Ananke Unseen

That which is unseen is not absent; it awaits its own necessity. Before the image, silence; before seeing, darkness. Faces are many, necessity one.

[Ananke Unseen @anankeunseen]

1/3
Ananke Unseen.

What is unseen is not absent — it waits for its own necessity. It is felt before it is seen; before the word, silence; before sight, breath. Many faces, one necessity: living eternal in the ordinary, unseen.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo Those crookednesses, rather than simply obstructing the realization of form, themselves become relationships that initiate and set in motion a gaze within the work.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo 3/3 The vectors to direct the eye are realized at another level of perception and produce meaning. I think this is the very kind of association that arises from the relationships between elements, not from something outside them.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo 2/3 The black background, or even the insistence on detail in the eyes, are signs of this same kind that guide us toward this sort of visual apparatus. Those eyes look back at us. In short, what for you does not coalesce, for me leads to interpretation and writing.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo 1/3He genuinely, as a viewer himself, engages with the revolutionary and prevailing Renaissance perspective and forms a connection with spatial position — which leads to a reciprocal relationship in which Botticelli occupies the viewer's place, compelled toward its inverse

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo For me, the internal logic of this crookedness lies in Botticelli's individual, humanist engagement with the work. Just as feminine passion is commonly discussed in relation to him, he moves toward a critical response shaped by that same Renaissance generation.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo rather, it's a kind of crooked flaw that doesn't function as a three-dimensional reference but instead becomes, in itself, a way of reading and interpretation.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo 2/2 The conventional Renaissance perspective in the shape of the jaw and lips is completely disproportionate. That's actually what I like about it, and I don't think it's merely part of the distortion;

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo 1/2 your position on pictorial realization needs more reconsideration and examination. I agree with the overall gist of what you're saying, because you're describing the same thing I see.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo — and that isn't necessarily the same as "coalescence" or "cogency." Duchamp's interest in the fourth dimension is itself a relationship between the text above the image and the rest of the elements, not our personal knowledge about the work.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo The painter deals with line, shape, form, and space, and the mental association evoked by each image is part of its mystery. But what I'm certain of is that this mystery must be related to the connection and relationship between these elements

[Ananke Unseen @anankeunseen]

@EVangorder15570 an instinctive ease arising from the very sensitivity that the gaze reveals. The apparent irregularities are not failures standing outside the image, but precisely where that sensitivity gives affect a way to appear.

[Ananke Unseen @anankeunseen]

The passive indifference in his gaze announces a truth that Renaissance naturalism has kept concealed: a truth hidden in the measured intervals of the lines of his three-quarter face, and in the distance that separates this gaze from ours.

[Edwin VanGorder @EVangorder15570]

@RamellaUgo the green underdrawing style support a finish in which area to area counterpoint split the brush into a kind of fury of elsticity rebounds and extensions of the area of focus...

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo You might want to read the complete texts I wrote on the painting, rather than the fragments I posted here. What you call drawing errors and unrealized form are, to me, inseparable from the painter’s mentality:

[Ananke Unseen @anankeunseen]

2/2
through the mirror-like nature of the gaze, allowing us to read character not in what the image declares, but in the sensitivity that made it possible.

[Ananke Unseen @anankeunseen]

1/2
It is as though the sensitivity within the artist's mind that made such a representation possible becomes, in the force of the staring eye, a psychic event, one that returns to us

[Ugo Ramella @RamellaUgo]

Sandro Botticelli Ritratto di un giovane uomo dettaglio

[Ananke Unseen @anankeunseen]

@RamellaUgo 2/2 And yet the eye's astonishment becomes unsettling precisely where it comes closest to reality: a photographic truth transformed into a psychoanalytic one.

[Ananke Unseen @anankeunseen]

@RamellaUgo 2/2 And yet the eye's astonishment becomes unsettling precisely where it comes closest to reality: a photographic truth transformed into a psychoanalytic one.

[Ananke Unseen @anankeunseen]

@RamellaUgo 1/2
From this perspective, the liberal arts are not merely a knowledge of how to represent what is visible; they are themselves instruments for constructing reality.

[Ananke Unseen @anankeunseen]

@RamellaUgo 1/2
From this perspective, the liberal arts are not merely a knowledge of how to represent what is visible; they are themselves instruments for constructing reality.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo That truth is observation, skill, and the intellectual instruments that make the artist's hand, the mediator between the subject and our eye, disappear from view.

[Ananke Unseen @anankeunseen]

@EVangorder15570 @RamellaUgo That truth is observation, skill, and the intellectual instruments that make the artist's hand, the mediator between the subject and our eye, disappear from view.