Cuban writer Jose Lezama Lima It has also been described as “mobile travel”. She left her country only to visit Mexico and Jamaica, but spent most of her life in her house on Calle Trocadero, especially starting in 1959, when Fidel Castro’s decree prohibited her from crossing the border. Lezama Lima died in 1976, but the seeming calm of her seventies and six years of existence contrasts with the feverish movement of her imagination.
Just repeat it “You have more beautiful paths than geographical locations”. In the corridor that separated the kitchen dormitory, he discovered extraordinary wonders, not least because the walls of the short passage were covered with books with pages that contained oceans, vast cordilleras, mountains that shattered the dome of the sky, and flowers with a symphony of color and murmur.
Physical journeys are always limited by time and natural or political barriers, but the paths of imagination bear only the limitations resulting from sensibility and genius.
Danish painter Vilhelm Hammershøi (Copenhagen, May 15, 1864 – Copenhagen, February 13, 1916) I traveled a lot. During the World Exhibition of 1889 he visited the Low Countries, Belgium, London and Paris, but found his interiors recreated with a large palette of black, white, yellow, yellow and gray in his own apartment in Copenhagen at Strandgade 30 as his main source of inspiration.
Without being influenced by impressionism, refine the color until you reduce it to a few elements, allowing you to get a lot of value with a minimum. If you have lost the ability to capture silence, but your actions are simply not quiet, calm, calm. In this you will notice the drunkenness of the word that is destroyed and that manifests the inevitable fruitfulness of life.
Silence Hammershøi maintains a close relationship with Ordergreat teacher of the Danish filmmaker Carl Theodor Dreyer. It only seems that Dreyer was inspired by his compatriot’s pictorial work to depict his cold, austere interiors and burdens of existential tension.
Although Hammershøi did not express great religious anxieties, his paintings reveal a deep spirituality. It’s not the baroque spirituality of Lezam Lim, but it is strictly Pauline feaccording to which matter is not a precarious barrier, a sheer finitude destined to dissipate in the gales of time until the expectation of eternity.
Detail of ‘Interior, mujer vista de espaldas’ (Vilhelm Hammershøi, 1904). Photo: courtesy of the Thyssen Bornemisza Museum
En The dance of the caterpillar in the rays of the sun (1900), one of the Danish painter’s most famous pictures, the clarity that permeates the wind seems to prefigure that glorified material of which St. Paul speaks.
There seems to be only vacío, absence, solitude, silence, but none of these ends can limit you to any land, to this silence of infinite spaces that flood Pascal, to any fertile preñada de vida. Vacation here is synonymous with abundance.
Just like passing through the dungeon of a monastery, absence does not mean Islam. Silence rises into our environment and embraces us, no fight. The moment does not appear as a discontinuous fragment, not even as a slabble of infinity. The space of Hammershøi’s apartment creates a sacred space that fosters a dialogue with mystery, with that alterity we don’t know what to call, but which challenges us from the deepest part of our intimidation.
Introspection is what it invites Polvo dance In Sunbeams, this is not a simple costume guide or self-discovery exercise. The perfect geometry of the wind, the vast architecture of the cosmos, pulses in the ways of light that are reproduced on earth. And the silence that fills the shadow is not a pause in the sound of the world until it is “the call of music” de la que habla san Juan de la Cruz.
Ida, esposa de Hammershøi y hermana del pintor Peter Ilsted, amigo de Vilhelm, aparece a menudo en sus cuadros. Muchas veces de espaldas; en otras ocasiones, leyendo, tocando el piano o realizando alguna tarea doméstica. Su imagen transmite ensimismamiento, pero no se trata de un misterio hermético y hostil, sino de una invitación a participar en el latido de una ensoñación.
Ida siempre está a medio camino entre la fragilidad y la armonía. En Interior, mujer vista de espaldas (hacia 1904), el pelo recogido deja la nuca al descubierto. Hay cierto erotismo en la imagen, pero el pudor luterano mantiene a raya la sensualidad desinhibida de los países del Sur de Europa. El pelo recogido no logra contener un mechón rebelde y el escorzo de la cara solo muestra una mejilla ensombrecida que contrasta con la blancura del cuello. Una blancura que evoca a Vermeer por su forma de reflejar la luz.
Humana y lejana, vulnerable y serena, Ida posee la belleza y limpieza del cuadro Arreglo en gris y negro n.º1, el retrato que hizo de su madre, Ana Matilda, el pintor estadounidense James McNeill Whistler.
Ambas obras aúnan serenidad y sencillez, humildad y sobria elegancia. En cierto sentido, recuerdan las estampas japonesas, pero con un hieratismo a punto de romperse. En ambos casos, el fondo es gris y hay un cuadro colgado de la pared. Hammershøi incluye una porcelana sobre una mesa y unas molduras para atenuar la monotonía. Whistler, una cortina, un escalón, unas puntillas y un pañuelo. No son detalles coloristas, sino la evidencia de que los interiores pueden ser tan ricos en formas y connotaciones como los exteriores.
It avoids the details of primitive flamenco, with warmer and more prosperous interiors. The urban bourgeoisie of Hammershøi is as sober as the rural bourgeoisie Order.
Dreyer and Hammershøi stick to execution and abstraction, befitting a Lutheran culture that prefers nudity over flesh. no embargo, This statement cannot hide the melancholy of a person who hides the existential weather. Kierkegaard’s anxiety is constantly present in Hammershøi’s picture, the aggravating circumstance being that it cannot be resolved by a theological phase from which blind faith in God derives healing power.
She said that Ida is a shadow in her husband’s work. In the distance, he appears as a quiet and silent creature, but this can also be interpreted as a synthesis of a way of seeing the world: an ideal of purity that contrasts with the uncontrollable forces of nature.
Hammershøi is no Goya or Beethoven. Don’t look for the sublime. They are not interested in big symphonies, but small chamber pieces, sonatas that require only a few instruments to create the subsequent atmosphere. His image flirts with the supernatural, but the revelation fades away. Only an honest and sincere dialogue between the painter and the viewer can reveal the truth.
“Motas de polvo bailando en los rayos de sol” (Vilhelm Hammershøi, 1901). Photo: courtesy of the Thyssen Bornemisza Museum
Hammershøi’s painting is a testament to the power to create a miracle. Squares cannot be considered. If it is recreated. Aesthetic experience is not a passive act but a transformative experience. We grow from within and incorporate a new perspective into the work. Works of art are not immutable. They are alive and change from day to day. El Quixote Today it is not the same as it was in 1605. Every page has been revised by thousands of readers who have viewed it.
The Thyssen-Bornemisza National Museum organized the first retrospective in Spain dedicated to Hammershøi (1864-1916). Divided into five themes, with Clara Marcellán as curator and in collaboration with Kunsthaus Zürich, it presents itself with the evocative title The eye that hears.
Synesthesia is one of the pillars of art: seeing silence, feeling the touch of music, smelling the scent of time. Hammershøi’s painting teaches us to better understand light and silence. Their paintings are treasures that reveal secrets to us, findings as discreet as the whisper of a plegaria.
I don’t want to hide that I’m also an introvert. Like Lezam Lima, I have traveled little, but each of my 20,000 books is twenty-one open to the vast world. Yes, my interiors are not as austere as those in Hammershøi, I wonder why I live in a castle country and need to soften the austerity of the land with an endless amount of small objects that reflect my personal history.
I wonder what stories the band supporting the female Hammershøi hides Interior, woman looking at the wall: “Dinner in silence?” Few painters could show the poetry of small things with such delicacy.
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