggly voices. Mom pulled one of the kids out of the pool once before he drowned. Being twins they had a language, and they called my mom "Blebly" instead of Beverly. There are also neighborhood kids all around it anyway so it’s like, you know, we want to be able to participate in dialogs even if I, or especially if I were under qualified which is terrifying but I think it may be inspiring because it’s kind of like. .  that drive 30 minutes have to interact with, thanks. 

A kid today in a critique for MFA painting looking like he was also very privileged, like he came out of a Lands End catalog. His paintings are really atmospheric and abstract and the critics don't know what was going on really. So, come to find out two of these paintings are of gazed upon, and it’s, you know, if there’s some architecture and again it’s basically just it’s a shape in the center of the canvas and then around it is like this kind of atmosphere it’s all in the US but he said he was standing in front of the city courthouse and he saw his big building so he’s a painting  homeless man and we were so far into the critique and talking about the formal aspects of his paintings that do you know what it came out that these are paintings of homeless man we kind of stuck to the formal aspect because they were larger problems or whatever but someone else pointed also there’s like a ladder and what are these all I can say is this ladder what is that and the weather was very clearly to pick it style soon replied oh that’s that’s like a symbol for this kind of superior wisdom this homeless man. OK so here’s like white guilt here’s privilege or something like that playing out so I guess it’s that I don’t I don’t grass I digress. OK so the dog grass digress I’m leaving in because this is really funny that shit is really funny OK I think that’s an entry for now.

 I’ve alluded to nothing that’s going on actually this regards to my schedule and shit like that but, dear Reeder, yeah please know that I’m getting enough sleep I’m functioning in that kind of stuff and actually my diet is actually kind of on track and down I was explaining meditation to Young student today and I said 20 minutes at night in 20 minutes in the morning and basically as like as much of a shit storm as he may be experiencing some in your mind or body or whatever these 2 20 minute intervals of peace or focus or quiet allow you to play belligerently push through those. I don’t know why but I like the word belligerent recently because it implies that you won’t know what is to be expected which is painting. 

So anyway I got into this practice like burning the candle at both ends and it was a lot of fun I had so so much fun and sometimes sometimes I watch the sunrise you know sometimes our way down you know sleep for three hours or four hours and it was hilarious when I would have to class it just felt like a big fucking joke like I felt like I knew the punchline the punchline was I’m fucking dying or something like that but also but not really the real punchline was I made a shit ton of studio progress in painting that was the punchline! I feel good! so, today I gave it up I gave up that game because it wasn’t that funny you know it’s very recently so I went home to take a nap in order for me to appreciate (recuperate), the kind of grand and in other words I went home to take a nap. I needed a nap and it felt so good. I also moved most of my drawings and graphic stuff to my home, and I hope to develop a practice desk at my apartment because when I’m at school it's a mess and there are many opportunities to stick with oil painting with oil, oil, oil, so I’m hoping you know by coming home I can wash my hands you know make this kind of clean, “ comic work. That way I can do you know that your painter at school in a way like looking out you know looking out at harvesting, and then at home looking, right, the illustrator harvests from his own or her own mind, which is you know maybe has to do with why illustration sucks but that’s a bleak outlook actually illustration to me is so import it so it shows what’s happening at all because I would I would say illustration is an essay and painting is a poem. Unfortunately this has bled into my text messages where I kind of speak in code like a poem sometimes like I feel like oh yeah I’m like an artist and I’m gonna write this like complex thing that is what you are and that has been the downfall a lot of of a lot of my ladies relationships because I’m so goddamn poetic and by that I mean terrible at poetry. OK my roommates are home I have to stop talking myself

