Predation takes many forms but mind parasites do predominate in our long now. Maybe starting with Puritan fanatics and Cromwell then ending in the Glorious Terran Empire of purely sexless 24G Super Alphas beloved by Schwab. Goethe sighing about his Germany reflected the people got the government they deserved by obedience, habit, custom.
I am re-reading for the first time in 20 years Conversations With Eckermann by Goethe. I am skimming Goethe. So much in every section. Goethe is showing a painting and an engraving of Rubens He and Eckermann are discussing Rubens style of painting. Eckermann says Rubens mastered the rules of light in Nature by his artistic apprehension of Nature. In this painting Rubens masters light by having different illumination against the shadow of a group of characters which conflicts with the other light and shadow in the piece but the eye engrossed ignores it. Goethe points this out and says Rubens was "Above" Nature. Goethe talking in 1827 complains the young artists of German have no Rubens to teach them how to paint. 1827 to 2020 is a long bad road. After 2020 into the Mad Max Moment. The first Mad Max 2020 was the start of the new Great War. Our young since WW1 have been cannon fodder for globalists and with injections everyone is. Am I an optimist thinking this high tech California civilization seeing increased mortality and illness exponentially increasing as Fall and Winter settle in during 2022 fails completely in 5 years?
Like the author, I too looked for the flock of sheep and the grazing horses. but the work is actually 137mm x 234mm so they could be hiding, but I think not as this painting which we see is of the morning whereas Goethe describes an evening scene with workers going home and horses getting ready for the night.
I managed to see the double light as being okay as in my mind I put the cart a bit further around to get the sunlight. - so I made the work fit what I was expecting nature to do.
prepared to go, he begged of me to remain a little longer. He ordered a portfolio, with engravings and etchings by Dutch masters, to be brought in.
“I will treat you with something good, by way of dessert,” said he. With these words, he placed before me a landscape by Rubens.
“You have,” said he, “already seen this picture; but one cannot look often enough at anything really excellent;—besides, there is something very particular attached to this. Will you tell me what you see?”
“I begin from the distance,” said I. “I see in the remotest background a very clear sky, as if after sunset. Then, still in the extreme distance, a village and a town, in the light of evening. In the middle of the picture there is a road, along which a flock of sheep is hastening to the village. At the right hand of the picture are several haystacks, and a waggon which appears well laden. Unharnessed[1] horses are grazing near. On one side, among the bushes, are several mares with their foals, which appear as if they were going to remain out of doors all night. Then, nearer to the foreground, there is a group of large trees; and lastly, quite in the foreground to the left, there are various labourers returning homewards.”
“Good,” said Goethe, “that is apparently all. But the principal point is still wanting. All these things, which we see represented, the flock of sheep, the waggon with hay, the horses, the returning labourers,—on which side are they lighted?”
“They receive light,” said I, “from the side turned to us, and the shadow is thrown into the picture. The returning labourers in the foreground are especially in the light, which produces an excellent effect.”
“But how has Rubens produced this beautiful effect?”
“By making these light figures appear on a dark ground,” said I.
“But this dark ground,” said Goethe, “whence does it arise?”
“It is the powerful shadow,” said I, “thrown by the group of trees towards the figures. But how?” continued I, with surprise, “the figures cast their shadows into the picture; the group of trees, on the contrary, cast their's towards the spectator. We have, thus, light from two different sides, which is quite contrary to Nature.”
“That is the point,” returned Goethe, with a smile. “It is by this that Rubens proves himself great, and shows to the world that he, with a free spirit, stands above Nature, and treats her conformably to his high purposes. The double light is certainly a violent expedient, and you certainly say that it is contrary to nature. But if it is contrary to nature, I still say it is higher than nature; I say it is the bold stroke of the master, by which he, in a genial manner, proclaims to the world that art is not entirely subject to natural necessities, but has laws of its own.
“The artist,” continued Goethe, “must, indeed, in his details faithfully and reverently copy nature; he must not, arbitrarily, change the structure of the bones, or the position of the muscles and sinews of an animal, so that the peculiar character is destroyed. This would be annihilating nature. But in the higher regions of artistical production, by which a picture really becomes a picture, he has freer play, and here he may have recourse to fictions, as Rubens has done with the double light in this landscape.
