During the first month, as I studied the passage of Rebekah, almost every day at ten in the morning, as I stood by the painting in Nationalmuseum, a woman passed through the room, from left to right. She was one of the museum curators. I recognised her gait from afar since she walked with a crutch. Each time, I turned and saw her leave the room limping. Sometimes our eyes met and confirmed our mutual sense of recognition. When she was cured and got rid of her crutch, I didn’t pay attention to her passing by behind me, since she sounded like everyone else.
In this situation I come close to the painting’s surface, examining, inspecting, absorbing, as part of the act of learning by copying, to the extent that I mimic the brushstrokes. Or I might take up a position a few steps away as a viewer sitting on a bench in the museum gallery, educating myself, taking pleasure in its beauty and being affected. 101 These are two roles that I try to merge in my artistic practice, two roles played out in the drama of the ‘museum’, something that I think concerns two kinds of desire. 102 The first desire is related to my aspiration to acquire control of the object through knowledge, and in the second, another aspect of my longing in relation to my practice is to let myself be overpowered by the object, just as we are led to believe happens to Madeleine in Vertigo.
I have been asked several times if I’ve ever had the desire to make “a real copy”, or if I plan to execute one in the future. Along with such a question, the person asking seems to want me to be more exacting, that I should imitate the entire preparation process in relation to preparing the canvas, the grid, the development of colours from pigments, all of which could reproduce the technique of the old masters within my copies. My interest, however, was never to be found here, as this would erase my desire and pleasure in seeing, and my pleasure in and for painting. So up until writing this text, I have had no reason to scrutinize my own painting practice, as my practice has always served my purpose and led me towards what I was aiming for. However, when reading that Claude would paint his pictures from “… the distance towards the foreground, finishing every section completely before starting the following one” 103 , I started to doubt my way of painting somewhat. Firstly, this was astonishing news for me – and I couldn’t really imagine how this could be done – and secondly, it raised a question as to whether my painting technique has been too informed by conventions.
;)
;)
W.J.T. Mitchell writes: “Everyone knows that television is bad for you and that its badness has something to do with the passivity and fixation of the spectator. But then people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul.” Picture Theory, University of Chicago Press, 1994, p. 2.
102 Desire might concern possessing as well, and with regard to this desire another character enters the stage, the collector.
103 Röthlisberger, Claude Lorrain: The Paintings, p. 11. If one believes that Claude’s ‘real subject’ was the light, then this way of starting his paintings, with the sky and horizon, could be seen as starting his dinner with the dessert.
Åsberg, Stig
Page: 20(a.)
after-image
Page: 5, 5(a.), 26, 32, 34, 40, 48, 49, 55, 56
Akerman, Chantal
Page: 3, 3(a.), 57(a.)
Alberti, Leon Battista
Page: 27
Angelo Giorgio, Cardinal
Page: 19, 19(a.)
Armitage, John
Page: 51(a.)
Art Institute of Chicago
Page: 32
Arvidsson, Kristoffer
Page: 35(a.)
Ashburton, Lord
Page: 19(a.)
Bätschmann, Oskar
Page: 33(a.)
Bal, Mieke
Page: 8(a.)
Barton, Judy (character in Vertigo by Alfred Hitchcock)
Page: 30
Baudelaire, Charles
Page: 44
beat, the
Page: 44
Beckett, Samuel
Page: 39
Bellini, workshop of Giovanni
Page: 28
Bierstadt, Albert
Page: 17
Bjurström, Per
Page: 19, 19(a.), 33, 57, 57(a.)
Blaugrund, Annette
Page: 17(a.)
Bonaparte, Lucien
Page: 19(a.), 41(a.)
Bosch, Hieronymous
Page: 40
Brealey, John
Page: 19, 19(a.)
British Museum, London
Page: 22, 22(a.)
Brooklyn Museum of Art, New York
Page: 45
Bryson, Norman
Page: 2, 2(a.), 8, 8(a.), 27(a.), 44(a.)
Butler, Judith
Page: 48, 48(a.), 49
Calaresu, Melissa
Page: 9(a.)
Calefato, Patrizia
Page: 43, 43(a.)
Cavalli-Björkman, Görel
Page: 19(a.)
Cederström, Gustaf
Page: 46, 46(a.)
Certeau, Michel de
Page: 53
Cézanne, Paul
Page: 39
Church, Fredric Edwin
Page: 17, 17(a.)
