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Thursday, November 20, 2008


The seated female figure on the right is classic,
unmistakable Rubens, a voluptuous body of very
white flesh and a magnificent face. The total
effect is perfection, an ideal combination of real-
istic details and abstract forms. Her ice-blue eyes
glance at me furtively from the two apertures
in her gold encrusted fire-opal face, united by one
faultless line with a straight nose finely chiseled
as a cameo. Resembling the love-child of a Burmese
princess and a hammerhead shark, she is somehow
astonishingly beautiful. Over and over when she sleeps
the butterfly's imprisoned in her dreams; for there she was
fashioned who turns the key to open the supreme love. It is
unlikely that we ever will know what the artist meant to convey.



1 and 2. Stefano Zuffi, Baroque Painting. Barron’s: Hauppauge, 1999, p. 316.
3. Ayn Rand, Atlas Shrugged. Signet: New York, 1996.
4. Thomas Bulfinch, “Cupid and Psyche.”
5. Adriana, “Antonella and the Idols,” posted 3/8/07.
6. Robin.
7. Jean de Berg, The Image. Grove Press: New York, 1966, p. 84.
8. Pablo Neruda, "Body of a Woman." W.S. Merwin, tr.
9. Dora Levy Mossanen, Courtesan. Simon & Schuster: New York, 2005, pg. 169.
10. Anna Harriette Leonowens, Romance of the Harem, ch. 9.
11. (defunct) and
Veena Reddy,
12. Sir Walter Scott, Guy Mannering.
13. Antonin Artaud, Heliogabalus. Creation: Washington, D.C., 2003, p. 38, Alexis Lykiard, tr., and
adaptation of Cornell Woolrich, "Death in the Yoshiwara," Night and Fear. Carroll & Graf: New York, 2004, p. 117.
14. Pete Lyons, The Complete Book of Lamborghini. Beekman House: New York, 1988, pg. 148.
15. Jerry Oltion, The Getaway Special. Tom Doherty Associates: New York, 2001, p. 309.
16. Artaud, Heliogabalus, p. 32.

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