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Saturday, May 25, 2013

Coromo in New York, parts 1627 - 1630

1627. The difference between Henri Rousseau and the opera singer Mrs. Jenkins was that Rousseau’s paintings could be found in Museums and in his art history book, and Jenkins was mostly forgotten unless you searched for her in Google. Coromo decided in the end that the question had no answer. He thought about the difference between Mrs. VanDusenberg and the restaurant manager about the Bouguereau paintings. In the end it was not a question of right or wrong, or of good or bad. In short it was a question with no answer at all. 

1628. The world was a very big place, what one person loved another hated and there were even people who might pretend to love things they actually though insipid. It was a difficult subject to think about especially for a person without the word "kitsch" in their vocabulary.

1629. As far as Coromo's attitude toward his own paintings, his ideas were disrupted one evening because of a new patron at the resort who, from his first day, evidenced a marked interest in his paintings. The man’s name was Proctor Cronk, he was about sixty; he was from Great Britain. He spoke with the sort of English accent that gave everything he said an immediate authority, an accent making it impossible to doubt his judgment.

1630. It was not like one of those German accents, which lend to the English language a tremendous dose of authority, but yet leave the listened with a lingering suspicion that it is not authority based on years of knowledge or research, but instead it is the sound of a misplaced and unjustified intellectual vanity.

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