Sunflowers by Vincent van Gogh e.g.

 I’ve chosen this painting because it is a heavily applied oil, to a point of being textured and the aspect of ‘art’ I wish to discuss, or simply make clear is the ‘essence’ which in this case would be the “van Goghness”

I am not, repeat not going to put the picture on this page….   The justice I am trying to do to the picture is such that I desire an appreciation of the time spent painting the subject as the artist himself, the presence of the person, the stance with oils, brushes and easel, the subject, the atmosphere charged with creative energy and an understanding of the task towards it’s completion.

By this I am implying van Gogh looked at the sunflowers and saw them in that light, that the light would be intensifying or diminishing depending on the time of day, his eyes were to absorb this much without really acting upon it – it affected the outcome nevertheless…., add to this his position at the easel – the distance the light travelled and the purpose he was turning it to, the image he is creating from the subject which lends the visual confirmation of it’s form across this intensifying/diminishing light in the merest fraction of a second…., all those glances and decisions made at the sunflowers and the ‘thinking/acting’ process – going into van Gogh’s eyes, emanating – translated – through the fingers of the hand holding the brush loaded with oil….   Vincent van Gogh looks upon the canvas where appears the sunflowers he is painting – his very presence and the light on the canvas that he may be absorbing or reflecting, the shine on wet oils and the angles it is visible at…., angles van Gogh has created

Somewhere in all that, in the process of creating it, through the process of it drying yet retaining the interpretation – there is a reflection of Vincent van Gogh stood at the easel, in fact “Sunflowers by Vincent van Gogh” is a movie of him painting the sunflowers.

  This is the future of investigative research into historical artifacts and works of art….., well, you’d like it if it was.
So, this is what I propose – the grant for arts, the rich tycoons & anyone who could seize this opportunity – approach the galleries and collectors, make a very generous offer to view and document the piece – it will not come to harm, but the lighting used may age it considerably – make your offer include whatever restoration or preventative measure with this in mind – and then get the closest detail imaging of the subject and make sure that a person who could only ever view the piece via the internet will not be disappointed as they can manipulate it on all axes of rotation and adjust brightness and filter elements and magnify to an acute degree.

Do this so that the original art, if endangered through exposure, is no longer in demand except by viewing appointment only and so that the visitors to the website are creating a royalty for the exhibitor/collector – so that any expense is paid for by the tiny increments it would cost the individual (many hands make light work)…..

Do this so that anything that can be discovered will be discovered and so any advance the human race may be able to make as a result, of even just a contribution to art, will happen before the piece is lost through disrepair or natural ageing that eventually wears off the vital element the artist was trying to convey.  Do this so that a person can get closer even than maybe the artist himself ever got….   To be able to zoom in on a perceptible spec of matter, the smallest particle, and for it to be in focus and not pixelated even when it is filling the width and height of four or more computer screens – that particle could need to be looked at more than anything in the history of mankind – and at present, undiscovered somewhere, maybe existing only as a result of art or any workmanship showing an understanding of the medium – it remains, like a benign cell, dormant – potentially a flea, parasitical – perhaps a key to a cell carefully placed, but to all intents and purposes thrown away as if when we do not look at the achievements of our past, we may cease to advance & progress in the future…..

 Jump straight to results for “Sunflowers Vincent van Gogh
 A blurry photograph, unclear, FILLS THE SCREEN.
   The photograph intensified.  The foreground BLURS AND SHARPENS. 
it’s the “man” in Leon’s room with the wardrobe behind him.  The head is turned away and downward, the face unreadable.
Another change!  A dramatic one.  The picture is suddenly three dimensional.
Now we see that Deckard is studying the picture in a viewer controlling the effects with punch controls.
The ashtray next to him is full of butts.  The bottle of vodka is nearly empty.
He sucks on his cigarette and empties the vodka bottle into his glass and goes back to peering into the viewer.
He punches up.  A transparent grid with vectors is superimposed over the photo.
Deckard’s eyes move over it carefully.
DECKARD: Sharpen line forty-eight between twenty point twenty-seven.
The edge of the man sharpens.
DECKARD: Profile trace.
Slowly the view tracks the periphery of the man’s shoulder, up and around the skull, down the other side and as it approaches the bottom of the picture passes a miniscule sparkle…
DECKARD: Stop.  Back up.
The line is retraced.
The faintest little sparkle.  Static.  Almost nothing. Deckard leans forward.
DECKARD: Enhance.
The view squeezes in.  The “spark” seems to be coming from about fifteen feet behind the figure — from within the wardrobe.
DECKARD: Seesaw.
After a short pause, as if the command causes the machine to strain, it emits a thin, high-pitched FREQUENCY SOUND and the picture begins a horizontal yawing motion.  As it swings back and forth glimpses of things previously obscured by the foreground figure are revealed.  Slightly at first, but the opening grows as the process picks up momentum.
Deckard’s right down there, hands on his knees like a man watching his favorite team make a crucial play.
The picture freezes.
DECKARD: Enhance.
The view pushes in to the wardrobe.  In its gloomy recesses hangs a dress.
DECKARD: Enhance.
In closer on the dress.  An exotic shimmering gown made of sequins.  Deckard ponders it, smiles slightly.
DECKARD: I don’t suppose one of those males has a transvestite problem.
Esper wakes up.
DECKARD: I said, I don’t suppose one of those males has a transvestite problem.
ESPER: Negative.
Deckard considers the situation for a few moments, then frowns thoughtfully and fishes his wallet out of his pocket.  He produces the flakes he found in the hotel room.
Deckard lights a cigarette.
The flake.
He’s holding it on the tip of his finger under the light of the console screen.  He sits down, studying it like Hamlet, contemplating Yorick’s skull.  But for the HUM OF THE MACHINE, a long silence.
ESPER: You’re gonna have a fire if you don’t turn off the machine.
Absently, Deckard reaches out and flips it off.  He sits a while in the silent dark.  Then goes into the bathroom.
Deckard stands in the shower, his cigarette still in his mouth.

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