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Sunday, October 19, 2014

The Schism, parts 3767 - 3770

 3767. The first point of judgment would be about the thrust of the entire work and the effect it had as a whole. Regardless of the precision of the anatomy of a figure, the artist was asked if the work, in its totality, when seen from a great distance, was a triangle, a rectangle, or a square.


 3768. If a student, lulled by the rhetorical trick of the question, answered by choosing any of those three shapes, he found himself to be instantly in the wrong. “No,” the master would shout, “the totality of a piece of sculpture can never be a square, but only a cube. The totality of a work can never be a triangle, but only some form of a pyramid.”


 3769. In this way, from the beginning, a student in Ivan’s father’s studio learned to think always in three dimensions, and not in the two dimensions of drawing and painting.



3770. The criticism Ivan had to digest after he listen to the conversation next to the equestrian statue of his Grandfather’s was of an entirely different kind, and of a different magnitude. There are two types of criticism in this world. There is the criticism that strives to instruct the student in how to accomplish the longing of the artist heart. Then there is another form of criticism, more drastic and pernicious.

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