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Imud 5.2.06.Indd

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Imud 5.2.06.Indd א נ ה פ ס ט ר נ ק י מ י ם י ג י ד ו משכן לאמנות ע"ש חיים אתר, עין חרוד ‰Î¯Ú˙‰ Ï‚¯Ï ¯Â‡Ï ‡ˆÂÈ ‚ÂÏ˘‰ אנה (חנה) פסטרנק ימים יגידו „¯Á ÔÈÚ ¨¯˙‡ ÌÈÈÁ ˘¢Ú ˙ÂÓ‡Ï ÔÎ˘Ó ≤∞∞∂ ·È·‡ ‡¯ÈÙ˘ ·ÈÈ ∫¯ˆÂ‡ „¯Á ÔÈÚ ¨˙ÂÓ‡Ï ÔÎ˘Ó ¯Â‡ ¯· ‰ÈÏ‚ ∫˙È˘‡¯ ˙¯ˆÂ‡Â ˙Ï‰Ó È„¯‚ ‰¯ÈӇ ¯Â˘· ‰Ïȇ ∫‰Ï‰Ó ¯ÓÈȉÙ‡ ‰Ïȇ ∫ÌÂ˘È¯ ‚ÂÏ˘ Ô˙ȇ ‰¯ËÚ ∫Á˜ÈÙ ·ÂˆÈÚ È˜Ò·ÂÒ˜ ‰È¯„ ∫˙ÈÏ‚‡Ï Ì‚¯˙ ı‡ÏÙ „¯ßˆÈ¯ Ì‚¯˙ Â˙‡ ¨‡¯ÈÙ˘ ·ÈÈ Ï˘ Â¯Ó‡Ó ËÚÓÏ Ó¢Ú· ԇȈ ‚ÈËÙ‰¯Â ∫ÌÂÏȈ ÂËÂ߈ÈÙ≠‰„ ‰È„Ú ∫·˘ÁÂÓÓ „ÂÓÈÚ ‰ÙÈÁ ¨Ó¢Ú· ËÒÙ‡ ÔÂÏÈȇ ∫‰ÒÙ„‰ ÚÂÈÒ· ˜Ù‰ ‚ÂÏ˘‰ ‰ÙÈÁ ˙·¯˙ Ô¯˜ ·ÁÂ¯Ï Ì„Â˜ ‰·Â‚ ¨ÌȯËÓÈËÒ· Ô‰ ‚ÂÏ˘· ˙ÂȈӉ ˙„ÈÓ‰ ÏÎ Ó¢Ò ±∞∞x∑≥ ¨„· ÏÚ ÔÓ˘ ¨≤∞∞µ ¨˙»‰Ó‡ ®Ë¯Ù© ∫‰ÙÈËÚ‰ ÏÚ ISBN π∂µ≠µµµ≠≤≤≥≠≥ ·¢˙ÒÓ ‰ÙÈÁ ¨˜¯ËÒÙ ‰ÁÏ ˙¯ÂÓ˘ ˙ÂÈÂÎʉ ÏÎ ¨≤∞∞∂ © Ì Â Ï ˘ · ‡ Ï תוכן העניינים ÛÙÓ˜ ̉¯·‡ ßÙÂ¯Ù Ø ÈËÂÈÙ ÌÊÈÏ‡È¯Ï È˙Ú·‰ ˢÙÂÓÓ 7 Â„È‚È ÌÈÓÈ 9 ‡¯ÈÙ˘ ·ÈÈ Ø ˜¯ËÒÙ ‰‡ Ï˘ Ìȉ ȯÂȈ ÏÚ ¯ÏÈÓ ˙ȯȇ ¯¢„ Ø ÌÈÈÈÚ ‰‡¯Ó 15 ˙ÂίÚ˙ ˙ÓÈ˘¯Â ‰È‚ÂϯΠ17 ˙Â„Â·Ú 19 ˙ÂÙÒ ˙„·Ú ˙ÈÏ‚‡· ÌÈ¯Ó‡Ó 78 Æ˙ȯ·Ú· ‚‰Π¨Ï‡Ó˘Ï ÔÈÓÈÓ ÌȯÙÒÂÓÓ ¨‚ÂÏ˘‰ ͯ‡ ÏÎÏ ÌÈ„ÂÓÚ‰ ÆÔÈÓÈÏ Ï‡Ó˘Ó ¨˙ÈÏ‚‡‰ ‰Ù˘· ‚‰‰ ¯„Ò‰ ÈÙ ÏÚ ÌÈÚÈÙÂÓ ˙ÈÏ‚‡‰ ‰Ù˘· ÌÈËҘˉ ∂∞x∏± ¨Ô˙˘Ù „· ÏÚ ÔÓ˘ ¨±ππ≥ ¨¯Â„ ÛÂÁ· > At the Dor