मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Monday, October 21, 2024

कोण जिंकले, कोण हरले? जॉन रस्किन का द ग गोडसेंचा आवडता जेम्स मॅकनील व्हिसलर?...Nocturne in Black and Gold, a Meaningless Blob?

 दत्तात्रय गणेश गोडसे यांनी "नांगी असलेले फुलपाखरू"- १ आणि २ असे जेम्स मॅकनील व्हिसलर (१८३४-१९०३) ह्या कलावंतावर दोन लेख लिहले हे आता त्यांच्या  "नांगी असलेले फुलपाखरू" (प्रसिद्धी १९८९) ह्या पुस्तकात समाविष्ट आहेत. 

त्या बद्दल मी पूर्वी लिहले आहे. 

त्यातील काही भाग व्हिसलर आणि तत्कालीन प्रसिद्ध टीकाकार जॉन रस्किन (१८१९-१९००) यांच्या मधील न्यायालयातील खटल्यावर आहे. गोडसे हे  व्हिसलर यांच्या बाजूने आहेत, मला तर वाटते ते स्वतः व्हिसलर सारखे आहेत असे त्यांना आयुष्यभर वाटत होते. 

 ह्या खटल्यावर इंग्लिश मध्ये अलीकडे एक पुस्तक प्रसिद्ध झाले Paul Thomas Murphy's "Falling Rocket: James Whistler, John Ruskin, and the Battle for Modern Art", 2023.

तो खटला सुरु झाला कारण मर्फी यांचे पुस्तक सांगते “…A true work of art, by Ruskin’s definition, conveyed a great number of great thoughts. These dark and discernibly unfinished messes conveyed nothing but physical and spiritual emptiness. They were nothing but variations upon the plague cloud. All of this might have occurred to Ruskin as he contemplated these paintings—but might not have. His written reaction to them is less intellectual, much more visceral: overwhelming, instinctive contempt and disgust. He had his Theoria, but did not need it: in this case, Aesthesis—sensation alone—was more than sufficient. He loathed these poor excuses for art.

One painting of the seven stood out as worst of the bad: the darkest, most chaotic painting of the lot. Not only was Nocturne in Black and Gold a meaningless blob; it was also an effortless one—clearly the work of an hour or two. To ask a couple hundred guineas for this—this nothing: it was an obscenity.

Ruskin left the Grosvenor Gallery with rage in his heart and soul, surely mulling over the thunderbolt he would hurl at the two men responsible for this affront to culture: Sir Coutts Lindsay, for thinking this thing art, and James Whistler, for thinking himself an artist….”


 “Nocturne in Black and Gold – The Falling Rocket”, 1875

ह्यामुळे अब्रुनुकसानीचा खटला सुरु झाला आणि तो व्हिसलर यांनी कोर्टात जिंकला, पण Without costs: that is, with each side saddled with its own costs.!

"But if James McNeill Whistler touted his victory, and John Ruskin acknowledged his defeat, few others saw it that way. In the eyes of the world, the victory the jury had given Whistler with its verdict it had simultaneously taken away with its derisory damages, which posited Ruskin’s loss, while real, to be insignificant. Whistler’s great wit on the witness stand might have proved him to be a master of the mot, but it convinced few if any that he was a master of the palette. Many critics and most of the public continued to be baffled by his work. Sales of his paintings, if anything, shrank after the trial. As time passed and Whistler underwent his highly reported insolvency, it became clear that he and not Ruskin had suffered the most from the verdict."

"Who then, Whistler or Ruskin, had the most lasting and impactful legacy? Quantifying and comparing achievements so diverse, so full, is an impossibility beyond the fair deliberation of any jury. Who won Whistler v. Ruskin? In the greater contest between the two men—the contest of two centuries rather than two days—neither did.

Or rather, both did."

 


 Punch magazine’s (Dec 7 1878) verdict on Whistler v. Ruskin- as a  loss for both sides, if you look at the "cost" serpents at the bottom

 

खटल्या संबंधित महत्वाच्या गोष्टी (खटल्याने त्याला जवळजवळ दिवाळखोर केले) आणि त्याचे झालेले अनेक दूरगामी परिणाम गोडसे सांगतच  नाहीत! त्यासाठी मर्फी यांचे पुस्तक वाचा. 


मराठी लेखकांच्या वैयक्तिक तीव्र आवडी निवडी काही वेळा त्यांच्या पुस्तकांमध्ये वाचकांना सत्यापासून दूर ठेवतात. 

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