By David Carrier
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Extra info for Writing About Visual Art (Aesthetics Today)
Example text
Like Elizabeth, we readers need to be educated by experience—the experience of reading Pride and Prejudice. Dominique Aury’s Story of O begins very differently. “One day her lover takes O for a walk, but this time in a part of the city . . ”7 Her life, we correctly infer, is about to change dramatically. And Vladimir Nabokov’s Lolita shows still another way of beginning a love story:8 Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth.
Read aloud and you replicate that kiss. Muriel Spark’s Prime of Miss Jean Brodie begins using objects to define relationships:9 The boys, as they talked to the girls from Marcia Blaine School, stood on the far side of their bicycles holding the handlebars, which established a protective fence of bicycle between the sexes, and the impression that at any moment the boys were likely to be away. Like Bovary’s hat, the Prince’s golden bowl, and Eco’s library, these bicycles tell a story. 32 1: Beginnings in Art Writing Opening sentences in literature and art writing put the narrative in motion and set the tone.
We are called upon to concentrate our attention upon individual bits of the world: this canvas, that bit of stone or bronze, some particular sheet of paper scored like this or like that. But that requires that we compare this work of art with some others, for it is hardly possible to explain how some one thing is without comparing and contrasting it to other similar things. To note that Piero della Francesca’s Flagellation is unrhetorical, or that Goya’s Third of May shows raw violence, implicitly compares them with other art.