MARTES, EL VIENTINUEVE DE SEPTIEMBRE, DOS MIL NUEVE
Recently, I've been looking through several discs of photos from an overseas trip I took in 2003 to the USA and UK. The pics I took at the Met in NYC bring back vivid memories and significant realisations as an artist standing in front of emotive paintings that I'd been studying since high school.
I had not consciously come across Mark Tansey before. His painting below, The Innocent Eye Test, 1981 was a revelation because of its Po-Mo tenets and use of Paulus Potter's The Young Bull, 1647, which I had read about in Frank Stella's Working Space (which I've recently re-read). Stella's critique of Potter's painting as an example of minimal, if not any, 'working' pictorial space, especially in comparison to Caravaggio, who had revolutionised the use of pictorial space 50 years beforehand. I see this in the weightlessness of the bull's back legs and the clarity of the sky that shortens the pictorial depth.
After doing a quick search, I see that Andrew Paul Wood has used Tansey's painting to describe Denis Dutton's academic enquires as needing a ".. .call for a truly innocent eye...
"
I like the touch of the Monet Haystack to the right of the Potter painting, another thing that bovine are into.

LUNES, EL VIENTIOCHO DE SEPTIEMBRE, DOS MIL NUEVE
AFTER LOOKING THROUGH ALL THE PHOTOS I TOOK AT THE MET IN 2003, I CAME ACROSS THE ACTUAL PAINTING THAT I WAS TALKING ABOUT ON SATURDAY. AFTER TRAWLING THROUGH THE MET'S WEB ARCHIVE, I CAN'T FIND WHAT EXHIBITION IT WOULD HAVE BEEN IN, BUT PERHAPS A TOURING SHOW OF THE COLLECTION OF ALEX AND RITA HILLMAN (WHO OWNED IT UP TO MID 2008). THE GLASS PROTECTING THE PAINTING HAS PICKED UP THE REFLECTION OF THE LIGHTING IN THE GALLERY, A NICE ADDITION OF THREE UFO FORMS.
IT'S ALSO NICE TO SEE HOW THE PAINTING HAS BEEN FRAMED.

DOMINGO, EL VIENTISIETE DE SEPTIEMBRE, DOS MIL NUEVE
HERE'S THE DETAIL OF THE SAID FOOT (NO CRUZ TODAY, NEXT WEEK...)