o expozitie surpriza

7/31/2019 O expozitie surpriza

http://slidepdf.com/reader/full/o-expozitie-surpriza 1/12

Peisarheologia lui Ciprian Bodea - Meditatii pe marginea unui Deal din Deal

The Genius loci of bodea"Genius loci cannot be designed to order. It has to evolve, to be allowed to hapen, to grow and change from the direct efforts of those who live and work in places and care about them...No matter how sophisticated technicalknowledge may be, the understanding of others' lives and problems will always be partial. Just as outsiders cannot feel their pain, so they cannot experience their sense of place. I believe, therefore, that it is impossible to makecomplete places in which other poeple can live. And, in a world dominated by international economic processes and global telecommunications, there can be no return to an environment of integrated and distinctive places."

— Edward Relph First published over 30 years ago and still widely referenced even though out of print for some time,Edward Relph's Place and Placelessness has taken its place as a classic of the phenomenological approach to thestudy of place and has influenced a generation of scholars by its insights: insights presented with unusual clarityand precision. For this reprint Professor Relph has written a substantial new introduction setting his original textin its contemporary contest. He shows how the concepts of place have been modified and yet continue to be of vital importance in interpreting a world which travel and commerce have made very different from that of 1976.In his words: "sense of place has the potential to serve as a pragmatic foundation for addressing the profoundlocal and global challenges, such as climate change and economic disparity, that are emerging in the presentcentury".

Expozitie surpriza! Este prima de acest gen la care particip si s-ar putea ca organizatorii ei,Marie-Jeanne Badescu si Mircea Florian Rista, sa parafeze cu aceasta ocazie o adevarata premiera, oferindu-ne o noua formula de organizare a expozitiilor. Evenimentul, celebrator prin natura sa, dublat de surpriza, este o intamplarea ce a avut loc sambata, 25 iunie, 2011, inseara de Sanziene, cand tanarul pictor timisorean Ciprian Bodea, coborand treptele de laintrarea Galeriei 28, avea sa descopere cu uimire ca fusese invitat la propria sa expozitie. Ea senumeste Deal din Deal si este prima sa expozitie personala. Printre cei prezenti, care au umplutla refuz galeria era si fostul sau profesor de la Institutul de Arte din Timisoara, ConstantinFlondor precum si cativa dintre membrii grupului Noima, grup cu care a debutat in anul 2003.

Expozitia este o provocare pe mai multe planuri si conspiratorii evenimentului par suficient deapropiati de artist pentru a-si permite organizarea lui fara riscul de a fi repudiat intentiileautorului. In ceea ce ma priveste, singura mea legatura cu Ciprian Bodea este o pictura de120x120 cm., care reprezinta un deal verde. Un motiv des folosit in pictura romaneasca

contemporana si a carui paradigma dominant romantica a fost pusa la incercare atat de dorintaartistilor de a se apropia, cat si aceea de a se distanta fata de traditia reprezentarii sale pe panza.

„ Forme de relief stau mute, nemiscate, reusind sa spuna celor ce le privesc cum este sa taci. Neasteptand nimic , ele se uita incremenite afara , netulburate , inspre trupurile noastre. Lelipseste uimirea. Dealurile doar sunt” spune Marie-Jeanne Badescu in catalogul expozitiei.Pictura „Deal din Deal” -doar este - as adauga la randul meu. Singurul lucru pe care pot sa ilfac este acela de a tacea si a lasa contemplarea sa isi faca jocul liber prin mansardele mintii.

Rezultatul raportarii mele in fata dealului verde al lui Ciprian Bodea este un comentariu

interior a carui materie prima este produsa de impactul vizual cu tabloul, un proces de peisarheologie mentala provocat de imagine si nu in ultimul rand o speculatie despre ce a simtitartistul.

Ce motiv ar putea sa ma faca sa imi pun sevaletul in fata unui deal? Padurea , dealul , muntele,sunt locuri enigmatice de refugiu si supravietuire. Simtim acest lucru de cate ori ne apropiemde ele. Locurile odata parasite in istorie invita la o reintoarcere. Studiile dedicate acestui subiectleaga fascinatia noastra in fata dealului de dorinta noastra de explorare a unei istorii potentialascunse intre formele sale si de un escapism din lumea in care traim. Odata ajuns in fatadealului descoperi ca suprafata panzei devine, un prag intre doua lumi pe care ai optiunea sa

urmaresti docil realitatea sau sa o sublimezi pana la limita unui semn iconic. Au facut-o in modobsesiv atat plain-air-istii francezi cat si Horia Bernea, caruia generatiile care l-au urmat,

http://www.goodreads.com/author/show/706864.Edward_Relph






incluzand aceea a lui Ciprian Bodea, ii datoreaza focusul spre decopertarea arhetipurilor ascunse in formele naturale.

