reticence. As though the painter could not at the same time be seen on the picture where he is represented and also see that upon which he is representing something. He rules at the threshold of those two incompatible visibilities. The painter is looking, his face turned slightly and his head leaning towards one shoulder. He is staring at a point to which, even though it is invisible, we, the spectators, can easily assign an object, since it is we, ourselves, who are that point: our bodies, our faces…
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