Scene from Matisse's studio
Scene from Matisse's studio--all dialogue guaranteed verbatim:
--May I call you Hank?
--You can call me whatever you want so long as you pay for the painting.
--Exactly. So listen, Hank. Don't get us wrong--we're loving "The Piano Lesson." Totally cool with your dip into the Cubist grid, and the fact that it's your son and all, plus the spatial ambiguity, and the plethora of thoughtful iconography, not the least of which is you throwing us a bone with the filigreed balustrade. But really, Hank, the face on that kid! Do you think you could do something about that? I mean, it's a disaster.
--What's special about the ambiguity?
--Not 'special' Hank. I said 'spatial.'
--Oh. Sorry, my English is poor.
--Anyway, can you fix the kid's face?
--I can do whatever you want so long as you pay for the painting.
--Okay. We'll pick it up in a week.
--Okay. Don't forget to bring the money.
Me? I love the spatial ambiguity of setting the red copy flush right.
--You can call me whatever you want so long as you pay for the painting.
--Exactly. So listen, Hank. Don't get us wrong--we're loving "The Piano Lesson." Totally cool with your dip into the Cubist grid, and the fact that it's your son and all, plus the spatial ambiguity, and the plethora of thoughtful iconography, not the least of which is you throwing us a bone with the filigreed balustrade. But really, Hank, the face on that kid! Do you think you could do something about that? I mean, it's a disaster.
--What's special about the ambiguity?
--Not 'special' Hank. I said 'spatial.'
--Oh. Sorry, my English is poor.
--Anyway, can you fix the kid's face?
--I can do whatever you want so long as you pay for the painting.
--Okay. We'll pick it up in a week.
--Okay. Don't forget to bring the money.
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