Beach, 1993, oil on linen, 81x60 [6] ממופשט הבעתי לריאליזם פיוטי ÛÙÓ‡˜ ̉¯·‡ ßÙ¯٠È˙„ÓÈÏ˘Î ÌÈ˘È˘‰ ˙Â˘Ó „ÂÚ ˜¯ËÒÙ ‰‡ Ï˘ ‰˙„Â·Ú ˙‡ ·Ëȉ ¯ÎÂÊ È‡ ÌÈË„ÂËÒ ˙ίÚ˙· ‚ˆÂ‰˘ ÌÈˢÙÂÓ‰ ‰È¯ÂȈ ÆÌÈÏ˘Â¯È· ˙ȯ·Ú‰ ‰ËÈÒ¯·È‡· Ï˘ ˙¯Îȉ·Â ÌȯÂÚ ˙ÊÂÚ˙· ÂËÏ· ¨Ì¯ ˙Ú·‚· ˙ÈÓ‡ω ‰È¯ÙÒ· ‰ÓÈȘ˙‰˘ ÆÔÁÂÎ ‡ÂÏÓ· ʇ Âȉ˘ ˙Â˘È„Á ˙ÂÈÂÁ˙Ù˙‰ ˙·¯‰ „ÈÁȉ ˙ÂίÚ˙· ¨·Â˜ÚÏ ˙Âӄʉ‰ ÈÏ ‰˙Èȉ ÌÈ˘ ‰·¯‰ ¯·Ú Ê‡Ó ÆÈˇÂÙ ÌÊÈχȯ Ï˘ ¯ÂȈ ÔÂÂÈÎÏ Ë˘ÙÂÓ‰ ÔÓ ˙ȯÂȈ‰ ‰˙ÂÁ˙Ù˙‰ ȯÁ‡ ¨‰‚Ȉ‰˘ ¨ÁÈÓ È‡ ¨‰Ú· ¨ÌÈÓÈ Ì˙‡· Ϸ˜ÓÏ „‚ȷ ‰˙Èȉ˘ ¨ÂÊ ˙È„ÂÁÈÈ ˙ÂÁ˙Ù˙‰ ‡È‰ Û‡ ‰˙Èȉ ¨È˜· ·ÓÂϘ ‰Ï‡ ß·‚‰ ¨‰Ó‡ ÆÌȘÂÓÚ‰ ÌÈȘÏËȇ‰ ‰È˘¯Â˘Ó ˙È˙ÂÓ‡‰ ˙¯ÙÒ‰ ͯ„ ‰Î¯„ ‰‚ÙÒ ¨˜¯ËÒÙ ‰‡ ¨˜ÙÒ ÈÏ·Â ¨˙¯˘ÎÂÓ „Â‡Ó ˙¯ÈȈ ÔÓ ˙ÈÙ˙‰˘ ÍÎ ÆȘÏËȇ‰ ÒÒ¯‰ ¯ÂÈˆÏ ‰˜ÂÓÚ ‰ˆ¯Ú‰ ¨‰˙È·· ‰˙Èȉ˘ ‰¯È˘Ú‰ Ï˘ ÈÚ·Ë ÍÈω˙Î ‡Ï‡ ¨‰Ú˙ىΠÈÏ ‰‡· ‡Ï ÌÈ˘È˘‰ ˙¢ Ï˘ ˢÙÂÓ‰ ¯ÂȈ‰ ÆÌÈ˘¯Â˘ ˘ÂÙÈÁ ˙¯‚·˙‰ ˙‡Ï˙Ó ¯Â¯Á˘‰ ÔÓ Ì‰· ˘È˘ ÌÈÈÁ‰ ˙‡¯Ó· „˜Ó˙Ó ˜¯ËÒÙ ‰‡ Ï˘ ‰¯ÂȈ Ì˙‡· ÆÛ‰ ‰ÁÙ˘Ó‰ ¨Ìȉ ÌÈÁ¯Ù‰ ¨˜Á˘Ó‰ ¨˘Ù‰ ÔÓ Ì‰· ˘È ÌÂÈÓÂȉ ÌÏÂډ ¨˘«¤‡ ¨Ì„‡ ÂÏÂÎ ‡Â‰Â ÈÓÂȘ‰ ÈÓÂÈÓÂȉ ÏÂÚ‰Ó ¯¯Á˙˘Ó Ì„‡‰˘ ÌÈ·ˆÓ ÆÂÈÏ˘‰ Â˙È· ÂÏÂÎ ˙‡ ¨ÌÈÁ¯Ù‰Â ÏÂÈˉ ˙‡ ¨¯ÚÂÒ‰ ÌÂȉ ˙‡Â ‰Ùȉ ÌÂȉ ˙‡ ¨Û‰ ˙‡ ‚‚ÂÁ ‰¯ÂȈ ˙‚¯„Ó‰ ÏÚ Ì˙‡‰Ï ÌÈ·˘Âȉ ÌȯÈÚˆ‰ ˙‡ ¨ÛÂÁ‰ χ ÌÈÙˢ‰ ÌÈÏ‚‰Â Ìȉ ˙Ù˘ ÌÈÚÂ·Ë ÈË˙Ò‡‰Â È„ÂÁÈȉ È˘Â‡‰ ˘ÙÒ‡‰˘ Ìȇ˘Â — ÌÏÂÚ· ˙ÂÏ„‚ Ìȯڷ ƉȯÂȈ Ï˘ ÌÈÈ„ÂÁÈȉ ÌÈÈÈÙ‡Ó‰ ‰Ï‡Â ¨ÌÎÂ˙ ÍÂ˙· ƉȯÂÈˆÓ ˙·¯ ‰‰Â ‚ÂÁ ‰‡¯ „ÂÚ˘ ‰Â˜˙ ȇ ≤∞xπ∂ ¨Ô˙˘Ù ÏÚ ÔÓ˘ ¨ ±ππ≤ ¨I ˙‚¯„Ó > Stairs I, 1992, oil on linen, 96x20 µ±xπ∂ ¨Ô˙˘Ù ÏÚ ÔÓ˘ ¨ ±ππ≤ ¨II ˙‚¯„Ó Stairs II, 1992, oil on linen, 96x51 [7] ±∞∞xπ≤ ¨Ô˙˘Ù „· ÏÚ ÔÓ˘ ¨≤∞∞± ¨¢ÆÆÆÌȉ ÏÂÁ‰ ÆÆÆ” “...The Sand and the Sea...”, 2001, oil on linen, 92x100 [8] ימים יגידו על ציורי הים של אנה פסטרנק ‡¯ÈÙ˘ ·ÈÈ לצייר — כלומר לתהות על הניתן ולצייר את אמיתותו (אביגדור אריכא)1 רק לצייר תיאור או דגם זה לא קשה, אך לתאר מחשבה בציור זה כן. מחשבות הן חמקמקות. מה שמונח על הבד הוא קבוע ומטרתו היא לכוון את המחשבה (אדוארד הופר)2 ˙· ‰˙Âȉ· ¯·Î Ɖ˙„ÏÈ ˙È·· ˙ÂӇ ˙·¯˙Ï ‰·‰‡‰ ˙‡ ‰˜È ˜¯ËÒÙ ‰‡ Â·Â Ô˘È ‰˘ ÁÂÏ· ˜Á˘Ï ¨È˜· ·ÓÂϘ ‰Ï‡ ˙¯ÈȈ‰ ¨‰Ó‡ ‰Ï ‰˙ ÌÈÈ˙˘ ÏÚ Æ‰ÂÓ˘ ˙· ‰˙Âȉ· ÔÓ˘· ¯ÈÈˆÏ ‰ÏÁ‰ ˜¯ËÒÙ ÆÒÒ¯‰ ȯÈȈ Ï˘ ˙ÂȈ˜Â„¯ٯ „ÁÂÈÓ· ‰·‰‡˘Â ÌȯÙÒ· ÂÚÈÙ‰˘ ˙ÂȈ˜Â„¯ٯ ͯ„ ‰¯ÈΉ˘ ÌȯÈȈ‰ ¨‰˙Â„Ú ÈÙ ∫Âȉ ‰Î¯„ ˙È˘‡¯· ÂÏ˘ ÏÂÙÈˉ ÏÏ‚· — ¯‡ÒÈÙ ÏÈÓ˜ ¨˙Âȯȯ‡‰Â ˙ÂÚ¯‰ ÏÏ‚· — ÈÙ„ χ¯ ÏÏ‚· — Ô‡ÊÒ ÏÂÙ ¨ÂÏ˘ ˙ÂÓÏ˘ÂÓ‰ ÏÏ‚· — È߈È ‰„ „¯Â‡Ï ¨ÏˆÂ ¯Â‡· ‡‚„ ¯‚„‡ ¨‰˜ÈËÓ¯‰ ÏÏ‚· — ¯‡Â¯ ËÒ‚‡ ¯ÈÈÙ ¨ÏÂÁÎÓ‰ ˙ÚÈ‚ ˙ÓˆÂÚ ÌÏ˘ÂÓ ‡Ï‰ ÌÊÈχȯ‰ ÏÏ‚· — ÂχÊÈÙ ¨Â˜‰ ˙ÓȯÊ ˙ÂÈÂÚ·ˆ‰ ÏÏ‚· — ˯„ÈÓ ¨ÌÈÓ˙‰ ÌÒ˜‰ ÏÏ‚· — ˜ÈÏß‚‡–‡¯Ù ¨¯‡Ÿ˙œÓ‰ Ï˘ ˙ÂÈ˂χ‰Â ˙Â˘È‚¯‰ ÏÏ‚· — ÈÈË‚Ò È·Âß‚ ¨˙·¯˜˙Ó‰ ‰¯ÚÒ‰ ¯ÂȈ ÏÏ‚· — ‰Ó·Â‰ ˙ÂȈÈÊÂÙÓ˜‰Â ˙ÂÈÂÚ·ˆ‰ ÏÏ‚· — Ԃ‚ ÏÂÙ ¨Ú·ËÏ ÌÈÈ˘Â‡ ÌÈ·ˆÓÏ ˙·ÂÁ¯Â ˙¯Ș ¯‡È˙ ‰·˘ ˙ÂÈ˘ÂÁ‰ ÏÏ‚· — ÂÏȯˇ ÒȯÂÓ ¨˙ÂÈËÂʘ‡‰ Æ≥ÌÈ‚¯Ù‰ ‰„˘ ÏÏ‚·Â ˙ÂÈÂÙ˜˙˘‰‰ ÏÏ‚· — ‰ÂÓ „ÂϘ ÈÚˆÓ‡ È˙Ï·‰ ˘‚ÙÓÏ ÆÔÂÂÈ·Â ‰ÈÏËȇ· ˜¯ËÒÙ ‰¯˜È· ‰¯˘Ú–˘ÓÁ ÏÈ‚Ï ‰ÚÈ‚‰· ԉ ˙ÈÓ¯‰Â ˙ÈÂÂȉ — ‰˜È˙Ú‰ ˙Ú‰Ó Ô‰ ¨¯ÂȈ‰Â ÏÂÒÈÙ‰ ¨‰¯Â˘ËÈί‡‰ ÌÚ ÈÓΠƉ¯ÈÚˆ‰ ˜¯ËÒÙ ÏÚ ‰˜ÂÓÚ ‰ÚÙ˘‰ ‰˙Èȉ ¨È˜ÏËȇ‰ ˜Â¯‡·‰Â ÒÒ¯‰Ó Â˙‡ ˙‡¯ÓÓ ÌÈ·¯ ‰Ï˘ ‰¯ÂÈˆÏ ‰ˆÓȇ ‡È‰ ¨¯ÈÈˆÏ ‰„ÂÚÈ˘ ʇ ¯·Î ‰Ú„È˘ ‰Ú„ÂÂ˙‰ Ì˘ ¨È·‡ ÔÂÎÓ· ˙ÂÓ‡ È„ÂÓÈÏÏ ‰˙Ù ‰¯˘Ú–Ú˘˙ ˙· ‰˙Âȉ· Ư˜ȷ ȘˆÓÈËÒ ¯Â„‚È·‡ ¨ÔÓÎÈÈ¯Ë˘ χ˜ÊÁÈ ‰È¯ÂÓ ˙ÂÚˆÓ‡· ˢÙÂÓ‰ ¯ÂȈ‰ ˙¯˜ÚÏ Ì¯ÂȈ ˙Èӂ„· ‡ ÌÓ„ Ú·Ë· ˙·˙‰ ‰È‰ ÌȯÂÚ˘· Ô¯˜ÈÚ‰ Ƈ‰Î Ô¯‰‡Â ¯ÈȈ˙ χ ͇ ÌÎÈÙÏ˘ ‰Ó· ·Ëȉ ·˙‰ ∫‰È‰ ¯ÒÓ‰ Æ‚ˆÈÈÓ ‡Ï ÁÂˢ ÔÙ‡· Â˙‡ ¨¯ÂȈ‰ Ï˘ ˙ÈÓÈÙ‰ Â˙Â‰Ó ˙·‰ ¯Á‡ ‰˙¯È˙Á· Ɖ‡¯ ‡Â‰˘ ÈÙÎ Â˙‡ ¯Â„‚È·‡ ¨¢‡Îȯ‡ ¯Â„‚È·‡ ÌÚ ‰ÁÈ˘· ¯˘ÈÙ ‰ÂÈ¢ ± ˙È·Ó Ë˘ÙÂÓ· ˜¯ËÒÙ ‰˜·„ ¨ßÔÂÎ‰ß ¯Â‡È˙Ï ¯ÂÙÈÒÏ ¯·ÚÓ Â· ÌÈȘ‰ ÛÒÂÓ Í¯Ú ¨Ï‡¯˘È Ô‡ÈÊÂÓ ¨±πµ≥≠±π∑∑ ÌȯÁ· ÌȯÂȈ ¨‡Îȯ‡ ‚ˆÈÈÓ‰ ¯ÂȈ‰ χ ¯·ÚÓ‰ ÆÌÈ˘ ¯˘ÚÓ ‰ÏÚÓÏ Í˘Ó· ßÌÈ˘„Á ÌȘÙÂ‡ß Ï˘ ˘¯„Ó‰ Æ≤± ßÓÚ ¨±ππ∏ ¨ÌÈÏ˘Â¯È ˜¯ËÒÙ ‰ÓȘ‰ Ô‰· ÌÈ˘ ‰Ï‡ Âȉ Æ˙˜ÙÒ ÌÈË·Ï· ‰ÂÂÏÓ ͢ÂÓÓ ¨È˙‚¯„‰ ‰È‰ Edward Hopper, in: Gail Levin, Edward Hopper, ≤ Bonfini Press, Naefels, 1984, p. 49. ‰ÈÙÂÒÂÏÈÙ ¨˙ÂÓ‡ È„ÂÓÈÏ· ‰ÓÏ˙˘‰Â ®‰È„ÏÈ ˙Ú·¯‡ „Ï ÔÎωӷ© ‰ÁÙ˘Ó Æ≤¥Æ±±Æ≤∞∞µ ¨¯·ÁÓ‰ χ ·˙ÎÓ ¨˜¯ËÒÙ ‰‡ ≥ ÌȇÈÊÂÓ· ¯˜·Ï ‰˙·¯‰ ¨‰„˜·Â ‰ÈÏ‚‡· ‰˙‰˘ ‡È‰ ±π∑≥≠±π∑∑ ÌÈ˘· Æ˙¯ÙÒ [9] ˙ȇȄȇ ˙ÈË·˘Â „ÁÓ ˙ÈËÒÈχȯ–¯Ùȉ ˙ÂÓ‡Ï ¨¯˙ȉ ˙È· ¨‰Ú„ÂÂ˙‰Â ˙Âȯς ÆÍ„È‡Ó ˙ȇÂÓȘ҇ ¯·„Ó Ï˘ ÌÈÁÂ˙Ù‰ ÌÈ·Á¯Ó‰ ÁΠ¨‰ÂÊȯ‡· ‰˙‰˘ ˙Ú· ¨±π∏µ ˙˘· ‡ ‰¯ÂÓÏ ˙ÂÓ‡ ÏÎÓ ‰˜ÊÁ ¨‰˘È–‰˘„Á ‰·È˘ÙÒ¯Ù ‰ÈÙ· ‰Á˙Ù ¨‰¯ÂÂÒ ¯Â‡È˙Ï ‰¯È˙Á‰Â ‰˙„ÏÈ· ‰ÏÁ‰ · Ú·Ë· ˙·˙‰ ÍÂ˙Ó ¯ÂȈ‰ Æ˙ËÏ˘ ‰Ó‚ÓÏ ˙¯ÈˆÈ·˘ ÌÒ˜‰ ÏÚ¢ ƉÈÈÚ· ÌÈÈÓÈËÈ‚Ï Âȉ ·˘ ¨˙ȇ¯‰ ˙‡ȈӉ Ï˘ ÔÓ‡ ¨˙¯Ó‡ ‡È‰ ¢¯˙ÂÂÏ ‰·ÂÁ „ÂÚ ‰‡Â¯ Èȇ — ¯ÂȈ· ¯ÂÙÈÒ ¯ÂÙÈÒ ˙È„ÓÓ ˙Ï˙ ‰ÈÏ˘‡ ¨È¯ÂÚ· Ì˙‡ È˙ÓÙ‰˘ ÈÙÎ ¨Ë˜¯ËÒ·‡‰ ˙ÂÓ‡ Ï˘ ÌÈÁÒÂÓ È˙Ï·‰ ˙ÂÂÈÚ¯‰ ͇¢ ÌȘÈÚÓ ¯˘‡ Âχ ̉ ¨‰ÈˆÈÊÂÙÓ˜‰ ˙‡ ÌÈ·ÈίӉ ÌÈÈÎÂ˙–ÌÈȯˆ ˙„ÂÒÈ Ì˙‡ Æ¥¢˙‡ȈӉ Ï˘ ˙ȯ‡È˙‰ ‰ÈˆËÊ¯Ù¯Ï ˙È˙ÂÓ‡ ˙ÂÚÓ˘Ó ‚ˆÈÈÏ ‰Ë˘Ù‰‰Ó ‰Ù˘ ¯ÈÈˆÏ È¯„ÂÓ‰ ¯ÂȈ· ˙ÂËÏ·‰ ˙‡ӂ„‰ ˙Á‡ ¯ÊÂÁ ¯˘ÈÙ ‰ÂÈ ÂÓÚ ÌÈȘ˘ ‰ÁÈ˘· ƇÎȯ‡ ¯Â„‚È·‡ Ï˘ ¯ÂȈ· ˙ÓÏÂ‚Ó ÈËÒÈχȯ ˜ÏÁÎ ¨¢Ú¯˜¢ ˙ÈÁ·· ˢÙÂÓ‰ ˙‡ Â˙˘ÈË ÌÚ Â· ÏÁ˘ ÍÙ‰Ó‰ ˙‡ ˘È‚„Ó ‡Îȯ‡ Ï˘ ȯ˜ÈÚ‰ ˜ÏÁ‰¢ ∫¯ÂȈ‰ „ÂÒ ÏÚ ˙‰˙Ï ÂÂÈÒÈ· ȯ˜ÁÓ–È˘È‡–È˙ÂÓ‡ ÍÈω˙Ó ÂÏ Ô·ÂÓ ‡Ï ¨Í¢Á ÈÈÂÒȉ¢ ¨¯Ó‡ ‡Â‰ ¨¢Ô·ÂÓÎ ¯ÈȈ‰ È·‚Ï ¨ÈÈÂÒÈ Âȉ ¯ÂȈ‰ Â„È„Ï˘Î ¨˙·˙‰‰ ÔÓ ¯ÂȈ ÔÈ·Ï È·È˯‚ÈÙ ¯ÂȈ ÔÈ· ÔÈÁ·Ó ‡Îȯ‡ Ƶ¢‰˘ÚÓ ˙Ú˘· ‡Â‰ ‰ÊÎΠƉ·È˙ÎÓ ˙·˙‰‰˘ ÈÚˆÓ‡–È˙Ï·‰ ÍÈω˙‰ ˙‡ ·ÈÈÁÓ È˘‰ ‰Ê ¨ÔÂ˯˜ ÏÚ ÔÓ˘ ¨±πµµ ͯڷ ¨Ï·‚Ï ¯·ÚÓ Ï‡ Ë·Ó ≤¥x≥¥Æµ ‡Îȯ‡ Ï˘ ¢˙·˙‰‰ ÔÓ ¯ÂȈ‰¢ ÆÌÊȯÈÈÓ ÏÂË Â˙Âȉ· ˙‡ȈÓÏ ¯˙ÂÈ ÔÓ‡ View across the Border, c. 1955, oil on cardboard, ÁÂÚÙ· ÈÚˆÓ‡ Ì‰Ï ˙˘Ó˘Ó ˙ÂÓ‡‰˘ ¨Ìȯ˜ÂÁ‰ ÌÈÓ‡‰ ÔÊÏ Â˙‡ ÍÈÈ˘Ó 34.5x24 ÆÌÂȘ‰ Ï˘ Ï„‚‰ „ÂÒ‰ ˘È ‡ˆÂÓ ˙„˜ΠÂÏ ˘Ó˘Ó ÈËÒÈχȯ‰ ÈÂËÈ·‰˘ ÔÓ‡Ï ˙ÙÒ ӂ„ ȯÂȈ ˙ÂÎÊ· ¯˜ÈÚ· ÌÈ˘È˘‰ ˙¢ ˙ÏÈÁ˙· ڄ¢ ¨È˜Â‰ „È„ ˙‡ ÔÈÈˆÏ ®±π∂∑© A Bigger Splash ¨Ì‰Ó „Á‡· ƉȯÂÙÈϘ· ¯ÈȈ˘ ˙ÂÈ˯ى ‰ÈÁ˘‰ ˙ÂÎȯ· ¯Á‡Ï ÌÈÊ˙ȉ ‰Îȯ·‰ ÈÓ Ï˘ ‰È˘‰ ¯È¯·˘ ¯ÂȈ ˙„ÈÎÏ· Ș‰ ÂÓˆÚ ¯‚˙‡Ó ∫Ì„‡ ‰ÎÂ˙Ï ıÙ˜˘ ÌÈÈÚ·˘ ÈÏ Á˜ÂÏ ¨˙ÂÈ˘ È˙˘ ͯ‡˘ ‰Ê‰ ¯·„‰ ˙‡ ¯ÈÈˆÏ ÔÂÈÚ¯‰ ˙‡ È˙·‰‡ ‡Ï ÌÈÓ‰ ˙Ê˙‰˘ ÏÎÏ Ú„ȅ Æ˙ÂÈ˘ È˙˘ ͢Ӣ ‰Ê‰ Ú¯ȇ‰ ˙‡ ¯ÈÈˆÏ ÂÏÈÙ‡ ‰Ê ¯ÂȈ· ˙‡Ê Ìȇ¯˘Î˘ ÍÎ ¨ÌÈȘ ‡Ï ‰Ê ¨ÔÓÊ· ˙‡Ù˜ÂÓ ˙ÂÈ‰Ï ‰ÏÂÎÈ Â‡ ‰È˘ Á˜Ï ‰Ê ÌÂÏÈˆÏ˘ Ú„ÂÈ ‰˙‡Â ¯Á‡Ó ¨ÌÂÏȈ· ¯˘‡Ó ÌÈ˘¯Ó ¯˙ÂÈ ˘È ÈÚ·Ë ÔÙ‡·˘ ÍÎ ¨‰Ê˙‰‰ ͢ÓÓ ¯˙ÂÈ ‰·¯‰ ͢ÂÓÓ ¯ÂȈ‰ ͢Ӆ Æ˙ÂÁÙ ∂ƉÙˆ‰ ÏÚ ˙¯Á‡ ‰ÚÙ˘‰ ÂÏ ¯·ÚÏ ÂÚÈ·ˆ‰· ¨‰ÚÂ˙ ÔÓÊ ¨ÏÏÁ Ï˘ ˙Âχ˘ ÔÂÁ·Ï È˜Â‰Ï Â¯˘Ù‡ ‰Ï‡ ˙Â„Â·Ú ∏∞Ƶx∂∞ ¨„· ÏÚ ÔÓ˘ ¨±π∂≥ ¨ÏÂÁη ‰ÈˆÈÊÂÙÓ˜ ÏÚ Í¯Ú˘ ¯˜ÁÓ· ÆÒÒ¯‰ ˙Ù˜˙· ÂÁÒ¢ ÈÙÎ ¨˙È·¯ÚÓ‰ ‰·È˘ÙÒ¯Ù‰ ȘÂÁ Composition in Blue, 1963, oil on canvas, ‡Â‰ ÂÈ߂‡¯‡˜Â ʘ҇Ï ¨‰¯‚‡ ̉· ¨ÌÈÏ„‚‰ ÌȯËÒ‡Ó‰ Ï˘ ¯ÂȈ‰ ˙˜ÈÎË 60x80.5 Ï˘ ˜ÈÈ„Ӊ ¯Â‡È˙Ï ÚÈ‚‰Ï Ȅη ÌÈÈËÙ‡ ÌÈÚˆÓ‡· ¢ڢ ˘ÂÓÈ˘‰ ˙‡ ÔÈÈˆÓ ∫̯ÂȈ ‡˘ÂÓ È‡Ù¯ȇ‰ ¯ÂȈ· ‰Á˙Ù˙‰˘ ÈÙÎ ¨˙È˙¯ÂÒÓ‰ ‰·È˘ÙÒ¯Ù· ˙ȯ˜ÈÚ‰ ‰ÈÚ·‰ ‡È‰ ¨È˯„ËÒ‰ ÌÂÏȈ‰ Ï˘ ‰˘È‚· ÌÂȉ „Ú ˙ÓÈȘ ±µ–‰ ‰‡Ó‰ ˙ÏÈÁ˙· Íη ¯ˆÚ ÔÓʉ ‰·È˘ÙÒ¯Ù‰ ˙‡ Ô˜˙Ï È„Î· Æ˙ÎÏÓ ÔÓʉ ˙‡ ÌȯˆÂÚ Ì‰˘ ∑ÆÔ·Â‡Ó ¨‡ÂÙ˜ ÍÙ‰ ÏÏÁ‰ [10] ÈÓÂÏȈ ˙¯˘Ú ˜ȷ„‰· ÆÌÂÏȈ‰ ÌÂÁ˙· ‡˜Â„ ˙ÂÈÈÚÓ ˙˜ÒÓÏ ÚÈ‚‰ Ș‰ Ë·Ó ˙„˜ ¯‡˙˘ ˙·ίÂÓ ˙ÂȈÈÊÂÙÓ˜ ¯ˆÈ ‡Â‰ ÌÈÏ„‚ ÌÈ„· ÏÚ „ȇ¯ÏÂÙ Âχ ÂÈ˙Â„Â·Ú Æ˙¢Á¯˙‰‰ Í˘Ó Ï˘ ‰ÈÈÂÂÁ ¯¯ÂÚ Ìȯˆ˜ ÔÓÊ ÈÁ¯ӷ ˙¢ ˙‡ ¯˘‡Ó ¯˙ÂÈ ÈËÒȷ˜‰ ¯ÂȈ‰ ÚȈ‰˘ ‰ÚÂ˙‰ ˙‡ ‡˜Â„ ¨ÚÈ˙ÙÓ ÔÙ‡· ¨Â¯ÈÎʉ Ș‰ Ï˘ Â˙ίÚ˙ ˙‡ ‰˙‡¯ ˜¯ËÒÙ ÆÈ˙¯ÂÒÓ‰ ÌÂÏȈ‰ ‚ˆÈÈ˘ ‰‡ÂÙ˜‰ ‰ÂÓ˙‰ Ɖ·‰Ï˙‰Â ÌÈÚ˘˙‰ ˙¢ ˙È˘‡¯· ¨·È·‡–Ï˙· ¨ÔÈÈË˘È·Â¯ ‰Ï‰ Ô˙È·· ‰‚ˆÂ‰˘Î Ìχ ƉÚÂ˙‰ Ï˘ Ú΢Ó ÔÓ‡ ‚ˆÈÈÏ Ô¯˙Ù‰ ˙‡ ‡ˆÓ ÈÎ ·Â˘ÁÏ ‰˙Ó„ Ú‚¯Ï ˘Ó˙˘‰Ï ‰ÏÁ‰ ‰ÓˆÚ ‡È‰ ƉÈÈÚ· ÈÓÂÏȈ‰ ßʇϘ‰ Ï˘ ÂÓÒ˜ ‚Ù ÔÓʉ ÛÂÏÁ ÌÚ ÌÈ˘ ¯Á‡Ï ¨±π∏∂ ˙˘· Ɖ˙‰˙‰· ‰ÚÂ˙‰ ˙„ÈÎÏ Í¯ÂˆÏ ¨¯ÊÚ ÈÏÎÎ ‰Óψӷ ≥∞x≤≤Æ¥ ¨¯ÈÈ ÏÚ ˘·È ÏËÒÙ ¨±π∏¥ ¨‰¯ÂÂÒ ¯·„Ó· ˙È· ¨¯˙ÂÈ ¯ÁÂ‡Ó ¨‰Ï ¯˘Ùȇ ¯·„‰ ÆÌÈ¯È‰Ó ÌÈÓÂ˘È¯ ˙ÂÚˆÓ‡· ‰ÚÂ˙‰ ¯ÂȈ Ï˘ A House in the Sonora Desert, 1984 ¨‰ÓψӉ ÔÈÚ· ÂÒÙ˙˘ ̘Ӊ ڂ¯‰ ˙ÈÈÂÂÁ ˙‡ ¨ÂÈ„ÂËÒ· ¯ÂȈ‰ ÔÎ ÏÂÓ ‰„ÓÚ· soft pastel on paper, 22.4x30 ˙‡ ÆÔÓÊ Í¯Â‡Ï ˘Á¯˙Ó‰ È˘ÙÂÁ ¯ÂȈ ˙ÂÚˆÓ‡· ‡Ë·Ï ‰ÒÓ ‡È‰ ‰˙‡ ‰ÈÂÂÁ ¯ÂȈ‰ Ï˘ ¯˙È ÂÏȇ ¨‰ÈˆÈÊÂÙÓ˜‰ ÔÂÎ˙ ·Ï˘· ˙‡ˆÂÓ ‡È‰ ÌÂÏȈ·˘ ˙ÏÚÂ˙‰ ˙·˙‰ ÍÂ˙Ó ¯ÂȈ· ÂÓÎ ˙È˘Ú‰ ¨‰ÓˆÚ ‰„·ډ ·Ï˘· ÈÂËÈ· È„ÈÏ ‡· È˘ÙÂÁ‰ ÆÈÁ‰ Ï„ÂÓ· ¨‰ÓˆÚ ÈÙ· ‰¯ËÓ ˜¯ËÒÙ È·‚Ï ÌȉӉ ÌÈÈ˙ÂÓ‡‰ ÌÈίډ ÈÎ ÔÈÈˆÏ ˘È ˢÙÂÓ‰ ¯ÂȈ‰ ˙‡ ‰˘Ë Ê‡Ó Æ‰È„· ˙‡ ˙‡ÏÓÓ ‡È‰ · ÔÎÂ˙‰ ˙‡ ÌÈÏË·Ó Ìȇ ¯ÈÈˆÏ ‰ÏÁ‰ ‰˙‡ ¨¢ÌÈÈÂÎÈ˙ ÌÈ ˙‡¯Ó¢ ‰¯„Ò· ÆÌ„‡‰ ȯ‡È˙· ‰È¯ÂȈ ÌÈ„˜Ó˙Ó Æ¯·ÁÏ Ì„‡ ÔÈ·Â ÂÓˆÚ ÔÈ·Ï Ì„‡ ÔÈ· ÌÈÒÁÈ ¨ÔÓÊ ÌÂ˜Ó