Organizatorii expozitiei-surpriza si-au asumat un risc pe care nu avem de unde sti daca CiprianBodea si l-ar fi asumat vreodata desi la vernisaj a fost coplesit de gest. Un risc pe carecercetătorul şi specialistul în calculatoare D-l Horia Gligor, intre altele un colectionar cunoscutdin Timisoara, nu a ezitat sa il exprime la deschiderea vernisajului si care consta in proximitatea vizuala cu care dealul lui Ciprian Bodea se intersecteaza prin expresiile sale detehnica formala cu dealul lui Bernea. Pe unii ii descumpaneste acest lucru, pe altii ii stimuleaza.Personal cred ca D-l Mircea Florian Rista, un expert in branding din Romania, cel care aorganizat aceasta „diversiune artistica ” mutand peste noapte lucrarile lui Ciprian Bodea de lafirma Green Studio la Galleria28 a fost stimulat de idea integrarii si recuperarii pe care o poate provoca dealul lui Ciprian Bodea in peisajul artistic de astazi. Surpriza in acest sens este orevelatie pentru un spirit inveterat in restituirea si restaurarea unui model care ne atrage atentia

asupra artistului ca observator si auto-observator emotiv al procesului artistic, a importanteicraftului de breasla mestesugareasca, si continuarii traditiei.

Dar ce este atat de fascinant legat de deal incat motivul sau este reluat cu atata obstinenta de-alungul generatiilor? In primul rand cred ca este sentimentul de pierdere pe care il suferim inepoca moderna de cate ori asistam la schimbarile si transformarile care au loc in jurul nostru. In perioada anilor 70-80 cercetarile teoretice legate de perceptia peisajului natural au facut inStatele Unite obiectul unor obiecte de studiu importante si au dus chiar la formularea unei psihologii a peisajului. Ce este remarcabil este faptul ca exact in aceeasi perioada Bernea,Lucian Grigorescu, Paul Gherasim sau Constantin Flondor au incercat formularea unui enuntestetic legat de peisajul din pictura si au contribuit la crearea unor arhetipuri ce au ramas unmodel in istoria artei plastice romanesti.

.

Appleton a simtit ca experienta uman aa peisajului este legata mai mult de mostenirea noastraevolutiva. Parte a acestei conexiuni se trage de la Searles care a stresat importanta sensului derudenie cu environmentul sautotal care se afla in fiecare persoana un simt a carui ignorare poate duce la o distrugere a starii sale psihologice de bine. Notiunea de a vedea este legata deaccea de a sta ascuns si invizibil vederii din care Appleton a dezvoltat teoria prospect-refuge in

care estetica umana este legata de peisaj prin elemente care simbolizeaza locuri din care putemsa vedem fara sa fim vazuti.

Kaplan a identificat doua scopuri ascunse in perceptie. Unul este de a face sens ce tine deintelegere si orientare spatiala si altul de implicare o preocupare legata de stimulare sichallange. Prin immbinarea acestor douascopuri cu doua nivele de interpretare a peisajuluiunul bidimensional pe care il vedem si altul tridimensional in care operam Kaplan a stabilit o paralela intre perceptia spatiului si actiunea in spatiu. A face sens poate fi vazut bidimensional

in termeni de coerenta si organizare perceptuala a patternurilor si tri-dimensional calegibilitate , abilitate de a crea o harta si a cunaste un environment suficient de bine ca sa poti



actiona in elImplicarea in termeni vizuali este legata de complexitate iar tridimensionalitate ade mister si promisiunea de a afla mai multe prin actionare in spatiu.

MISTERUL poate fi legat de ceea ce este ascuns in peisaj si de oportunitatea de a vedea lucrurinoi dacacineva trece dealul

Persomnalitate si peisaj CRAIK, a identificat 14 tipuri de personalitate afectate de perceptia peisajului

Cercetarea in acest domeniu a avut loc in cadrul paradigmatic al cercetarii facute de experti( arhitecti, ecologisti) Artistii si designerii au devenit sensibilizati prin profesia lor la valorile fr umusetii si urateniei peisajului . traditia ecologica pleaca de la asuptia ca ecosistemele naturalenemodificate au valoarea estetica cea mai mare. Perceptia unui peisj este o reactie subiectivaemotionala. Partea umana aest ereprezentata de o elita sau grup de observatori dibace skilledArtisti padurari

armonia vizuala bazata pe 3 seturide criterii, principii de dominanta,( forma, linie , culoare ,textura,)- ingrediente de baza a perceptiei peisajului.

Factorii variabili recunosc ca schimbarile conditiilor vizuale pot afecta modul in care percepem elementele dominante: miscare , lumina , conditii admosferice, sezon , distantza , pozitia observatorului, scara si timpul.



that paradox by making photographs that convince the viewer that those revelations, thatnuanced view of the "man-altered landscape

New Topographics heralded an emerging generation of landscape painters who questioned the prevailing romantic and pictorial paradigms embodied in the work of such canonical painters asHoria Bernea Exploring what they saw as the collisions and tensions between humans and the"natural" environment, these paiinters acknowledged their more naturalist predecessors whilealso distancing themselves from the tradition; curator Marie-Jeanne Badescu described the paintings as "eschewing entirely the aspects of beauty, emotion and opinion." Whether or notthis accurately described the artists’ intentions (Gohlke strongly disagrees), in retrospect wehad a more politically Whether or not this accurately described the artists’ intentions (Gohlkengly disagrees), in retrospect we had a more politically nuanced view of the "man-alteredlandscape." New Topographics has entered the annals of art history as a paradigm shift in photography, one that suggests a collective ambivalence about how industrial development and

decay, urbanization and suburbanization, affect our notions of landscape. IIn King Solomon’s Ring [1952], Konrad Lorenz wrote of seeing without being seen, whichrelates to habitat theory. Appleton built on this, arguing that a landscape need only provide theappearance of satisfying survival needs. Certain sign-stimuli provided by the landscapecomprise the core of Appleton’s prospect-refuge theory. He termed the sign-stimuli that provide opportunities to see a prospect while those which provide an opportunity to hide hetermedrefuge [Ibid, 73]. Appleton summarised his theory thus [Ibid, 73]:

“Habitat theory postulates that aesthetic pleasure in landscape derives from the observer experiencing an environment favourable to the satisfaction of his biological needs. Prospect-refuge theory postulates that, because the ability to see without being seen is an intermediatestep in the satisfaction of many of those needs, the capacity of an environment to ensure theachievement of this becomes a more immediate source of aesthetic satisfaction.”

There is something peculiar about the way we attribute the clarity of some photographs to theworld itself. I try to reinforce that paradox by making photographs that convince the viewer

that those revelations, that nuanced view of the "man-altered landscape." New Topographicshas entered the annals of art history as a paradigm shift in painting, one that suggests acollective ambivalence about how industrial development and decay, urbanization andsuburbanization, affect our notions of landscape. In the years since, Bernea has continued tomake paintings that reflect the dynamic relationship between humankind and nature, unsettlingthe practices of landscape representation.

Bodea’s oeuvre is marked by a preoccupation with framing landscape as a manmade construct:an artifact of the way we live, a projection of human actions, ideals and aspirations onto thehorizon. Landscape is where the human and the natural worlds connect, and in his view,

humanity’s power is limited, fragile and temporary. "What is the web of relationships that one perceives in the visual appearance of things?," he asks. "What particular objects in the



landscape — natural or human — give one a sense of that incredibly complex tissue of causality, that makes things look the way they do?” In these pages readers can chart Gohlke’srecurrent fascinations, as he gazes on landscapes that vary greatly in scale, from those thatresult from geological processes and extreme natural forces to those that are apparently non-

dramatic, such as front lawns, meandering rivers and plowed fields.Gohlke acknowledges this cross-pollination in his writings of the early '90s, tracing progressive points of influence from fellow photographers to authors such as Carl Sauer, David Lowenthal,Yi-Fu Tuan and Reyner Banham. Especially meaningful was the work of John Brinckerhoff Jackson, editor of the journal Landscape from 1951 to 1968, in particular his ongoingdiscussion of vernacular landscapes.

si orce spirit dominat de escapism

Cred ca este mai fair se limitez comentariul critic la ceea ce „simt eu” decat sa bat campiidespre ceea ce cred ca „simte artistul” in fata unui deal. Ah, da, unii se pot intreaba ce rost maiare, in aceste circumstante critica de arta. Am sa le raspund ca exista forme si forme deabordare critica, iar cea care ma face pe mine sa ma identific cu obiectul studiului meu este ceacare care cred ca este cea mai sincera. Dealul meu devine astfel o polenizare incrucisata - undeal din dealul lui Ciprian Bodea.

