No question one of the highlights of our visit to NY this weekend was the exhibit organized around Vermeer's famous painting "The Milkmaid", on exceptional loan to the Met from Amsterdam's Rijksmuseum. It's a marvel to behold, and it was a real treat to be able to see it on its next to last day in New York. The painting was displayed along with the five Vermeers in the Met's collection (of thirty-six total known to have been painted by the master.) It was fun to have Cristina explain the painting to us. I was unaware of its participation in a well established genre tradition rich with sexual allusion. It's not just about the incredible realism. It seems that by the time Vermeer came around the tradition was very well established and he could be quite subtle in how his work participates in it. For example, the very small image of Cupid on a tile, in the lower right part of the canvas, is suggestive of the milkmaid's positive disposition towards romance. Perhaps she's got something on her mind besides baking. Or perhaps the spectator does. I was overwhelmed by the painting's detailed realism, in particular, the illusion of movement created by the milk coming out of the jar. The colors, too, are strking. I'd like to read more about Vermeer's life and work. I'd also like to go back and see the film Girl with a Pearl Earring. There's a lot more to write about this painting, and in another entry I'll get to that and to some of the other wonders contemplated on this visit, but right now I'm just too tired and there is work to be done.
11.30.2009
The Milkmaid
No question one of the highlights of our visit to NY this weekend was the exhibit organized around Vermeer's famous painting "The Milkmaid", on exceptional loan to the Met from Amsterdam's Rijksmuseum. It's a marvel to behold, and it was a real treat to be able to see it on its next to last day in New York. The painting was displayed along with the five Vermeers in the Met's collection (of thirty-six total known to have been painted by the master.) It was fun to have Cristina explain the painting to us. I was unaware of its participation in a well established genre tradition rich with sexual allusion. It's not just about the incredible realism. It seems that by the time Vermeer came around the tradition was very well established and he could be quite subtle in how his work participates in it. For example, the very small image of Cupid on a tile, in the lower right part of the canvas, is suggestive of the milkmaid's positive disposition towards romance. Perhaps she's got something on her mind besides baking. Or perhaps the spectator does. I was overwhelmed by the painting's detailed realism, in particular, the illusion of movement created by the milk coming out of the jar. The colors, too, are strking. I'd like to read more about Vermeer's life and work. I'd also like to go back and see the film Girl with a Pearl Earring. There's a lot more to write about this painting, and in another entry I'll get to that and to some of the other wonders contemplated on this visit, but right now I'm just too tired and there is work to be done.
11.26.2009
Thanksgiving
The calendar has completed its inevitable circle again. It's always circling, of course, but on holidays our awareness of circularity is much greater. This year we give thanks for being all together. I just can't find the right words. They all seem inadequate, type, delete... Oh well, as Asun reminds me, obras son amores y no buenas palabras... In any case, the house is warmer, happier, righter, when it's like this. (And to whom, exactly, are we giving thanks? I sure don't know. And I don't trust those whose certainty in this regard is absolute, but that's another matter... So, today I'll direct my thanks to Asun, Alma, Cristina, Daniela, brothers and sisters, in-laws, friends... I love you all.) Last night the house had the splendid warmth of apple pies baking. No turkey in the oven this morning, that will be handled by friends this year. And that is just fine. In a few minutes I'll start making some cole slaw. I think there will be fifteen or sixteen of us this afternoon. We'll give many thanks. This year I also want to give thanks to Charles Darwin, in honor of the 200th anniversary of his birth and 150th anniversary of the publication of On the Origin of Species. Thanks, Chuck, for your insights. And for your bravery. No way I would have gotten on a ship like that. You had a huge impact on the advancement of science and in pushing us a littler further away from superstition.
11.25.2009
News?
11.20.2009
My Stubborn Libertarian Streak
Prostitution is another sad, very sad, reality. (And closely tied to the world of illegal drugs.) Police are not going to make it go away. Legalizing prostitution doesn't mean we think it's a good thing. It's not. It's horribly sad. But let's get prostitutes the medical care and social services they need and stop treating them like criminals. I'll write more about this in another entry...
11.19.2009
Plaza Garibaldi
11.18.2009
Grey Mornings are OK
11.10.2009
Dick Armey
11.07.2009
Just this and that...
Getting sick is no fun. (Brilliant observation!) Slowly I'm coming out of the fog. The next week will be spent trying to catch up. Just taking note here, for no particular reason, to no particular end: it was cold last night, our first night of the autumn below freezing. Waldo is not happy. Unless there's a fire going, in which case he's quite content to make himself comfortable in front of the fireplace. Jumping around: I just learned about the YMCA's plan to abandon their current locale across the street and build a new place over in Thornwald Park. This is going to be a very contentious issue, no doubt. Down in Cuba: Yoani Sánchez was the victim of police brutality and intimidation yesterday, briefly detained by Castro's thugs. See her blog. Poor Alma is fed up with the hassles caused by the car accident. We all plod on...
11.02.2009
The End of Poetry Week
Semana Poética VIII is history. It was tiring, but also a lot of fun. There were some excellent readings, memorable conversations, new friendships... overall I feel really good about it. We had poets with tremendously different works and backgrounds together here at Dickinson... They met us, one another, met with our students... There was one moment on Wednesday night that captured this organized chaos beautifully. Isabel Pérez Montalbán (Spain) and Lev Rubinstein (Russia) had just finished their reading in front of a big audience (over 150 people, that's a lot for a poetry reading). Neither Isabel nor Lev speak English. A student asks a question directed at both of them. The interpreters jump in. There was a funny moment, the poets huddled at the ends of a long table with their interpreters. Muffled mumbling. Smiles. Spanish. English. Russian. English. Back and forth... For many students simply hearing a language they don't understand is a new experience. To sit through a reading, following the translations in the printed booklet or up on the big screen I'm sure gets some of them thinking about language. They've opened up the possibility of learning not taking language for granted. That is, to consider (again, always...) that language needs to be challenged. More importantly: how we use language must always be challenged. Is that really what me mean? Can we say it better? More precisely? Is there any thought there or is it just mumbo jumbo? Does this person know what he/she is talking about? We finished Thursday night with a big paella. (Thank you, Mike, Chris, Tsveti, and Dan!) I made it for close to sixty and there were not more than 45 guests, but they didn't leave anything behind. Nothin'. I guess they like it. In any case, we had lots of fun.
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