Orpheus


St. Mark's Library and Seabury Hall
The General Theological seminary
New York

November, 2000

 

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A painter is to himself his own virtuoso.

    Etienne Gilson


 
 

Walls, whose worn markings and irregular surfaces seem to contain what
one mentally redesigns (Leonardo da Vinci), enjoy a mythic matrix of
meanings. Boundary of an other world and also division between
chaos and cosmos, guardians for and against someone, they separate
light and shadow, being and non-being.

   The work arises as that which withdraws (Heidegger), the
   work projected on a virtual wall, the wall to be
   built (Duthuit), the wall with/of paintings: modulations
   of the surface whose rhythm commands the composition,
   the ordering of a jointing (armonia); monumentality – the
   monument is that which endures in the form, as a
   formula that transmits itself towards self-alienation,
   that endures exposed to time and successions of
   interpretations and as the residual trace of an event –
   on the model of myth, its constitution and reconstitution;
   Levi-Strauss’ similarity between mythopoiesis
   and bricolage (Vattimo).


Once again let it be your morning, gods.

With you the world arises, and your dawn
gleams on each crack and crevice of our failure.

Rainer Maria Rilke

Orpheus, Study for a Mural

Admire the remarkable power
And the nobility of line:
It is the voice made audible by the ligt
Of which Hermes Trimegistus speaks in his Pimander.

Guillaume Apollinaire










a  Chiron    51" x 86"

 





b  Silenus    80" x 57"


 


c  Orpheus    80" x 57"

 


 


d  Orpheus and Eurydice    80" x 57"


 


e  Hermes    80” x 57”





f  Pan    53” x 57”


And let me say at once
That I approached to see the Heavenly,
And they themselves cast me down, deep down
Below the living, into the dark cast down
The false priest that I am, to sing
For those who have ears to hear, the warning song there.

Friedrich Holderlin


 
© 2001 Stefan Arteni
& Myriam S.P.de Arteni
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