"Aceste om-modificat peisajurmat, Bernea a continuat să facă tablouri care să reflecte relaţia dinamică dintre omenire şinatură, neliniştitoare practicile de reprezentare peisajului.

Opera Bodea este marcat de o preocupare cu incadrarea peisaj ca un construct artificial: unartefact de felul în care trăim, o proiecţie de acţiuni umane, idealurile şi aspiraţiile pe orizont.Peisajul este în cazul în care lumi umane şi naturale se conecteze, şi în opinia sa, putereaomenirii este limitată, fragilă şi temporară. "Care este reţea de relaţii care o percepe în aspectulvizual al lucrurilor,?", Întreabă el. "Ce obiecte special în peisajul - natural sau uman - da o unsentiment de care ţesutului incredibil de complexe de cauzalitate, care face lucrurile arată aşacum o fac?" În aceste pagini cititorii pot diagramă fascinations recurente Gohlke lui, ca el isiconcentreaza privirea asupra peisajelor care variază foarte mult în scară, de la cele care rezultadin procesele geologice şi forţele naturale extreme pentru cei care sunt aparent non-dramatice,cum ar fi peluzele din fata, râuri şerpuitoare şi câmpuri arat.Gohlke recunoaşte această polenizare încrucişată, în scrierile sale de la inceputul anilor '90,



preferrably for architects in a aggregated 'system' that can be specified andpurchased on a square foot basis.

Gradinaritul si picturesque gardening – multumind imaginatia prin scene degrandeur beauty

It was the wise remark of some sagacious observer, that familiarity is for the most part productive of contempt. Graceless offspring of so amiable a parent! Unfortunate beings that weare, whose enjoyments must be either checked, or prove destructive of themselves. Our passions are permitted to sip a little pleasure; but are extinguished by indulgence, like a lampoverwhelmed with oil. Hence we neglect the beauty with which we have been intimate; nor would any addition it could receive, prove an equivalent for the advantage it derived from thefirst impression. Thus negligent of graces that have the merit of reality, we too often prefer imaginary ones that have only the charm of novelty: And hence we may account, in general, for the preference of art to nature, in our old fashioned gardens.

Art, indeed, is often requisite to collect and epitomize the beauties of nature; but shouldnever be suffered to set her mark upon them: I mean in regard to those articles that are of nature’s province; the shaping of ground, the planting of trees, and the disposition of lakes andrivulets. Many more particulars will soon occur, which, however, she is allowed to regulate,somewhat clandestinely, upon the following account: man is not capable of comprehending theuniverse at one survey. Had

In gardening it is no small point to enforce either grandeur or beauty by surprise;

for instance, by abrupt transition from their contraries. But to lay a stress upon surprise only(for example, on the surprise occasioned by an Ha-Ha without including any nobler purpose) isa symptom of bad taste, and a violent fondness for mere concetto1[43].

Grandeur and beauty are so very opposite, that you often diminish the one as youincrease the other. Variety is most akin to the latter, simplicity to the former.

Suppose a large hill, varied by art,

imaginez coline si dealuri modificate de exercitiile noastre artistice

detaliile devin gesturi

with large patches of different-coloured clumps, scars of rock, chalk quarries, villages, or farm-houses; you will have, perhaps, a more beautiful scene, but much less grand than it was before.

There may possibly, but there seldom happens, any occasion to fill up valleys, withtrees or otherwise. It is for the most part the gardener’s business to remove trees, or aught thatfills up the low ground; and to give, as far as nature allows, an artificial eminence to the high.

