Black on Black

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Dinesh ^club

. . .Racine en.wikipedia.org/wiki/Jean_Racine imposed shapes of reason on the archaic blackness of his theme.” The archetypal modernist painting, “black on black,” has now become his image for the tragic absolute.

This blackness has a precise field. As in archaic Greek poetry, and in Greek theories of vision, light stands very sharply for hope, life, and meaning. Blackness is their cancellation. Steine4r’s fascination with the impact of artificial lighting on European culture reminds us that darkness is our natural condition for at least half our life: “There are intricate, deep-felt contiguities between obscurity and silence on the one hand and loquacity and light on the other. . . The history of artificial artificial lighting . . . cannot be separated from that of consciousness itself. In what ways have the conventions . . . of linguistic exchange been modified by the voluntary prolongation of the lit portion of existence?” this perception is informed by his awareness of the enormous role of light imagery in Greek thought:

The history of our vision of and feel for light has yet to be written. Even as there are doctrines of light in religious thought and mythology or in neo Platonic philosophy, en.wikipedia.org/wiki/Neoplatonism so there are, both implicitly and explicitly, in art,. Our political awareness but also . . . our readings of the hours and the seasons, of della Francesca, by the light from Vermeer’s casements. . . Concomitantly, observe the mutations in the weight of darkness after Rembrandt’s etchings, after Goya’s “black paintings” or Ad Reinherdt’s ‘Black on Black ~ Page 107

3 years ago. Edited 3 years ago.

Dinesh ^club

3 years ago.

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