12 Views of Manet's Bar by Bradford Collins

By Bradford Collins

Bradford Collins has assembled right here a suite of twelve essays that demonstrates, in the course of the interpretation of a unmarried murals, the abundance and complexity of methodological ways now on hand to paintings historians.

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Extra resources for 12 Views of Manet's Bar

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12 His passion for his paints as well as his painting was already balanced by the things he feared more than anything. For example, the very idea as well as the actuality of locusts. In his French original version of The Secret Life, he uses, instead of the Spanish llagosta de camp, the French word sauterelles, generally translated as ‘grasshoppers’, thus the frequent confusion. At the sight of the smallest locust he would shield himself with his arms or faint, or a few significant times, hurl himself off a staircase.

Dalí writes to his friend Bello about the word: ‘in the last analysis, putrefaction is sentiment. Therefore it is something inseparable 45 Dalí by Federico García Lorca, 1926, mixed media on paper. from human nature. ’ Haim Finkelstein explains further: ‘putrefactos designates philistines and conformists, especially in the arts 46 . . all that was decrepit, dead and anachronistic in people and objects’. ’9 All of this sounds, to be sure, like the very opposite strain of any Dalí or Lorca creation.

Dalí often referred to Saint Sebastian when thinking of Lorca: ‘Saint Sebastian I remember you . . ’ Lorca, he said, ‘was in love with me. He tried twice to . . me. I could not yield. Besides, it hurt. And thus the thing never took place. ’17 Lorca is everywhere in Dalí’s paintings, in the Composition with Three Figures, where his shattered bust lies next to the naked sailor with broken lance in his hand, in the decapitated statue in Fish and Balcony of 1926. In the fifteenth issue of Amic de les Arts, Dalí printed a drawing of Lorca with his hands crossed in front of his body, like the photo Lorca had sent him The painting Atmospheric Skull Sodomizing a Grand Piano, says one critic (Santos Torrella), represents Lorca’s attempts to seduce Dalí.

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