Claude Glasses
Page: 5, 12, 18, 51, 54
Claude Lorrain Mirror
Page: 10
Claude Mirror
Page: 5, 10, 11, 18
Claudian
Page: 11, 14, 14(a.), 15, 17, 41, 41(a.), 53, 56
Claudian gaze
Page: 17
Claudian light
Page: 14
Claudian model
Page: 14, 14(a.), 15, 41(a.)
Cohen, Ernst
Page: 8(a.)
Constable, John
Page: 25(a.), 41(a.)
copy
Page: 4, 4(a.), 5, 5(a.), 20, 22, 25, 26, 30(a.), 31, 32, 32(a.), 34, 38, 40, 41, 41(a.), 42, 42(a.), 44, 48, 51, 55, 57
copying, act of -
Page: 31, 51
copyist
Page: 26, 32, 34, 40, 41, 42, 44
Courbet, Gustave
Page: 34(a.)
Crary, Jonathan
Page: 13, 13(a.)
cruising
Page: 8, 35, 35(a.), 44, 44(a.), 49
Dahlbäck, Bengt
Page: 20(a.)
Degas, Edgar
Page: 44
Dercon, Chris
Page: 51(a.)
Düsseldorf School
Page: 15
Dughet, Gaspard
Page: 27
Dunwell, Frances F.
Page: 16(a.), 17(a.)
El Greco
Page: 2
Elster, Madeleine (character in Vertigo by Alfred Hitchcock)
Page: 30, 31, 34, 38, 44
Fabiani, Bardo
Page: 43(a.)
Fahlcrantz, Carl Johan
Page: 14, 15
Ferguson, John "Scottie" (character in Vertigo by Alfred Hitchcock)
Page: 30, 31
Ferrier, Maïten de
Page: 32
Field, Cyrus
Page: 17(a.)
framing
Page: 7, 33, 35, 51, 54
Fraser, Andrea
Page: 40(a.)
Fredlund, Björn
Page: 8(a.), 19(a.)
Fried, Michael
Page: 28(a.)
Göteborgs Konstmuseum, Gothenburg
Page: 8(a.), 19, 19(a.), 46, 46(a.)
Galleria degli Uffizi, Florence
Page: 24
Gallerie Brunner, Paris
Page: 19(a.)
Gardner, Jack
Page: 29(a.)
gay
Page: 8, 35, 35(a.), 44, 45, 46, 47, 48, 48(a.)
gaze
Page: 4, 5(a.), 8, 9, 13, 17, 20, 23, 24, 26, 27(a.), 28, 29, 30, 31, 34, 35, 36, 42, 44, 44(a.), 45, 47, 48, 49, 50, 52, 54
gender
Page: 30, 43, 48(a.), 49
Georgel, Chantal
Page: 24(a.)
Gilpin, William
Page: 9, 9(a.), 12, 12(a.), 16, 16(a.)
Giori, Cardinale
Page: 22
Goldfarb, Hilliard T.
Page: 28(a.), 29(a.)
Gombrich, Ernst Hans
Page: 25(a.), 48(a.)
Gordon, Douglas
Page: 30(a.)
Grünewald, Matthias
Page: 2
Grammel, Sören
Page: 30(a.)
Granath, Olle
Page: 4(a.)
Grand Tour
Page: 9, 14, 32, 35(a.)
Grate, Pontus
Page: 37(a.), 41(a.)
Gray Mirror
Page: 10
Great Chain Overlook, The
Page: 5
grid
Page: 24, 25, 25(a.), 26, 37, 38, 44, 46, 47, 49
Guerrilla Girls
Page: 40(a.)
Gustaf Adolf VI of Sweden, King
Page: 18
Hansen, Constantin
Page: 8(a.)
Harriss, Joseph A.
Page: 32(a.), 40(a.)
Hedén, Karl-Gustaf
Page: 8(a.), 19, 19(a.)
Herrmann, Bernard
Page: 30(a.)
Hidaka, Ritsuko
Page: 24, 24(a.)
history
Page: 1, 7, 15, 18, 19, 20(a.), 21, 24, 26,32(a.), 35, 41(a.), 44, 46, 47, 48, 55, 56
Hitchcock, Alfred
Page: 30
Hockney, David
Page: 11(a.)
Holger, Lena
Page: 46(a.)
horizon
Page: 25, 27, 35, 38(a.), 41, 52, 53, 54, 56
Hudson River Highlands
Page: 16, 16(a.), 17(a.)
Hudson River School
Page: 17, 17(a.)
Isabella Stewart Gardner Museum, Boston
Page: 28, 29(a.)
Isakson, Karl
Page: 39
Kennedy, Randy
Page: 45(a.)
Kitson, Michael
Page: 22(a.)
Købke, Christian
Page: 8(a.)