1



The hedge-row apple-trees in Herefordshire2[44] afford a most beautiful scenery, at thetime they are in blossom: but the prospect would be really grander, did it consist of simplefoliage. For the same reason, a large oak (or beech) in autumn, is a grander object than thesame in spring. The sprightly green, is then obfuscated.3[45]

Smoothness and easy transitions are no small ingredient in the beautiful; abrupt andrectangular breaks have more of the nature of the sublime. Thus a tapering spire is, perhaps, amore beautiful object than a tower, which is grander.

Many of the different opinions relating to the preference to be given to seats, villas, etc.are owing to want of distinction betwixt the beautiful and the magnificent. Both the former andthe latter please; but there are imaginations particularly adapted to the one, and to the other.

Mr Addison thought an open unenclosed champaign country, formed the bestlandscape.4[46] Somewhat here is to be considered. Large unvariegated, simple objects havethe best pretensions to sublimity; a large mountain, whose sides are unvaried with objects, isgrander than one with infinite variety: but then its beauty is proportionably less.

However, I think a plain space near the eye gives a kind of liberty it loves: and then the picture, whether you choose the grand or beautiful, should be held up at its proper distance.Variety is the principal ingredient in beauty; and simplicity is essential to grandeur.

Offensive objects, at a proper distance, acquire even a degree of beauty: for instance,stubble5[47], fallow ground.6[48]

oductive of contempt.

It is a custom in some countries to condemn the characters of those (afterdeath) that have neither planted a tree, nor begat a child.

The art of distancing and approximating7[37], comes truly within their sphere: the former bythe gradual diminution of distinctness, and of size; the latter by the reverse. A straight-linedavenue that is widened in front, and planted there with ewe trees, then firs, then with trees moreand more shady, till they end in the almond-willow, or silver osier 8[38]; will produce a veryremarkable deception of the former kind; which deception will be increased, if the nearer dark

2

3

4

5

6

78



trees, are proportionable and truly larger than those at the end of the avenue that are moreshady.

To distance a building, plant as near as you can to it, two or three circles of differentcoloured greens — evergreens are best for all such purposes — suppose the outer one of holly,and the next of laurel, etc. The consequence will be that the imagination immediately allows aspace betwixt these circles and another betwixt the house and them; and as the imagined spaceis indeterminate, if your building be dim-coloured, it will not appear inconsiderable. Theimagination is a greater magnifier than a microscopic glass. And on this head, I have knownsome instances, where by showing intermediate ground, the distance has appeared less, thanwhile an hedge or grove concealed it.

There seems however to be some objects which afford a pleasure not reducible to either of theforegoing heads.9[6] A ruin, for instance, may be neither new to us, nor majestic, nor beautiful,yet afford that pleasing melancholy which proceeds from a reflection on decayed magnificence.For this reason an able gardener should avail himself of objects, perhaps not very striking; if they serve to connect ideas, that convey reflections of the pleasing kind.10[7]

Landscape should contain variety enough to form a picture upon canvas; and this is no bad test, as I think the landscape painter is the gardener’s best designer .11[14] The eye requiresa sort of balance here; but not so as to encroach upon probable nature. A wood, or hill, may balance a house or obelisk; for exactness would be displeasing. We form our notions from whatwe have seen; and though, could we comprehend the universe, we might perhaps find ituniformly regular; yet the portions that we see of it, habituate our fancy to the contrary.

The eye should always look rather down upon water: customary nature makes thisrequisite. I know nothing more sensibly displeasing than Mr T—’s flat ground betwixt histerrace and his water. A statue in a room challenges examination, and is to be examinedcritically as a statue. A statue in a garden is to be considered as one part of a scene or landscape; the minuter touches are no more essential to it, than a good landscape painter wouldesteem them were he to represent a statue in his picture.

Apparent art, in its proper province, is almost as important as apparent nature. Theycontrast agreeably; but their provinces ever should be kept distinct.

Where some artificial beauties are so dexterously managed that one cannot but conceivethem natural, some natural ones so extremely fortunate that one is ready to swear they areartificial.

