By Curtis D.
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The picture smolders with forbidden sex; even the wine trembles as he holds it out. One art historian noticed the wine in the carafe isn’t level, and there are bubbles around the rim. Perhaps this “Bacchus” has just put it down, and it is still sloshing back and forth. The earliest viewers would also have realized he is an accurate self-portrait of the artist, so the painting is essentially a come-on in antique disguise. Clearly, Franz’s delirium was a direct response to the central facts of the picture, as much as a trauma brought on by his repressed German upbringing.
Yet some would say that the root problem is that they are irredeemably subjective. They belong to the eye that cries them, and not to the world of public discourse, culture, and history. Even though they leak out, they belong inside. In that view, authentic experience is thought experience, and anything emotional is bound to be solipsistic. Crying is the fault of the crier, and tears have nothing to say about what hangs on the walls of our museums for everyone to see. If you subscribe to that view, then you’d probably want to say this is a book about weepy people, and not about paintings.
The reporter dubs this show of studied indifference a malaise, and proposes it as the American antidote to the Stendhal syndrome. Twain would have loved it: if you’re suffering an attack of the syndrome, take two tablets of the malaise and you’ll feel better right away. A dose of American pragmatism will cure any cultural virus you might pick up in Europe. Now I don’t believe Twain for a minute. He compares himself to a kangaroo, and numbers himself among the great uncultivated, but he makes the pilgrimage anyway.