Bellini an Madonna with child and pear

You were describing two paintings by Giovanni Balenie there a Madonna with child and there’s a pair in both of these competitions there’s a pair in one of them is it it’s held by the Christ child and in the other it there’s a pair sitting on a table or some obscuring piece of architecture in the foreground which is featured in the other painting to just without the pair resting on it.  Both of these paintings or oil on wood oil we understand found its way from the Flemish tradition into venetian paining otherwise paining was predominantly done in tempura. Both of these paintings or take offs of the furniture edition in the realism.; The  landscape seems observed the class seems observed, certainly the portraits of the Madonna at least a CM observed and specific to a person. Also from the slimmest tradition we see a fake painted gold effect used on the edges of the draperies.  Of course that’s an a side to what’s really going on in these paintings. Well one more thing from the pharmacy listen there’s a reference communication it’s not so dramatic there’s a stoicism I’m looking especially at the ladies painted madonna of the 1480s where she’s looking directly at the viewer,; it’s really captivating.  I’m also looking at the landscape and thinking of it in Flemish terms and I believe that’s because of the observed quality of the receding is the recession of space. OK moving on and I am departing from the Flemish this carries many venetian qualities, namely that the local colors are  elaborated on in a way that turns the forms there’s a sense of colored lights and color shadow there is variation and saturation as a form of turns in space.  We sensed that the design or the design you has been put there a process where the dryer is liable to be changed on the basis of the composition in someway needing it.  As is typical in the nation paining which Barnes kind of sums up is that high water mark of representational painting spaces that expressed in volumetric solids affected by the atmosphere of light or the light of atmosphere whatever. OK so let’s get into what the difference between one painting and the other.  The one of these to mom in which madonna looks straight out of the viewer arm is posited to have been painted and 1480s sometime it follows a clear interior exterior scheme as we’ve seen so many times in the byzantine tradition. We’ve seen it in the Florentine tradition, in the CNEs tradition.   Well it’s positive that the light kind of envelops the figure we can see actually in his paintings that some liberalities are applied in terms of value it’s an oversimplification to set these paintings are light that there’s light permeating I think more truthfully it’s a selective permeation of the light envelope. You know what I’m trying to say is that the first hands are glowing I mean these figures are yeah you would say and valves by light but we look you know at what they’re glowing  in relation to NBC dark fabric dart DART fabric. You know with that way we can say that what is the nation about that dark dark fabric that it has a clear color identity it’s dark dark blue it’s not just dark dark next to it is a dark dark red there’s a band of a goldish color from an architectural feature that goes across the foreground and blow that is a dark dark brown . In this way definitions merch drawing with color and I think in that way we can say yes this now we’re painting now we’ve moved on from illustrating. Now her looking. Continuing on this older painting of the Madonna and Child and it’s clearly mostly interior there’s kind of a window of the exterior and the exists on the left-hand side Of the paining in which we see a city in the nearest background you know maybe it’s a half a mile or a quarter-mile away I’m behind some fields. Add the sky on this day as depicted by Balenie is you know pretty clear it looks like there’s morning light in that the bottom side of one of the clouds is yellow.  OK that’s most of it we can say one more thing and that is that you know Christ looks like kind of static here. Before we move onto the latter paining we can just imagine if you know someone mentioned to Balenie like you know hey what’s wrong with you you’re a Christ figure and then we fast forward baby eight years and the lady sits in front of the blank canvas And he says God dammit not again I’m gonna be crazed you know not look like I did before. OK so we’re moving onto the latter paying the inAnd he says God dammit not again I’m gonna be crazed you know not look like I did before. OK so we’re moving onto the latter being the one painted in 1488 it is Madonna and child with a pair.  The composition is radical that the Madonna and Child sit in the center of the frame there’s this huge | that divides the paining into what takes about half of the space horizontally but it’s pretty central. To the right of this | is a landscape you know we can see a cloud we can seahorses we can see a field. To the right of this | is we presumed the same landscape but the | of scares so much it’s it’s hard to say and we really have to ,  I mean naturally as humans we bridge the gap and we say yeah that’s the same space and the colors are so similar but otherwise the other things in them right landscape that are different from the left and we can imagine Balenie having a good time with these kind of to landscapes. Here in the bottom receive the ladies signature it’s him not kind of inscribed on the architectural element on the rather it’s clearly written on a piece of paper and then pasted your this is all trompe l’oeil but applied to the architectural  kind of like a tag. Like a name tag. Madonna looks directly at the child she looks a little bit like if you know what young mother. There’s a clear sense of humanism that this paining and I think it has to do with Madonna‘s expression as she looks down upon this young Christ who also he looks kind of mischievous he looks kind of fidgety not as static as the Laneys other Christ child. Are the big  saying in this paining is at the Paris set down onto the kind of banister rail thing that goes in front your price is no longer holding the pair I don’t know the significance of that but it’s a large differentiating feature between these paintings that alongside you know where my daughter is looking. Yeah if we squint we can kind of imagine some kind of across compositionally that’s happening in this like a crucifix.  And that’s most of it I mean I guess we could mention that in venetian paining there are these kind of doubt the old towns in the flash and that’s that’s happening here it’s happening mostly in the 1488 fortune of Madonna him and her cheeks we can kind of see some modeled you know pinks and reds same with in Christ cheeks and that is making them look especially flashy. Flashy.

