In "Anamorphoses: les perspectives dépravées" (Flammarion,
1984) Jurgis Baltrušaitis explains about optical distortions, as those
might be related to Nabokov's. "nonnons" (Invitation).
Nevertheless, what moves me to explore "anamorphosis" are the
contours, in VN's writings, of something that is less imagetic and
more structural. Trying to discover if Baltrusaitis book is available in
English, I found many other informations about this author in the
Wikipedia *
Jurgis Baltrusaitis mentions Jean Cocteau's attempt to approach art and
science through anamorphosis**.and presents Cocteau's XVIIth
Century forerunner, namely,
J.B.Bossuet whose sermon "Providence," preached at the
Louvre in March 1662, he quotes: "When I stop to consider within myself the
disposition of human things, which seem so confusing, irregular, unequal, I
often compare them to certain paintings(...) At first sight one cannot see but
formless features and a confusing mixture of colors, as if they were
produced either by a student, or resulted from the play of a
small child, instead of the work accomplished by an experienced hand.
However, as soon as someone who knows its secret tells you how to look at
it from a special angle, all the unequal lines suddenly begin to
get together before our eyes, all the confusion disappears, and you' can
now discern a face with its contours and proportions where, before, there
was no semblance of a human form."#
The works
about anamorphosis and literature he mentions comprise authors
like John Donne, E.A.Poe and Henry James.***
Dmitri Nabokov's poetic parallel between the avatars of a world with no
fixed forms and no names, and anamorphosis, is instigating. In art, there
is a deliberate effort at producing a distorted representation which may be
next translated into something that is familiar to the viewer .If I
understand Dmitri Nabokov's paragraph (N-L Oct 16, 2006), the two
primordial events (chaos and order) pertain exclusively to
the natural world and, in contrast to many doctrines, the faulty perception, and
its organization into a "human landscape," is not produced by language and
reason. It's nature herself who finds a way for "stabilizing
something." (DN personifies nature).
I don't know if DN was quoting his father when he wrote down his N-L
message. I have the impression that VN held a different point of view
from the one DN has put forward. In my opinion, there is a transcendental eye
for VN, one that delights in the whimsies of the world, as it
happens when nature produces beauty, independently of the mimetic
adaptations that would garantee the survival of the "artist."
However, when I recollect Shade's discovery about a "plexed symmetry," the
unwordly Author is not merely a neutral observer, but the creator of patterns,
too. But now, where do we, humans, fit?
Any contributions and criticism?
...............................................................................................................................
*
From Wikipedia, the free encyclopedia: Jurgis Baltrušaitis (May 7, 1903 –
January 25, 1988) was a Lithuanian art historian, art critic and a founder of
comparative art research. He was the son of the poet and diplomat Jurgis
Baltrušaitis. Most of his works were written in French, although he always
stressed his Lithuanian origin. After Lithuania was occupied by the USSR in
1945, he served as a diplomat in exile.
Biography: During his childhood he
was immersed in the intense cultural life of his parents. One of his first
teachers was the Russian poet and writer Boris Pasternak.
In 1924 he moved to
Paris and began theater studies at the Sorbonne under the guidance of Professor
Henri Focillon. Under his influence Baltrušaitis chose to study the history of
art....Between 1933 and 1939 Baltrušaitis taught art history at the University
of Kaunas, as well as lecturing at the Sorbonne and at the Warburg Institute in
London.After World War II he delivered lectures at New York University, Yale
University, Harvard University, and at the Metropolitan Museum of
Art.
Publications
Le Moyen-Âge fantastique. Antiquités et exotismes dans
l'art gothique, 1955; Reveils et Prodiges Le Gothique Fantastique, 1960; La
quête d'Isis; Formations, déformations: La stylistique ornementale dans la
sculpture romane (Idées et recherches); Réveils et prodiges. Les métamorphoses
du gothique; Lithuanian folk art [microform] (Lithuania, country and nation, 3),
1948; Le miroir: Essai sur une légende scientifique : révélations,
science-fiction et fallacies; Anamorphic art; berrations: Quatre Essais sur La
Legende des Formes; Les perspectives depravees - anamorphoses ou thaumaturgus,
1955.
Trivia: Algirdas Julius Greimas once noted that in the West the elder
Jurgis Baltrušaitis is known as the father of a famous art historian, but in
Eastern Europe - the younger Jurgis Baltrušaitis is known as the son of a famous
poet.
** - J.Cocteau "Note autour d'une anamorphose, un phenomène de
réflexion?" dans Le Monde et La vie, n.95,avril 1961. ;
*** - Jean-Marie
Benoit, "L'écriture de l'abyme. Nocturne pour le jour de sainte Lucie:le
plus bref des jours, in John Donne," L'Age d'Homme. Les Dossiers
H.1983 p.247 et Prologue de l'ouvrage par J.M.Benoit p. 11-13;
J.Perrot. Henry James, une écriture énigmatique, Paris, 1982. p.25.;
C.Picard, Nouvelle critique or nouvelle imposture, Paris, 1965;
Roland Barthes par lui-même, Paris 1975,p.48; JF Lyotard Discours,
figures. Paris, 1971, p. 378
# - "sermon de Bossuet sur la Providence qui compare l’effet des passions
humaines à celui qui produit les anamorphoses : « Quand je considère en moi-même
la disposition des choses humaines, confuse, inégale, irrégulière, je la
compare souvent à certains tableaux (…). La première vue ne nous montre
que des traits informes et un mélange confus de couleurs, qui semble être, ou
l’essai de quelque apprenti, ou le jeu de quelque enfant, plutôt que l’ouvrage
d’une main savante. Mais aussitôt que celui qui sait le secret vous le fait
regarder par un certain endroit, aussitôt, toutes les lignes inégales venant à
se ramasser d’une certaine façon dans votre vue, toute la confusion se démêle,
et vous voyez paraître un visage avec ses linéaments et ses proportions où il
n’y avait auparavant aucune apparence de forme humaine ».
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