“A few years ago I wrote a short essay on Édouard Manet’s 1873 painting Masked Ball at the Opera. I noticed it seemed that Manet created a particular amount of space between his own position and the large group of people at the masked ball. That gap could easily have occurred in real life—anything can occur—but, still, what he did was interesting. I thought he insinuated into the social event he was depicting the kind of space that would almost naturally exist between a painter and a model in a studio situation. He created a subtle bracketing of the immediacy of what he was depicting by stepping back ever so slightly. He could not deny himself the excitement of making the most complex event hover with a very slight sense of suspension, in the form of the tableau—that form that can absorb and arrest any and every event once it becomes a picture. I find this pictorial structure itself so suggestive and rich because it transforms the thing it depicts in the process of depicting it, of recording it. The “motif,” the thing depicted, comes to life not because of its own liveliness—even though it has that, too—but because of the way it almost vanishes into the tableau. The tableau-form, like a magic substance, both records with great fidelity and transforms the thing to which it is being true into another thing: a picture”. - Jeff Wall
‘Game Of Thrones’ Season 3 Opens With Every Character Getting Fingered While Discussing Arrival Of Winter: Full Report
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