“The artist has a twofold relation to nature; he is at once her master and her slave. He is her slave, inasmuch as he must work with earthly things, in order to be understood; but he is her master, inasmuch as he subjects these earthly means to his higher intentions, and renders them subservient.
“The artist would speak to the world through an entirety; however, he does not find this entirety in nature; but it is the fruit of his own mind, or, if you like it, of the aspiration of a fructifying divine breath.
“If we observe this landscape by Rubens only slightly, everything appears as natural to us as if it had been copied exactly from nature. But this is not the case. So beautiful a picture has never been seen in nature, any more than a landscape by Poussin or Claude Lorraine, which appears very natural to us, but which we vainly seek in the actual world.”
I will source link and send. Yes going down fast but well hidden. Little reportage of damage. Mainly layoffs and tech replacing labor. I am badly in need of a job but opportunities at 65 are worse than they were at 45 and now I have to toil from home so even less chance.
Make a payment or coffee option for your substack. Every little helps and it would be good for the morale.
*Situations Vacant* on lots of hospitality and retail windows around here, but that could be boring work unless one is young and wanting to meet people. I wouldn't mind working in a furniture store. I help out in an art gallery. I don't want to be a waitress - that's for the young.
Good to read a new level of thinking Stegiel.
Our dystopia of flesh and blood....https://edwin797.substack.com/p/covid-19-jabs-never-before-have-we?utm_medium=reader2
https://rwmalonemd.substack.com/p/physicals-virtuals-machines-and-overlords?r=4mopi&utm_medium=android
https://www.zerohedge.com/political/regardless-whos-elected-imperial-corruption-rules-nation
Predation takes many forms but mind parasites do predominate in our long now. Maybe starting with Puritan fanatics and Cromwell then ending in the Glorious Terran Empire of purely sexless 24G Super Alphas beloved by Schwab. Goethe sighing about his Germany reflected the people got the government they deserved by obedience, habit, custom.
I am re-reading for the first time in 20 years Conversations With Eckermann by Goethe. I am skimming Goethe. So much in every section. Goethe is showing a painting and an engraving of Rubens He and Eckermann are discussing Rubens style of painting. Eckermann says Rubens mastered the rules of light in Nature by his artistic apprehension of Nature. In this painting Rubens masters light by having different illumination against the shadow of a group of characters which conflicts with the other light and shadow in the piece but the eye engrossed ignores it. Goethe points this out and says Rubens was "Above" Nature. Goethe talking in 1827 complains the young artists of German have no Rubens to teach them how to paint. 1827 to 2020 is a long bad road. After 2020 into the Mad Max Moment. The first Mad Max 2020 was the start of the new Great War. Our young since WW1 have been cannon fodder for globalists and with injections everyone is. Am I an optimist thinking this high tech California civilization seeing increased mortality and illness exponentially increasing as Fall and Winter settle in during 2022 fails completely in 5 years?
Any chance a link to the Rubens in question.
Funny that you predict the tech community might be dying off in California. Who's going to be around to do all the tech dirty work.
The young generation are not doing well at school with the plandemic effects, so who's going to be the tech whizzes.
That's another funny thing - people whom I think would be 'in on it' and only having saline, are dropping like flies.
Then there's the cocaine addicts with high income jobs - how long are they going to last even if not clotshotted.
Spiral going downwards.
Cairn here is the work in question.
https://www.wisdomportal.com/Inspiration/Rubens-DoubleLight.html
Thank you Stegiel.
Like the author, I too looked for the flock of sheep and the grazing horses. but the work is actually 137mm x 234mm so they could be hiding, but I think not as this painting which we see is of the morning whereas Goethe describes an evening scene with workers going home and horses getting ready for the night.
I managed to see the double light as being okay as in my mind I put the cart a bit further around to get the sunlight. - so I made the work fit what I was expecting nature to do.
prepared to go, he begged of me to remain a little longer. He ordered a portfolio, with engravings and etchings by Dutch masters, to be brought in.
“I will treat you with something good, by way of dessert,” said he. With these words, he placed before me a landscape by Rubens.