ÈÒÁÈ ˙Á· ‡È‰ ¨≤∞∞± ˙˘· ∫˙¯ÈȈΠ˙ÂÈ„ÈÈÓ‰ ‰È˙ÂÂÂÎÏ ¯˘‡· ˙ÂÚË‰Ï ÏÂÏÚ ‰Ï‡ ‰È¯ÂȈ ÌÚ È¢‡¯ ˘‚ÙÓ ÏÂÁ‰Â ÌÈÏÂÁΉ ÌÈÈÓ˘‰ ÁÂ˙Ù‰ Ìȉ ˙¯Â‡Ù˙ ˙‡ ËÈÏ·Ó Ì‰Ó ÚÙ¢‰ Èڷˉ ¯Â‡‰ ¨‰ÙÈÁ Ï˘ ‰ÓÈ ÛÂÁ· Âȉ ̉· ˙¯‡Â˙Ó‰ ˙ÂÈ¢Á¯˙‰‰ ·Â¯ ¯Â˜Ó ÂÏȇ ¨·Â‰Ê ‡˜Â„ ‰Ï‡ ‰È˙Â„Â·Ú Ï˘ ¯È˘È ¯Â˘È˜ ÏÎÓ ˙‚ÈÈ˙ÒÓ ¨‰„ÈˆÓ ¨˜¯ËÒÙ Æ‰È¯Â‚Ó ¯ÈÚ ÔÈ· ‰È¯ÂȈ· ÔÈÁ·‰Ï ˘È ‰„È„Ï Æ‰ÈÈÁ· ‰¯·Ú˘ ˙·¯‰ ˙ÂÁ˙Ï ‰ÙÓ ‰ÙÈÁ ÈÙÂÁÏ ÆÌ„‡ ÏÎ ‡Â‰ Ì„‡‰ ¨ÌÈ ÏÎ ‡Â‰ Ìȉ ¨ÌÂ˜Ó ÏÎ ‡Â‰ ̘Ӊ — ÏÙËÏ ¯˜ÈÚ „¯‡Â„‡ Ï˘ ÂȯÂȈ Ú˜¯ ÏÚ Ì‚ ‰È˙Â„Â·Ú ˙‡ ÔÂÁ·Ï ˘˜·˙Ó Âχ Ìȯ˘˜‰· Ï˘ Â˙ÂÒÎ˙‰ „ˆÏ ÌÈ˘‡ ÔÈ· ÌÈÒÁÈ Â¯˜ÈÚ· ËÈÏ·Ó ¯Ù‰ Ï˘ ÌÊÈχȯ‰ Ì‚ ƯÙ‰ ˜ÂÁȯ ˙„Ȅ· ¨¯ÂÎÈ ˙¯„˘Ó ÈËËÒ ·ˆÓ· ·Â¯Ï ˙¯‡Â˙Ó ÂÈ˙ÂÈÂÓ„ ÆÂÓˆÚ· ˯ى ˙‡Ê Û‡ ÏÚ ÆÚ‚¯‰ ˙‡Ù˜‰ ˙ÂÚˆÓ‡· ˙ÂÓˆÚÂÓ‰ ˙¢ÂÁ˙ Æ˙Èڷˉ ‰·È·Ò‰Ó Ï˘ ÈÓÂȘ‰ ·ˆÓ ˙‡ ˙ÈȈӉ ¨˙ÈÓÊ–ÏÚ ‰˘ÂÁ˙ Ô˙ÂÚˆÓ‡· ¯È·Ú‰Ï ¯Ù‰ ÁÈÏˆÓ ˙¢ ˜¯ËÒÙ ‰ÓˆÚÏ ‰·ÈˆÓ˘ ˙ÂÈ„ÈÈÓ‰ ˙ÂȂˆȉ ˙¯ËÓ‰ Ƈ‰ ¯˘‡· Ì„‡‰ ¨ÌÂÁ‰ ˙ÂÚˆÓ‡· ˙Âȯ·‰ ÔÈ· ¯˘˜‰ ¯Á‡ ˙˘˜·Ó ‡È‰ ƯÙ‰ Ï˘ ÂÏ‡Ó ˙ÈÏÎ˙· ˙ÈÓÊ–ÏÚ ˙ÂÎȇ ‰˙Â‡Ï ‰È˙Â„Â·Ú ˙¯˙ÂÁ ˙‡Ê ÌÚ Ư‡ ‰·¯‰ Ư‡‰Â ‰ÚÂ˙‰ Æ˙ÈÓ˜ӖÏÚ ™ הזמן נותן את התוכן, את הכלל הכולל את כל הפרטים, הכולל הכל בנקודה Æ≤∏Æ∞πÆ≤∞∞µ ¨‰ÙÈÁ ¨¯·ÁÓ‰ ÌÚ ‰ÁÈ˘· ¥ אחת, והמקום נותן את הצורה, את הפרטים, את הריבוי, את גילוי התוכן ÆÌ˘¨‡Îȯ‡ ¯Â„‚È·‡ µ בכל הופעותיו השונות והמרובות לאין סוף.
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