Konstantin Konstantinovich of Russia, Grand Duke
Page: 46, 46(a.)
Kopp, Céline
Page: 42(a.)
Krauss, Rosalind
Page: 25, 25(a.)
Kulick, Don
Page: 44, 44(a.), 49
Kunstverein München, Munich
Page: 30(a.)
landscape, Arcadian -
Page: 9, 35
landscape, cultivated -
Page: 16
landscape, designed -
Page: 10
landscape, Dutch -
Page: 10
landscape, lost -
Page: 16
landscape, national -
Page: 9, 14, 15
landscape, Nordic -
Page: 15
landscape, pastoral -
Page: 21, 34, 35
landscape,pictorial
Page: 14
landscape, Roman -
Page: 11
landscape, Romantic -
Page: 52
landscape, Swedish -
Page: 14, 15
landscape painter
Page: 5, 14, 17, 19(a.)
landscape painting
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
Landscapes, Ideal -
Page: 9, 9(a.), 22(a.), 33(a.), 35, 40, 41(a.)
Landscapes, Imperial -
Page: 14, 14(a.)
Langdon, Helen
Page: 11(a.), 33, 33(a.), 57(a.)
Lawler, Louise
Page: 40(a.)
Lefebvre, Henri
Page: 27
Lenbach, Franz von
Page: 30(a.)
Liber Veritatis
Page: 21, 22, 22(a.)
linguistic matrix
Page: 25
Lorrain, Claude
Page: 2, 4, 4(a.), 5, 8, 8(a.), 9, 10, 11, 11(a.), 12, 12(a.), 13, 14, 15, 16, 18, 18(a.), 19, 19(a.), 20, 21, 21(a.), 22, 22(a.), 23, 25, 25(a.), 26, 27, 28, 33, 33(a.), 34, 34(a.), 35, 36, 36(a.), 38, 38(a.), 41, 41(a.), 42(a.), 51, 52, 53, 54, 55, 56, 57, 57(a.)
Louvre, Paris
Page: 24, 32, 32(a.), 40, 44, 44(a.)
Lyberg, Louise
Page: 32(a.)
Magasin 3 Stockholm Konsthall, Stockholm
Page: 35(a.)
Maillet, Arnaud
Page: 12(a.)
Malsch, Friedemann
Page: 28(a.)
Manson & Woods, London
Page: 8(a.)
Martin, Elias
Page: 14, 14(a.)
Matisse, Henri
Page: 39
memory
Page: 7, 11, 17(a.), 20, 30(a.), 31, 35(a.), 41, 41(a.), 43, 51
Merleau-Ponty, Maurice
Page: 24, 24(a.), 27, 27(a.), 39, 39(a.), 55, 55(a.)
Metropolitan Museum of Art, New York
Page: 17(a.), 24
Metz, Philip
Page: 30(a.)
mimicry
Page: 5, 6, 34, 40, 47, 49, 51
Mitchell, W.J.T.
Page: 11(a.), 14, 14(a.), 28(a.), 38(a.), 48(a.)
Moderna Museet, Stockholm
Page: 20, 40(a.)
Molvidson, Martin
Page: 46(a.)
Mulvey, Laura
Page: 30, 30(a.), 31
Musée Fesch, Ajaccio, Corsica
Page: 41, 41(a.)
museum
Page: 4, 4(a.), 5, 8,18, 19, 20, 20(a.), 23, 24, 24(a.), 25,26, 27, 28,29, 29(a.), 30, 30(a.), 31, 32, 32(a.), 33, 34, 36,38, 40, 40(a.),42, 42(a.), 43, 44, 44(a.), 45, 46, 46(a.), 47,49, 50, 51
Museum of Modern Art, New York
Page: 45, 45(a.)
National Gallery, London
Page: 24, 41(a.)
Nationalmuseum, Stockholm
Page: 4, 4(a.), 5, 8(a.), 18, 19, 19(a.), 20, 20(a.), 24, 27, 32, 32(a.), 37, 38, 41(a.), 46, 47, 48(a.), 55, 57(a.)
nature
Page: 7, 9, 12, 13, 17, 18, 24, 33, 34, 39, 43, 47, 48, 51, 57
Newman, Michael
Page: 51, 51(a.), 52, 52(a.)
New Orleans Museum of Art, New Orleans
Page: 8
Nilsson, Håkan
Page: 48, 48(a.)
