Yes -- Mando is out of a loop -- i.e. the discourse that explains how "The Bar at the Folies Bergere" is one of the greatest paintings in art history - which has become something of a cottage industry in academia.
But how can Saul call this "THE loop" if "Context determines hierarchy" (as he told us yesterday) Mando is simply thinking outside that context. And -- what really did happen to the right hand of the woman on the right? Where is her elbow? In the central figure, the white cuffs begin in the middle of her forearm -- but here they seem to begin at the elbow - in fact, Manet seems to have painted two elbows on the same arm. We can ask all kinds of questions about pictorial reality - including how many "implicit vanishing points" may be found. But I join Duve in placing an asthetic context (i.e. the search for a "powerful artistic synthesis") above all the others. Some of us feel the presence of such a synthesis in that painting -- and many others, including Mando, apparently do not. And who can prove which of us is wrong without resort to an argument by authority? ............................................................................. .. >Boy are you out of the loop (Saul) >>That painting seems like an abandon painting that was never finished. It looks like it started as still life painting of two tables with liquor and glass ware,great detail on the persimmons. Then he started to add the center figure which had too much detail for a still life quality, then started to add those two figures that would occupy the same standing area and never resolve it. The yellow stripe indicates something (?). I think the right hand on the woman on the right became the last straw, and he stopped. (Mando) ____________________________________________________________ Weight Loss Program Best Weight Loss Program - Click Here! http://thirdpartyoffers.netzero.net/TGL2231/c?cp=d-2T9Zbdos0Qq7svQ0-f3gAAJz6c l_zTaptgNR5c8Mer1v9kAAYAAAAAAAAAAAAAAAAAAADNAAAAAAAAAAAAAAAAAAAEUgAAAAA=
