Marek / pierre bonnard at the the museum of modern art, nyc
Marek Lugowski
pierre bonnard at the the museum of modern art, nyc
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ten years ago nude in the bathtub
in pittsburgh -- carnegie art
overwrought
could not leave
could not see the forest
for the tile, colorleaved -- nude in the bathtub nude
in the bathtub nude in the
bathtub
now i kneel
ostensibly to study
the salmons the pinks and the many
shades of rose including the john f. kennedy
and the scarlet the mauve and the bluegold
in the lower right-side corner -- i'm older
the nude? the same nude -- mrs. bonnard
stands chastely with not a stitch on not her head on
a place mat of doggie curls up below over the floor
karen this is the best painting in the museum
karen matisses instead what do you karens really know
now i kneel
to study? no -- to receive a panty raid benediction
chromointrospection confirms: crave color crave life
crave women (big spike) crave water
stormy is kokoschka swirly/funny is grosz
on the nearby walls of course picasso is picasso
heck -- the ever unfinished matisse ruggedly pleases
the microsized panels of dali are the most
persistent memory yet
pierre bonnard the one and only at moma
is my favorite
i kneel no place before or after. pierre bonnard
and i glow. saturated pigments nub/rub:
denuding the elemental, sparkling the composite
my life his wife: in and out of bathtub.
Marek Lugowski
6 March 1997
Chicago, Illinois
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------------------- http://www.enteract.com/~marek/ -------------------
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Marek Lugowski
Antti Luode <Anttilu...@namezero.com> wrote:
>Marek Lugowski <ma...@enteract.com> kirjoitti
>viestissä:8h2c21$kes$1...@news.enteract.com...
>because i did not understand it
>like the blender full of blood and sperm
>but now that i think about it
>many years later, hey
>aint that what life is all about?
Is this blender an art object or a figure of speech? :)
Bonnard's large nudes of his wife probably would not make you sick, Antti.
here:
By about 1915 Bonnard realized that he had tended to sacrifice form
for colour, so from that point until the late 1920s he painted nudes
that reflect a new concern for structure without losing their strong
colour values. In the 1920s he undertook a series of paintings on one
of his most famous themes--a nude in a bath. From the end of the 1920s
onward, the subject matter of his pictures hardly varied--still lifes,
searching self-portraits, seascapes at Saint-Tropez on the Riviera,
and views of his garden at Le Cannet, near Cannes, where he had moved
in 1925 after marrying his model and companion of 30 years, Maria
Boursin. These are paintings intense with colour.
more at:
http://www.britannica.com/bcom/eb/article/8/0,5716,82778+1+8062,00.html
-- Marek
