Visualization for GAU – Part VI

From Report No. 9 (The Ana D Book; pg. 261)

fuessli-trontamora.jpg

        Johann Heinrich Fuessli
        (Henry Fuseli)

        Nightmare /1781
        (127 x 102 cm; Oil on canvas)

(...) We went again down the same roads to the west, north-west. I then took a sharp turn round one of the corners. We sped down a slope, joyfully braking. So that we squeaked down Freud’s Berggasse with backsides flying in the air. Child B grew concerned about the paper that I had in my saddle bag hanging off the luggage rack. I had to take the bag all the way to the second floor and leave it under the museum’s supervision in the hall that used to belong to Dr Freud. We spent a long time going from room to room, retracing our steps, although by far the longest was spent scrutinising the antique statuettes from the psychoanalyst’s private collection. Each time, we squatted next to those, repeatedly and extensively. So extensively that the other visitors had to pluck up the courage and start to complain loudly. With my mobile, I took two crazy phalluses and a tiny red satyr. We twice returned to the Nightmare by the painter J.H. Fuseli, given to the master by Eernst Jones, author of the essay On the Nightmare from 1912. I was attracted by the certificate of Honorary Citizen of Vienna. The decorative sketch of Oedipus and the Sphinx was painted on to the document in water colours by Max Pollak in 1924. Dr F. was in fact made the thirty-third honorary citizen of Vienna. I still maintain that the famous Jew should have been the Londoner from 39 Elsworthy Road, where he fled from the incursion of the home-bred Barbarians, rather than a Viennese from 19 Berggasse. This was further confirmed after Child and I inspected the documentary images of the ecstatic Vienna just before the Anschluss.
(…)

    ojdip-sfinga.jpg
      Jean Auguste Dominique Ingres
      Oedipus and the Sphinx /1808
      (189 x 144 cm; Oil on canvas)

From Report No. 9 (The Ana D Book; pg. 249)

b-friz-1.jpg

      Gustav Klimt
      Beethoven frieze (Side Wall) – detail /1902
      (2,15 – 2,00 x 34,14 m; Casein paint, gold paint, black and color chalk, graphite. Applied plaster and various appliqué materials)

(…) Lower down in the food market we later bought some Tuscan bread with olives, disgracefully expensive fresh figs, two baklavas and a large wedge of Dachsteiner. We went to the Secession and she only admired Klimt and the Beethoven frieze. In the afternoon, we lounged around and made love. The evening was spent looking at Viennese monographs and listening to Urlicht, homage to Gustav Mahler. When she went to the bathroom, I sent the first message to Hana. After coming back, she first silently watched me texting and later went out onto the balcony. After the last message, I remained seated on the floor in the room. Thoughtful and perhaps a little melancholy. Child B knelt down to me.
“What’s the matter...?”
“I’m a bit sad...”
“I know... ‘cos you were texting so slowly.”
“I knew you would know!”
“How...?”
“’Cos I was texting so slowly!”
The paradox made her smile and she brushed my cheeks with her lips in understanding.

(…)

b-friz-4.jpg

      Gustav Klimt
      Beethoven frieze (Side Wall) – detail /1902
      (2,15 – 2,00 x 34,14 m; Casein paint, gold paint, black and color chalk, graphite. Applied plaster and various appliqué materials)

From Report No. 13 (The Ana D Book; pg. 353)

(…) I only leave the study when I hear that Oki wants to listen to the New York Suicides again. And I enter the living room, where a look at the visitors reminds me that it is carnival time. Princess’ face has been changed into a wonderful lion’s mouth, just with a few colour applications and some imperceptible implants. The regular features of her companion have been altered in the same fashion into an ape from the Beethoven frieze in the cellar of the Vienna Secession. They were not wearing a costume, but their carefully chosen clothes with imaginative accessories made both friends into living caricatures that would grace any book illustration, inside or out.
“Oscar?! An artist has finally managed to balance you out!!!”
“Barbara, one sunny night, I shall cheerfully tear him to pieces!!!”

(…)

secesija-b-friz.jpg

      Gustav Klimt
      Beethoven frieze (Narrow wall) – detail /1902
      (2,15 – 2,00 x 34,14 m; Casein paint, gold paint, black and color chalk, graphite. Applied plaster and various appliqué materials)
  • to be continued
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