st Catherine by van Dee weyden and the Flemish tradition and a Comparable painting by Raphael.

 OK so let’s talk about the difference between a tradition and that wherever Raphael‘s wrong with looking at the painting of a Saint Catherine by VanderWeyden and a comparable composition by Raphael are these are painted a few hundred years from one another it’s almost not fair to compare except that it’s the same protagonist. Let’s talk about, I mean, the difference  is radical it’s really a drastic. While VanderWeyden uses elements of space of very liberally Raphael seems to hear more to a standard linear perspective. Rafael’s vanishing point is also the the focus of the composition it’s kind of planned out and have a very dramatic way dramatic play of light and shade of the lights are blown out the shades are blown out.;  something has clearly happen to painting. But this is not about Raphael‘s as much as it’s about the funnest addition and have a vendor white and handle things so let’s address those. Typical of the Flemish tradition VanderWeyden represents cloth as a heavy and realistic are the folds are triangular and places and then tubular in other places we really get a sense of the weight of this cough others fake gold painted onto  The edges of the cloth this of course comes as a substitute to gold leaf on a painting serviceperiod Vendor avoidance vanishing point is moot, I can hardly be mentioned because this pain doesn’t follow the rules of linear perspective it’s more intuitive nature. Are the color as Dr. Barnes would put  it is superficial and it’s application. I suppose what’s meant by that is for most that it here’s to a local color scheme scheme. There’s a lot of energy devoted to my new details in this paining and things are generalize the drawing is very concise even if we go what appears to be I don’t have 200 yards into the middle ground or the background  we can see leaves clearly painted on the trees. Going further back to the tune of a half mile we can see windows of buildings it’s it’s almost absurd. Space OK let’s jump over to the Rafael paining and I am kind of compare really quick we can see the other stuff there’s no I mean maybe there’s windows but it’s so much more felt of course Dr. Barnes didn’t do you know cold Rafael for the sentiment  sentimentalist. And you know baby that’s fair who is this Alexandria that Raphael is painted she is and ruptured and she is romantic she’s a little bit classical and we can see her breasts basically we consider the tilt of her pelvis the cloth does little to hide the volume of her figure in full  it says it’s disgusting so for all the shortcomings of the Flemish tradition in regards to its superficial Colorado location every week we go over to the Raphael and this is it kind of we got to be clear about what we’re looking at this is a new figure basically she’s closed she’s close but but the reference is gone it’s much more secular maybe it’s not so controlled by the church you know it’s argue that the funny tradition  it’s looking at nature in the paintings come from real world world observation given the prominence of wine in the design of this vendor wide and paining it’s hard to make that argument I mean what is Fandor wide looking at is he looking at this tree 200 yards in the distance or is he looking at Saint Catherine’s left die yes is the answer always looking at all that I would argue that the Rafael paining is much more realistic I’ll be at kind of gross

Verruccio and da Vinci

 Veraci you and I am da Vinci‘s painting the BAFTA bit baptism of Christ and cross-referencing in with Dr. Barnes ‘s a critique of this work. A Barnes and postulates that this is essentially academic the composition is conventional color is superficial textures are wooden drying replies on incisive line Marling up on sculpture ask light and shadow contrast and pronounce muscular accentuation . So I think what Dr. Burns is getting out here is that it’s illustration for most Teryan On the whole I agree with him it’s very illustrative for a painter there’s a lot of useful stuff in here and where Dr. Barnes wants to throw it out or dismiss this is the second rate work of art I think is fair I mean there’s really a lot of focus on as one of my teachers put it in then Tori taking you know there are  The muscles of the rectus abdominis there are the knuckles of the hand all clearly accentuated if this is a collaboration between da Vinci and brewed brood to you and I don’t know who the patient was but it was probably a flex piece is how I would call it there’s which which is held Dr. Barnes described it is well it’s all just a culmination of great talents it’s a lot of firepower  for a SortIt illustrate a concept which I am you know does need all of the knuckles of the hand accentuator like that .

