Red Skull, Earth, Sea and Sky

Head in Red (1930/31) – Karl Ballmer

Beckett visited Ballmer in his Hamburg studio in November 1936 where he saw this painting and made the following diary entry:

Wonderful red Frauenkopf, skull earth sea & sky, I think of Monadologie & my Vulture. Would not occur to me to call this painting abstract. A metaphysical concrete. Not Nature convention, but its source, fountain of Erscheinung [phenomenon]. Fully a postieri painting. Object not exploited to illustrate an idea, as in say {Fernand] Léger or [Willi] Baumeister, but primary. The communication exhausted by the optical experience that is its motive & content. Anything further is by the way. Thus Leibniz, monadologie, Vulture, are by the way. Extraordinary stillness.

The Supreme Vice

The Supreme Vice (1883) by Félicien Rops
The Supreme Vice (1883) by Félicien Rops

Félicien Rops

Rops earned some of his considerable influence and fame from his early association with Baudelaire, who admired the artist’s early works, one of which became the frontispiece for a banned early selection from Fleurs du Mal. Rops almost slavishly incarnated Baudelaire’s infernal spiritual universe, like a sword-and-sorcery paperback cover artist who actually read the story. Rops drew priapic devils, horny priests, and an obscenely self-pleasuring St. Thérèse, but the center of his cosmos was taken up by repetitions of the femme fatale: fleshy, imperious, invariably nude, a dominating subject radiating perversity or a dominated object broken down, often on or at the foot of the cross. Unsurprisingly, the Decadent author J.K. Huysmans was a Rops fan, writing that he “celebrated the spirituality of lust which is Satanism.” Unfortunately, like so much metal iconography today, the frisson of Rops’ satanic masters and salacious nuns haven’t survived the erosion of Christian moralism, to say nothing of the Catholic imaginary. Banished from the canon of Symbolist art for his unredeemable cheese, Rops remains potent because of illustrative craft, a flair for the cartoon line of evocative caricature that looks, from this far distance, rather charming, if not innocent.

Intersubjectivity and Magritte

The Song of the Violet (1951) - René Magritte
The Song of the Violet (1951) – René Magritte

The most terrifying of all Magritte’s visions was of a world of utter silence in which humans and objects have turned to stone, as in some Absurdist play.

Richard Calvocoressi
Magritte

For the only consciousness which can appear to me in its own temporisation is mine, and it can do so only by renouncing all objectivity. In short the for-itself as for-itself cannot be known by the Other. The object which I apprehend under the name of the Other appears to me in a radically other form. The Other is not a for-itself as he appears to me; I do not appear to myself as I am for-the-Other. I am incapable of apprehending for myself the self which I am for the Other, just as I am incapable of apprehending on the basis of the Other-as-object which appears to me, what the Other is for himself.

Jean Paul-Sartre