Karen Dalton - “Green Rocky Road”
Dave Van Ronk - “Green, Green Rocky Road”
Bo Bartlett, Still Point, 2006
Bo Bartlett, Honeymoon Suite, 2007
Bo Bartlett, Ishmael, 2000
Bo Bartlett, The Confederate, 2008
I’d heard and read about the picture. Not least from Prince Myshkin in The Idiot. 'That painting!' he exclaimed. 'That painting! Do you realize what it could do? It could make a believer lose his faith.'
Dostoevsky must have been as impressed as Prince Myshkin, for he makes Hypolyte, another character in The Idiot, say: ‘Supposing on the day before his agony the Lord had seen this picture, would he have been able to go to his crucifixion and death as he did?’
Holbein painted an image of death, without any sign of redemption. Yet what exactly is its effect?
Painting is distinct from the other arts. Music by its nature transcends the particular and the material. In the theatre words redeem acts. Poetry speaks to the wound but not to the torturers. Yet the silent transaction of painting is with appearances and it is rare that the dead, the hurt, the defeated, or the tortured look either beautiful or noble.
A painting can be pitiful?
How is pity made visible?
Perhaps it’s born in the spectator in face of the picture?
Why does one work produce pity when another does not? I don’t believe pity comes into it. A lamb chop painted by Goya touches more pity than a massacre by Delacroix.
So, how does catharsis work?
It doesn’t. Paintings don’t offer catharsis. They offer something else, similar but different.
I don’t know. That’s why I want to see the Holbein.
- John Berger on Holbein’s “The Body of the Dead Christ in the Tomb,” from A Professional Secret
Laura Cantrell - “Cellar Door”
from the November 2002 Peel Sessions
Bob Dylan - “Tonight I’ll Be Staying Here With You”
Willy Mason - “Tic Tac Toe”