9

1011



Grupul NOIMA* a fost fondat în 2003 de catre pictori absolventi ai Facultatii deArte din Timisoara, care au lucrat în atelierul coordonat de profesorul ConstantinFlondor. Expozitia de debut, sub acest nume, a avut loc la finele anului 2004 în

Timisoara la Galleria 28. Au urmat alte expozitii (Muzeul National de Arta din Arad,Galeria Forma din Deva, HVB Bank Arad), si tabere de studiu la Siria, Crivaia,cazanele Dunarii s.a.m.d. În expozitia gazduita la Centrul Cultural German din

Timisoara tinerii artisti ai gruparii NOIMA au prezentat lucrari de pictura, fotografiesi video realizate recent. Au expus Ciprian Bodea (Timisoara), Dan Gherman(Lipova), Sorin Neamtu (Arad), Sorin Scurtulescu (Timisoara), Andrei Rosetti(Deva). O premiera în istoria expozitionala a grupului o constituia participareapictorilor Bogdan Vladuta, asistent al Universitatii Nationale de Arta din Bucurestisi a lui Simion Arhiri (Timisoara). Simion Arhiri si Sorin Scurtulescu au mai expus înspatiul Centrului Cultutal German în cadrul "24-Potrtait-Project". *NOIMA ~e f. 1)

Înteles adânc, ascuns; tâlc; continut (al unui cuvânt sau enunt); rost. Cu ~ a) cu înteles; logic; b) în mod întelept; cuminte. Fara (nici o) ~ a) fara sens; b) prosteste.A nu avea (nici o) coerenta ~ a fi lipsit de sens; a fi absurd. 2) Destinatie a unuilucru în functie de utilitatea acestuia; rost; menire, tel, scop; sens; motiv; cauza. 3)Imagine reprezentând ceva în mod conventional, simbol, conventie.

Marti, 6 februarie/2007 va avea loc la Centrul Cultural German din Timisoara vernisajulexpozitiei www.noima.ro/atelier , al grupului de pictura NOIMA. Grupul NOIMA a fost fondatin 2004 de catre pictori absolventi ai Facultatii de Arte din Timisoara, care au lucrat in atelierulcoordonat de profesorul Constantin Flondor. In expozitia vernisata la Centrul Cultural Germandin Timisoara, tinerii artisti ai gruparii NOIMA prezinta lucrari de pictura, fotografie si artavideo. Expun: Ciprian Bodea (Timisoara), Dan Gherman (Lipova), Sorin Neamtu (Arad), Sorin

Scurtulescu (Timisoara), Andrei Rosetti (Deva), Bogdan Vladuta (Bucuresti) si Simion Arhiri(Timisoara). Odata cu acest vernisaj va fi lansat in online si pagina de net a grupului NOIMA:http://www.noima.ro.

Evenimentul va fi deschis de dr. Ileana Pintilie – curator, critic si istoric de arta, dr. Costion Nicolescu – scriitor, teolog, etnolog, cercetator stiintific in cadrul Muzeului taranului Roman sidr. Cristian Robert Velescu – critic si istoric de arta.

Pictura cu noima

Categorie: Time-out

aparut: 01 Octombrie 2007Cinci tineri artisti din vestul Romaniei expun la Cluj

Articol de: Claudiu GROZA

Grupul NOIMA a debutat sub acest nume la finele anului 2004 in Timisoara, cu o expozitie laGalleria 28. Au urmat alte expozitii, la Muzeul National de Arta din Arad, Galeria Forma dinDeva, si tabere de studiu la Siria, Crivaia, Cazanele Dunarii, samd.

http://www.noima.ro/atelier


http://www.noima.ro/

http://www.clujeanul.ro/cotidian/nocache/articole/Time_out.html


http://www.clujeanul.ro/cotidian/nocache/detalii-autor/Time_out/Pictura_cu_noima/35.html


http://www.noima.ro/


http://www.clujeanul.ro/cotidian/nocache/detalii-autor/Time_out/Pictura_cu_noima/35.html



Tenta auto-ironica apare in ghidusul "Autoportret" al lui Ciprian Bodea, reprezentand un... lacat(foto 2). Interesante si culorile folosite, care amintesc de vopseaua "duco" gri, folosita copios pe vremuri, inclusiv pentru cuferele militare.

Mark Rothko denied his abstract paintings were in any way supposed to be landscapes,although he is reported to have said at the 1964 Turner show in New York “that chap Turner learned a lot from me.” That year there was a New Yorker cartoon with a modish couple staringout at a sunset over the sea, the view resembling a Rothko painting, the caption: “Now, there’sa nice contemporary sunset.” The cartoon reminds me of comments on Turner in Oscar Wilde'sThe Decay of Lying (1889):

o expozitie surpriza

Documents