Nordic Light
Page: 15
Nordqvist, Per
Page: 14
Novak, Kim (actor in Vertigo by Alfred Hitchcock)
Page: 30
original
Page: 4(a.), 5, 5(a.), 8, 14, 18(a.), 19(a.), 20, 22, 25, 25(a.), 26, 29(a.), 32, 33, 34, 39, 40, 41, 41(a.), 42, 46, 46(a.), 47, 48, 48(a.), 49
painting, historical -
Page: 6, 24, 30, 35, 41(a.)
painting, landscape
Page: 1, 2, 4, 6, 8, 11, 11(a.), 14, 15, 53
painting, lost -
Page: 26
painting, process of -
Page: 39, 57
Palazzo Riccardi, Florence
Page: 19(a.)
Pehrson, Mathias
Page: 18(a.)
perspective
Page: 11, 18, 27, 27(a.), 33, 44
Persson, Helena
Page: 8(a.)
Petterson, Åke
Page: 18(a.)
Phelan, Peggy
Page: 5, 39, 39(a.)
Phillips, Tony
Page: 27(a.)
pictures journey
Page: 8
Picturesque
Page: 5, 9, 9(a.), 10, 10(a.), 11, 11(a.), 12, 12(a.), 14, 16, 17, 18
Pollock, Jackson
Page: 48(a.)
Pordenone, Bernardino Licinio da
Page: 28(a.)
Poussin, Nicolas
Page: 9, 27, 33, 33(a.), 40(a.), 41(a.)
Prado Museum, Madrid
Page: 41(a.), 53
Röthlisberger, Marcel
Page: 8(a.), 19, 19(a.), 21, 21(a.), 22(a.), 34(a.), 35, 35(a.), 36, 36(a.), 37, 38(a.), 41, 41(a.), 42, 42(a.)
Rørbye, Martinus
Page: 8(a.)
Raphael
Page: 36
Rebekah
Page: 4(a.), 5, 15, 16, 18, 19, 19(a.), 20, 21, 22, 23, 25, 25(a.), 26, 28, 32, 33, 35, 36, 37, 37(a.), 38, 40, 41, 42, 47, 55, 57
recognition
Page: 2, 8, 28, 38, 39, 40
Rembrandt van Rijn
Page: 19(a.)
restorer
Page: 18, 19, 19(a.), 20, 21
Rossholm Lagerlöf, Margaretha
Page: 9(a.), 22(a.), 33, 33(a.), 34, 34(a.), 41(a.)
Rubens, Peter Paul
Page: 41(a.)
Sandberg, Ragnar
Page: 39, 39(a.)
Sandrart, Joachim von
Page: 36, 57
Sarto, Andrea del
Page: 30(a.)
See and Seen
Page: 1, 4, 5, 6, 9, 29(a.), 44, 47, 49, 50, 54
seeing, act of -
Page: 27, 43, 49, 54
seeing, moment of
Page: 21, 48, 54
seeing, process of -
Page: 5, 26
seeing, way of -
Page: 7, 9, 14, 18, 39, 51
shepherd
Page: 4(a.), 19(a.), 22, 33, 35, 42
Shiner, Larry
Page: 40(a.)
spectator
Page: 11, 11(a.), 13, 29, 29(a.), 30, 33, 38(a.), 41, 43, 44, 50, 53
Stewart, James (actor in Vertigo by Alfred Hitchcock))
Page: 30
Stewart Gardner, Isabella
Page: 28, 29, 29(a.), 49
Storrie, Calum
Page: 44, 44(a.)
tourist
Page: 5, 7, 9, 9(a.), 10, 13, 18, 54
translate
Page: 2(a.), 11, 19(a.), 26, 39, 46
translation
Page: 1, 18(a.), 19(a.), 27(a.), 39(a.), 55(a.), 57(a.)
Turner, J.M.W.
Page: 11
US Military Academy at West Point, New York State
Page: 5, 16, 17, 18, 54
vanishing point
Page: 11, 27, 51, 52
Vertigo
Page: 30, 30(a.), 31, 38, 44
Victoria & Albert Museum, London
Page: 43
viewer
Page: 2, 4, 5, 7, 13, 17, 18, 21, 23, 24, 24(a.), 26, 27, 28, 29, 29(a.), 30, 33, 34, 38, 40, 41(a.), 43, 44, 45, 47, 48, 49, 50, 51, 54
viewing, act of -
Page: 13
viewing, conditions of -
Page: 44
viewing, modes of -
Page: 13
viewing aids / instruments
Page: 10, 13, 48
Warner, Deborah Jean
Page: 10, 10(a.), 12, 12(a.)
Williams, Raymond
Page: 7, 7(a.), 10, 10(a.)
Wittgenstein
Page: 48(a.)
Wood, Marjorie 'Midge' (character in Vertigo by Alfred Hitchcock)
Page: 31