 Yeah kind of file or double down on Barnes‘s statement I kind of put in a different way our Itza this is why we can’t have nice things up painting it makes me want to cry .

Ugolino di nerio

 Now we are looking over the portrait of Madonna and Child enthroned by Ugolino di Nerio.  I’d like to describe what I see his byzantine about this work although we suspect that it is the early Sienese tradition,  as well as some acknowledging why we suspect that it’s from the scene is tradition that is what is CNEs about this painting. What is your knees about this paining for most is that it is painted on panel it is painted on a kind of tomb shaped panel over to old gold leaf the halos remain on the figures we see yards of bilateral symmetry symmetry going on  which is a holdover from the byzantine tradition as well you know there’s also a peer amid all composition which I don’t mean that when I came in to be visiting ABC News. It’s very illustrative the nature of the shows for most there’s a Madonna and there’s a child there moderately generic they’re not specific people which we can attribute to visit change edition  hieratic figure typical of the seniors tradition we do see flowing lines are slowing willow he figures in long gated hands elongated figures. Line dominates which is typical of the seniors tradition and as we mentioned it was it’s a western of quality.  Curing on from the byzantine tradition is the iconographic nature of the design this figure is to look not of this earth but other world and the green complexion of the skin is a CNA is stable and here we see clearly the green cast of the skin of these two figures there’s a monumental scale that feeling of scale that we get from the madonna  I just love this pain I think what comes like that you know very naturally arm is that Madonna looks straight out of that she’s really looking at us and the Christ child you can see is looking at her we really know where to look in this paining and there’s a rhythm to the feed in the hands it’s starting to break away from what kind of inventory of elements you know we do have five toes but then we have four toes you know anon Christ and we receive  and we see not all of the fingers and then one of the hands is gone it’s behind the clock madonnas time is hidden by Christ’s tail or his foot brother and some of her fingers are turning in space so they are obscured by for shortening the negative space in this paining is emphasized the figures fit into the shape of the picture plane in an elegant way and we can imagine him Daneri really being romantic about  this outline this this kind of puzzle piece and in that line of thinking also there are the local colors they’re established they don’t deviate and that’s byzantine it’s it’s really this is a blue robe and so the folder going to be light blue for the highlights and dark blue for the shadows looking for Sydney‘s troop and maybe I could say there’s one but I am it’s not extreme if there is  

hugh mesibov

 This is in response to  The painting by Hugh Mesibov painted in 1945 and 46.  it’s oil pastel and black ink on card stock mounted on multiply paperboard it’s 14 x 11“ and I am concerned with the relating this to byzantine painting the title of the work is byzantine figure.  the size is that of a byzantine painting which might’ve been something that could be carried  The painting is non-static it’s my really rigid there’s a slight indication of perspective through positioning of the components of the pictures there’s a bilateral bilateral symmetry certainly emphasize in the picture I’m as can be seen down the middle of the figure in the foreground line dominates there’s no halo in this so it departs from byzantine depictions of  prominent figures and then that way however gold background stays in a way it’s not gilded it’s not real gold but you know we can justify are the yellow out the green I’m in the background certainly as stand-in for goldleaf the space does seem flattened there’s distortion occurring are the room space is fragmented and abstracted there’s a diss Distinctive waviness onto their composition so it kind of the parts from Byzantine art in that way too it’s kind of like a drunk visit byzantine depiction the head is not small there’s no concentration of detail save for the face.  Byzantine depiction there would be a concentration of detail and fabrics I’m in line with dominate this song this detail I would be a pattern there would Be decorative here it’s not .  This depiction does resemble on mosaic which is similar to byzantine routes abstraction dominates rather than perception or any sense of realism which is a characteristic that this and shares with Byzantine art it departs and that there are no straight lines that dominated the depiction of cloth.