9. With what is she painted?
Van Gogh said that Delacroix said that Veronese painted white blonde naked women
with a color which, by itself, greatly resembles street mud.
Van Gogh wants to paint with the earth. To mould.
With what mud is Bathsheba painted? With what earth?
With the flesh’s butter. With ghee. That rosy blond butter.
Bathsheba nude.
I see Rembrandt painting the veil (that doesn’t hide a thing) on her groin.
Rembrandt grazing Bathsheba’s groin with a veil.
The veil, a nothing that creates the nudity.
Without this transparent nothing we would forget she is nude.
Bathsheba is in person. In a dressing gown. In body.
It is the body that is the face.

9、 她被用什么来画成?

10. She does not look at us. She is of those who do not look at us. I mean to say: those
women, Bathsheba, Mary, Hendrickje, don’t look at us, don’t stop living, (that is to say
dreaming, that is to say leaving) in order to look at us.
Stigmata 6
They withdraw, they take their leave slowly, a thought carries them toward the
unknown, far away. We hear—barely—the call from afar—
And we, looking at them, we see thought taking its leave. We see thought. It is a
portrait of thought, according to Rembrandt. Thought is not the weighty thinker seated. It
passes, inside, distracted, traveling, it is the foreigner, the stranger.
He paints the foreigner, the stranger in me, in you.
The times when under the letter’s sway—
we suddenly become the stranger, the foreigner in ourselves. We separate ourselves
from ourselves. We lose ourselves. From sight also.

10、 她并没有观看我们。她属于没有观看我们的人之一。我意图要说的是,那些女人。巴斯莎芭,马丽亚,亨瑞杰,她们并没有观看我们,没有停止活着(换句话说,没有停止作梦,换句话说,没有停止离开)为了观看我们。

He catches, paints, the point of departure. The hour, when destiny slips from our eyes.
Everything seems domestic. And yet such a strangeness wells up in our eyes, like
tears. It’s that she is already gone, she who is called Bathsheba. But the body remains.
That much more body, that much more flesh, that much heavier here, now that she-
Bathsheba is elsewhere.
The face is traveling: a great silence reigns in the painting. ‘What are you thinking
about?’ we wonder.


11. A nude woman thinking. ‘Thoughtful body.’
On the one hand the thoughtfulness accentuates the nudity: naked nudity. Nudity unthought.
Un-attended to, un-kept. Given.
(What does a naked woman think about—her rapport to her body, always the slight
attention, like a veil, the glance or the gaze. Whenever I’m naked, I don’t look at myself,
I cast a glance my way (—the glance of the other, of you/me at me)—But no, Bathsheba
does not look at her body. She is not before herself. She is not here. She is gone, behind
her eyelids.)
On the other hand, the person who thinks in front of us, abandons us. A very slight
betrayal rouses us: we miss her a little, she who is (only a little bit here) absent.
Distracted, she is abstracted from us.
‘He doesn’t paint great Historical subjects (said a contemporary). He paints
thoughts…’ (Roger de Piles, 1699, Paris).
(He paints thoughtfulness. This absence in the body. This leave-taking by the soul that
leaves the body deserted like a living tomb. We think: we’re parting.

11、 一位裸体的女人在思想。「会思想的身体」。
「他并没有绘画伟大的历史的主体(一位当代人说)。他绘画思想、、、(1966年,巴黎,Roger de Piles,)


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