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He is looking at the theme of pygmalion across different renditions and thinking about artifice in relation to stone and also with Narcissus.
Takes a more accessible approach to art history and does not use footnotes. Iconography of pygmalion, not the history as such - takes a more transhistorical approach.
thinks about visual translations of the poet's words - the difficulties of representation - this is to do with the imagination of the painter and the poet.
inventor pf painting perhaps meets the inventor of sculpture - another cultural myth adopted by male masters in the art world.
he makes intertextual links between the poems - Pygmalion and Narcissus and also between other narraitves of maidens turned into stone by Venus.
What is barolsky doing?
How do the scenes differ from the poem?
trying to map the different ways in which the artwork was brought to life by the artists. He has a whole other text on stone and comments on the artifice of stone itself. How dot he artist capture galatea in the moment of possessing human life. art and human between Pygmalion and Galatea. Freeing someone from the block of marble - Michelangelo mythological ideas.
1. sexually charged representations (Ovid puts up a false pretence that Pygmalion is chaste as well as galatea)
2. Pygmalion was not a sculptor - it was adopted to align the artist with this myth of creating life through art.
3. that galatea was a life-size sculpture when she was an ivory.
How has the artist's adopted the poem of Pygmalion?
Connection between Narcissus and Pygmalion?
What does he conclude about Ovid's text?
the idea that the artist has not entirely finished the sculpture - she is in the process of coming to life - which he describes as 'non-finito'
Galatea is a doll perhaps - ancient doll or small marquette. Almost as a votive of some kind, as Roman dolls were meant to help the owners transition and prepare for death or life thereafter.
connection between pygmalion and narcissus and the carved from marble transformation.
Through artist's own reflection or desire or beauty - both Narcissus come to embody the form of painting and Pygmalion as sculpture.
That it is all about 'art and desire' deep reflections between the two. That artists cannot translate Ovid's work into art without 'certain absurdity'
Again he writes of a transhistorical story of Pygmalion. But tries to think about the classical time in with Ovid was living in to try and resolve the ambiguity of Galatea's materiality but also how she comes alive. Suggests metamorphosis might also be a change in scale.
unusual "replacement value"
Comments more on the size of Galatea in representations when she transitions between ivory, wax - never mentioned to be marble at any point in time.
parallels between ivory and bone -
Stoichita first chapter?
Looking at the classical context and 13th century of the story - concludes that the text itself produces the changes to galateas body.
But he speculates about the poiesis of Galatea, whether she is created through the phenomenological.
Then looks to 13th century deviations and resistance to the portrayal fo Pygmalion and Galatea.
What is Romance of the rose?
French translation by Jean de Meun in the 13th century -
Different frames, apparatus and context to the poem itself. Translation os the poem into illuminated medieval texts.
different narrative - Pygmalion's lips turn to ice when he kisses Galatea. Cannot reach satisfaction.
His hand is touching himself not Galatea.
More in favour of scopic and ocular initiation of life.
theories of extromission and intromission. Bringing to life and imprinting on heavenly images.
pygmalion creates Galatea to gain artistic autonomy - art for the artist rather than a commission - perhaps artistic narcissism.
How does he state that Galatea transforms in a living human being?
Through the senses, sight, touch and heat and soul.
kisses and embracing - the mouth give births to love and speech. Important erotic aspect as well as breasts. Sasya the mouth 'inspires life'
Music comes to animate her at the end of the text through Romance of the Rose. Proof of life, rhythms and pulse of blood through the veins.
she is half way between living and dead as a stone effigy.
All about incarnation.
understanding of art making - resurrection and animation.
Is Galatea simply mimetic of life?
some kind of acts of heresy are occurring.
What about wax as a material?
contextualises the story within book ten with is narrated by Orpheus - creates parallels between Orpheus and his life and resurrection - as Orpheus turns back to see his wife and turns her into stone.
Galatea stand for s reverse of the maidens that Venus turned to stone. States that petrification is a form of punishment or banishment.
All about in between states - amorphous material that responds to heat and touch.
What about the importance of music?
It comes form the idea of a pagan wedding and ritual as producing incarnation of the soul within the
Theory of Music humana - the idea that the soul fo the artist is transferrable and have agency.
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