{"id":3891,"date":"2013-11-13T17:56:10","date_gmt":"2013-11-13T17:56:10","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=3891"},"modified":"2013-11-09T17:58:20","modified_gmt":"2013-11-09T17:58:20","slug":"walking-the-cat-back","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=3891","title":{"rendered":"Walking the cat back"},"content":{"rendered":"

 <\/p>\n

\"Vermeer<\/a>

Vermeer forgery<\/p><\/div>\n

This is quite nice, from Schjeldahl<\/a>:<\/p>\n

What do we see when we look at a painting? Decisions. Stroke by stroke, the painter did something rather than something else, a sequence of choices that add up to a general effect. If you\u2019re like me\u2014and, yes, I count myself a middling connoisseur\u2014you register the effect and then investigate how it was achieved; walking the cat back, as they say in espionage. As a trick, ask yourself, of details in a painting, something like, \u201cWhy would I have done that in that way?\u201d The aim is to enter into the mind, and the heart, of the creator. Attaining it entails trust, like that of a child attending a fairy tale.<\/p>\n

Looking with this kind of absorption won\u2019t immunize you to falling for a fake, but you are apt to be confused by false notes if the supposed artist\u2019s style is familiar to you. The game then deepens. The forger hopes that, because you\u2019re credulous, you will revise your estimation of the artist to accommodate the surprises. Or consider a reverse case: you\u2019re told that an authentic work is a forgery. Paranoically, you view everything in it as sham. Again you\u2019re bewildered, this time thrown into doubt about your powers of perception. You conclude that you\u2019re a hopeless sucker.<\/p>\n

To judge a work of art involves self-surrender.<\/i><\/p>\n

You are something other than your own person when in art\u2019s spell. If you dread being made a fool of, you will steer clear of art altogether. But risking foolishness, and succumbing to it occasionally, builds up antibodies of wisdom.<\/p>\n","protected":false},"excerpt":{"rendered":"

  This is quite nice, from Schjeldahl: What do we see when we look at a painting? Decisions. Stroke by stroke, the painter did something rather than something else, a sequence of choices that add up to a general effect. If you\u2019re like me\u2014and, yes, I count myself a middling connoisseur\u2014you register the effect and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3891","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nWalking the cat back - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=3891\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Walking the cat back - represent\" \/>\n<meta property=\"og:description\" content=\"  This is quite nice, from Schjeldahl: What do we see when we look at a painting? Decisions. Stroke by stroke, the painter did something rather than something else, a sequence of choices that add up to a general effect. 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