Visualization for GAU – Part III

(Translation incited by curiosity of an English speaking visitor of The Anna D Book home page /comment on the Visualization for GAU - Part III./)

From Report No. 4 (The Ana D Book; pg. 67):

(...) Child B had a desperately large toe on her left foot, horribly ugly and pink. Plebeian. In contrast, the whole of the rest of her body was most reminiscent of Modigliani’s Nude on a Sofa, from the Gianni Mattioli collection in Milan. The brush of the master from Livorno was painting Child. Everything is identical, from the hair on her head, to the dark eyes, to pubic hair and torso. The composition is severed so that on the right side of the canvas, the legs of the diagonally positioned nude are cut off at approximately mid thigh. On the opposite side, the left edge of the picture cuts off the voluptuously resting arms flung behind the head at the right palm, while the left is cushioning, hidden under the dark mane cut in a page-boy hairstyle. The painting does not show a single finger. No deformation. Neither hand nor foot. (...)

    Amedeo Modigliani;
    Nude on a Sofa /1917
    (60 x 92 cm, Oil on canavas)

From Report No. 8 (The Ana D Book; pg. 216):

(...) I knew I had to tell her. But I waited. Waited for the right time. ‘Waiting for time’, doesn’t that sound weak. In Goya’s Black Paintings there is a picture of Saturn devouring his own children. The god of time is represented very realistically, like a mad old man eating a human body five times smaller than himself as if it were a large sandwich. The father’s mouth had already gobbled up both arms and the head of the child. ‘Waiting for the right time’ is as weak as if the master from Castile gave that painting the title: ‘The God of Time Devours the Children Who Are Waiting for Their Time’. (...)

      Francisco Goya;
      Saturn devouring his Children /1624
      (146 x 83 cm, Fresco)

From Report No. 7 (The Ana D Book; pg. 198):

(...) “... You can believe me when I say that my cello and I, we never bob up and down on the dark waves behind Böcklin’s boat, somewhere near the Island of the Dead ..., we walk on it! ” (...)

Arnold Boecklin;
Island of the Dead /1880
(111 x 155 cm, Oil on canavas)

From Report No. 13 (The Ana D Book; pg. 373):

“I will try to live again ... Rantz did too ...”
He didn’t want to know who Rantz was. He didn’t ask.
“Go to Madrid ..., visit the Prado. There, you will find Goya’s pictures from the Quinta del Sordo ...”
“I know ..., the Dog Drowning ... Saturn devouring his Children ...”
“Yes, ... that dog, he’s not afraid at all, just looking ...”

      Francisco Goya;
      The Dog Drowning
      ( 134 x 80 cm, Fresco)
      1621 Quinta del Sordo; Sp. The house of the deaf man

Ibidem (pg. 374):

(...) Outside, in front of the house, under the bare bulb over the door, he took a CD out of the pocket and offered it to me. I took it. It was one of the precious few examples I never managed to get hold of and had never heard. On the cover was Goya’s Dog, his head on a wild wave of troubled waters. And behind and in front of him, smooth cliffs like skyscrapers. (...)

Ibidem (pg. 375):

“Nothing dared come onto the road, not even a stray dog ...”
Fedor did not say a word all the way to the corner at Kazina where I dropped him off.
“Peripat, don’t do this again!”
“Fedor, I have seen everything from the House of the Deaf Man ... Several times over!”

Francisco Goya;
(Detail, Fresco)
1620 Quinta del Sordo

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