David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

07 May 2017

Medardo Rosso and the Flesh of Others

Io non lavoro per i miei contemporanei, lavoro per il futuro
(I don’t work for my contemporaries, I work for the future.)  
—Medardo Rosso

Received with thanks

It's the continuum, stupid.

Mother matrix and the Unfinished Sympathy (sic)

from Willendorf to Leonardo and Michelangelo, 
Messerschmidt, Muybridge, Medardo Rosso
Giacometti, Fontana...

 Medardo Rosso, La vecchia (The Old Lady), 1883

 Medardo Rosso, Carne altrui (Flesh of Others), 1883–84

 Medardo Rosso, Aetas Aurea (The Golden Age), 1884-85

 Medardo Rosso, Enfant au sein (Child at the Breast), 1889–90

 Medardo Rosso, Rieuse (Laughing Woman) [first cast c.1890]
 with Rosso's own photography as animated in 2015 by 
 illustrator and graphic artist Jonathon Rosen

 Medardo Rosso, Madame X, 1896. Wax with plaster interior

 Medardo Rosso, Madame X regarded regarded, 1896- 
Theatre of the Actors of Regard  
 A Person Looks At A Work Of Art/
 someone looks at something...