Skip to main content

A Portrait



(Frans Hals, Catharina Hooft with her Nurse)

Hand, delicate like a bud stippled with spring dew, gently brushing off an apple- an equanimous dismissal of so radiant a temptation. For her heart is flooded with extreme merriment, such merriment that is ineffable for whatever form of expressions. I stare into the front, rigid my facial expressions into sheer solemnity and at pains to contain my fizzy exuberance. Why the stiffness of the dress always impedes the outburst of my inner joy?

She is told to reduce her smile into a mere smirk, as conforming to the ever-celebrated tradition of portraiture. I take yet another sigh of impatience and waiting for another flash of light, exploding straight before my face. My nurse holds an apple and is told to stage a performance of offering me the prop. I, doubtlessly, am supposed to convince the viewers that a reject of the apple is retorted. My nurse bundles through the dumb show, while I, being as adept as a good actor can be, fail to reveal any discomfort, except the slight droop of an eye.

Somebody prisoned her in a portrait, and forgot it altogether somewhere high above the mantelpiece. Viewers, you are not permitted to touch or hold but simply to possess the picture with your eyes. Your eyes of exuding lustiness penetrate not of my heart, which is callous and impassive like a mountain which is ever immobile. The spikiness of my adornment ironically parallels with my heart, whose sole wish is to be locked in an impregnable fortification.

I opted to be put in a portrait, I am obliged to say so without any tinge of regrets. They took away my soul and terminated my life for the sake of perpetual beauty, but they could hardly take away my gaze, which is now transfixing on you as sharp as the slant of light on a snowy morning, truncating a block of ice and leaving no vestige of clemency. This gaze shares the perpetuity of the preserved beauty.

Does her gaze show any hints of wanton entreatment? Some stared at the portrait so long that they felt they were drawn into it unconsciously. Some said her innocence was like a rose poising on a snow-encrusted street- the only thing endearing in comparison with the palpable dismalness. The viewers were thus deluded by the illusive beauty displayed before them. And the frozen portrait burns, like a fire visible in a darkened room, and a flame of blue it flickers.



Comments

Popular posts from this blog

Paintings in Proust: Vesuvius Erupting by J.M.W. Turner

In Proust’s Swann’s Way , the narrator’s grandmother is described as one who inculcates in her grandson a reverence for the “elevated ideals.” Infinitely disdainful of the mechanical nature of replica, when shown photograph of the magnificent Mount Vesuvius his grandmother dismisses it with a lofty query as of whether other more acknowledged artists did paintings of the volcano in the first place. She is having in mind the great J.M.W. Turner, whose depiction of Vesuvius in flame displays, in her view, “a stage higher in the scale of art.” The enduring fascination with volcanoes was especially evident in the 19 th century, which saw an irregularly high frequency of Vesuvius eruptions that, at the time, alarmed many of the imminent cataclysm that a thousand of years before destroyed the city of Pompeii. Turner, according to a number of sources, may not be amongst the first-hand witnesses of those eruptions, but badgered his geologist friends, John MacCulloch and Charles Stoke...

Felix Vallotton

"He was there or not there: not there if I didn't see him."- Henry James, The Turn of the Screw One sees immediately from Felix Vallotton’s paintings that he must had been a gifted raconteur. The painter was possessed of the natural aptitude of unfolding and withholding the narrative flow at the most propitious timing. Mysteriousness emerges. The viewers are bound to be tantalised. Whilst most of Vallotton’s paintings are about the quotidian, the domestic, beneath them their pent-up energy seethes and trembles, threatening to explode at any moment. It isn’t just the quotidian that he depicted, but the interior dramas. Any reader of Ibsen’s or Strindberg’s plays will know that interior drama can be the most frenetic. A woman leans towards a man, her hand entwines his body in show of sensuousness. She whispers into his ears something that the viewers are forbidden the right to privy to. But one has the eye to deduce, from the slightly wrinkled of the man’s nose and t...

Franz von Stuck, Two Dancers

Dancers can be like jousters. Fear and excitement wring their hearts so into tangled skein. Fluttered air brushes against their skins like chill. In anticipation of a good, likely interminable, fight both cannot be more well-prepared, grimacing to each other some distances afar as menacing demonstration of their unconquerable audacities. Everything is all so punctiliously rehearsed and choreographed. Even when darkness descends and everything is shrouded in utter invisibility, each dancer will know by heart when to put which foot forward, to which direction she will sway elegantly her supple bodice to duck narrowly from her opponent, and when the time is ripe, she will let her skirt billow like an arch of rainbow, the more fiery and colourful the rainbow the likelier the chance the dancer is going to claim the final victory. It is always something with Art Nouveau that, when beholding a piece that epitomises most substantially the essence of the said art mov...