“You have,” said he, “already seen this picture; but one cannot look often enough at anything really excellent;—besides, there is something very particular attached to this. Will you tell me what you see?”
“I begin from the distance,” said I. “I see in the remotest background a very clear sky, as if after sunset. Then, still in the extreme distance, a village and a town, in the light of evening. In the middle of the picture there is a road, along which a flock of sheep is hastening to the village. At the right hand of the picture are several haystacks, and a waggon which appears well laden. Unharnessed[1] horses are grazing near. On one side, among the bushes, are several mares with their foals, which appear as if they were going to remain out of doors all night. Then, nearer to the foreground, there is a group of large trees; and lastly, quite in the foreground to the left, there are various labourers returning homewards.”
“Good,” said Goethe, “that is apparently all. But the principal point is still wanting. All these things, which we see represented, the flock of sheep, the waggon with hay, the horses, the returning labourers,—on which side are they lighted?”
“They receive light,” said I, “from the side turned to us, and the shadow is thrown into the picture. The returning labourers in the foreground are especially in the light, which produces an excellent effect.”
“But how has Rubens produced this beautiful effect?”
“By making these light figures appear on a dark ground,” said I.
“But this dark ground,” said Goethe, “whence does it arise?”
“It is the powerful shadow,” said I, “thrown by the group of trees towards the figures. But how?” continued I, with surprise, “the figures cast their shadows into the picture; the group of trees, on the contrary, cast their's towards the spectator. We have, thus, light from two different sides, which is quite contrary to Nature.”
“That is the point,” returned Goethe, with a smile. “It is by this that Rubens proves himself great, and shows to the world that he, with a free spirit, stands above Nature, and treats her conformably to his high purposes. The double light is certainly a violent expedient, and you certainly say that it is contrary to nature. But if it is contrary to nature, I still say it is higher than nature; I say it is the bold stroke of the master, by which he, in a genial manner, proclaims to the world that art is not entirely subject to natural necessities, but has laws of its own.
“The artist,” continued Goethe, “must, indeed, in his details faithfully and reverently copy nature; he must not, arbitrarily, change the structure of the bones, or the position of the muscles and sinews of an animal, so that the peculiar character is destroyed. This would be annihilating nature. But in the higher regions of artistical production, by which a picture really becomes a picture, he has freer play, and here he may have recourse to fictions, as Rubens has done with the double light in this landscape.
“The artist has a twofold relation to nature; he is at once her master and her slave. He is her slave, inasmuch as he must work with earthly things, in order to be understood; but he is her master, inasmuch as he subjects these earthly means to his higher intentions, and renders them subservient.
“The artist would speak to the world through an entirety; however, he does not find this entirety in nature; but it is the fruit of his own mind, or, if you like it, of the aspiration of a fructifying divine breath.
“If we observe this landscape by Rubens only slightly, everything appears as natural to us as if it had been copied exactly from nature. But this is not the case. So beautiful a picture has never been seen in nature, any more than a landscape by Poussin or Claude Lorraine, which appears very natural to us, but which we vainly seek in the actual world.”
I am going back to the text as Rubens was mentioned several times and there is back and forth over one painting. I am sure I will find the right one.
Mind you, just because the illustrated one is called morning doesn't mean that it was/is.
A laden haywagon could be coming to work or going home.
A hunter could be morning or evening too.
I will source link and send. Yes going down fast but well hidden. Little reportage of damage. Mainly layoffs and tech replacing labor. I am badly in need of a job but opportunities at 65 are worse than they were at 45 and now I have to toil from home so even less chance.
Make a payment or coffee option for your substack. Every little helps and it would be good for the morale.
*Situations Vacant* on lots of hospitality and retail windows around here, but that could be boring work unless one is young and wanting to meet people. I wouldn't mind working in a furniture store. I help out in an art gallery. I don't want to be a waitress - that's for the young.
But you said that you're tied to the house.
Yes taking care of 80 years young spouse. That makes my job hunt harder. I am going to set up an option for donation.
https://www.zerohedge.com/geopolitical/doug-casey-wefs-plan-mankind-and-what-comes-next
People are not equipped to cope with how we have evolved.