Anaïs Nin (1903-1977):
"...Something is always
born of excess: great art was born of great terrors, great loneliness, great
inhibitions, instabilities, and it always balances them..."
Orson Welles as Harry Lime
‘The Third Man’, 1949:
"In Italy, for 30 years under the Borgias, they had warfare,
terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci
and the Renaissance. In Switzerland they had brotherly love, they had 500 years
of democracy and peace - and what did that produce? The cuckoo clock."
The following picture combines two snaps taken in the months of November/ December 2015.
On the left are two birds: a sparrow eating biscuit powder laid in the steel plate and a bulbul (a member of family
Pycnonotidae, medium-sized passerine songbirds) is perched on a bar after having had its fill earlier.
On the right are two cats somewhere in my cousin's garden.
The cats above look so cute, indeed pious but I know how murderous they can get on sighting a bird.
"'They're cute and furry and cuddly, but we need to remember
when we have cats as pets, we are inviting little predators into our house,'
psychologist Dr. Max Wachtel told 9NEWS".
All this reminded me of the following stunning picture.
Manuel Osorio Manrique de Zúñiga, 1787-1788, current location: Metropolitan Museum of Art
Artist: Francisco Goya
When I first saw the picture, I was focused on Goya's 'Red Boy' Manuel...but as my gaze came down, I saw the terror that was lurking in the picture....three cats are eyeing Manuel's pet magpie.
Robert Hughes in his wonderful book '
Goya', 2003 says this about the painting:
"...The little boy, who was four at the time, is wearing a rich
red silk jumpsuit with silvery-white sash and collar. He holds a string whose
other end is tied to the leg of a pet magpie (the eclectic bird, noted for
picking up things here and there, has Goya’s calling card in its beak, complete
with a design of palette and brushes). Two cats are staring at the bird with
fixated, murderous concentration, waiting for the boy’s attention to stray.
Nearby on the floor is a cage full of finches, which the cats will presumably
polish off as well if they get a chance. On one level this may be a
lighthearted painting, but on others it is no such thing. It is another example
of Goya’s awareness of how contingent life is: how at any moment, without
warning, death can break into it, and it will be too late to save anything or
anyone. Neither the magpie nor its noble young owner can relax. The price of
privilege is unremitting tension, for birds as for people...."
Manuel himself died young at the age of just eight. There probably is no record of what happened to the magpie and finches.
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