Vladimir Nabokov, "Venetsianka" (La Veneziana), 1924
About beauty and seduction, about diving into a painting, about how to be get back to reality without a single scratch.
Brilliant, very funny, Russian.
Entering a space whose parameters differ from the regular space enveloping a character.
Otherspace visually hosting perfect images.
Painting offering specific elements of depth and development to the "reader" (as spectator)
"Venetsianka" ("La Veneziana," 1924) deserves special attention by the students of Nabokov's early works because it employs elements of the fantastical in order to explore the connections among desire, painting, and the otherworld as sources of artistic inspiration and expression. The longest among the early stories and only recently published in the original, "La Veneziana," like its coevals "The Potato Elf" and "Revenge," is set in England. The main triangle of desire entails one McGore, an old art dealer and an adviser to a rich art collector known as the Colonel, McGore's young wife Maureen, and the Colonel's son Frank. McGore has located a rare fifteenth-century Italian canvas and sold it to the Colonel . The presumed author of the painting, Sebastiano Luciani, called Sebastiano del Piombo (1485-1547), was a major Renaissance painter of the Venetian School, and Nabokov might have seen del Piombo's famous canvas, Ritratto Femminile ("Dorotea"), in Berlin (Gemäldegalerie, Berlin-Dahlem; the painting appears on the cover of the French edition of Nabokov's early stories to which "La Veneziana" gave its title; see La Vénitienne et autres nouvelles, Paris, 1990). The landscape vista in the background of del Piombo's portrait symbolizes an alluring otherspace, that is a space with a dissimilar set of parameters.
While Maureen and Frank are in the midst of a tempestuous affair in the story, Frank's college roommate, one Simpson, also feels an irresistible attraction to Maureen. More so, after looking at the Colonel's new painting, Simpson notices an uncanny resemblance between Maureen and the woman on the canvas. To add to Simpson's fascination, McGore shares a "secret": years of dealing with paintings have taught him that through an act of concentrated will one can enter the space of a given painting and explore it from within. Simpson is equally drawn to Maureen and the Venetian woman in the painting. At night, literalizing McGore's supernatural metaphor, Simpson walks into the space of the portrait where the beautiful Maureen/La Veneziana offers him a lemon. Simpson "grows" into the canvas, becomes part of its painted space. The story's fantastical spring has now almost unwound itself.
"La Veneziana" embodies several key elements to become central to Nabokov's poetics. Afloat in the story's enchanting and elegant syntax, and never fully synthesized and harmonized, these elements call for scrutiny. One should start paying increasing attention to Nabokov's concern with the problem of entering a space whose parameters differ from the regular space enveloping a character. In addition, Nabokov constructs this otherspace to host visually perfect images. In the case of La Veneziana's portrait, the pictorial space of the canvas becomes charged with the features of the stunning and sensuous Maureen. Frank endows his creation with extraordinary perfection to further his love for the original and thereby not repeat Pygmalion's tragic mistake. In contrast to Frank, his friend Simpson falls in love with an image of idealized feminine beauty which appears to him even better than the possessor of this beauty in flesh and blood. Simpson succumbs to the magnetism of the otherworldly pictorial space, which gleams through an opening in his mundane reality. In his consciousness, the image of beauty wins over beauty itself. To put it differently, when Simpson reads the text of the otherspace within the story by gazing deeply at the portrait, he is compelled to become part of that text. During the act of reading, the reader who follows Simpson in his lunatic exploration thus experiences a textual simulacrum of the pictorial space which Simpson transgresses in the story. What we have then is a story, a verbal text, which frames another text-the pictorial text of the otherspace rendered by a linguistic medium-and thereby foregrounds a specific model of its reading.
D. Barton Johnson has drawn attention to Nabokov's remark from a 1967 interview: "I think that what I would welcome at the close of a book of mine is a sensation of its world receding in the distance and stopping somewhere there, suspended afar like a picture in a picture: The Artist's Studio by Van Bock" (Strong Opinions, 72-3). Johnson saw in Nabokov's formulation, based on a painting by a fictitious Flemish artist, a model of his "aesthetic cosmology." The real pictorial subtext behind Nabokov's alleged painting is Jan Van Eyck's Giovanni Arnolfini and His Bride (aka Wedding Portrait; The National Gallery, London). Johnson concluded that "the two paintings, [...], one imaginary and one real, constitute a concise paradigm of Nabokov's art: ut pictura poesis." Nabokov's lifelong interest in painting might in part be explained by the parallels he saw between the acts of reading a literary text and a pictorial text.
[refering to "A Dozen Notes to Nabokov's Short Stories" by Maxim D. Shrayer, "3. Entering the Otherspace"]
About beauty and seduction, about diving into a painting, about how to be get back to reality without a single scratch.
Brilliant, very funny, Russian.
Entering a space whose parameters differ from the regular space enveloping a character.
Otherspace visually hosting perfect images.
Painting offering specific elements of depth and development to the "reader" (as spectator)
"Venetsianka" ("La Veneziana," 1924) deserves special attention by the students of Nabokov's early works because it employs elements of the fantastical in order to explore the connections among desire, painting, and the otherworld as sources of artistic inspiration and expression. The longest among the early stories and only recently published in the original, "La Veneziana," like its coevals "The Potato Elf" and "Revenge," is set in England. The main triangle of desire entails one McGore, an old art dealer and an adviser to a rich art collector known as the Colonel, McGore's young wife Maureen, and the Colonel's son Frank. McGore has located a rare fifteenth-century Italian canvas and sold it to the Colonel . The presumed author of the painting, Sebastiano Luciani, called Sebastiano del Piombo (1485-1547), was a major Renaissance painter of the Venetian School, and Nabokov might have seen del Piombo's famous canvas, Ritratto Femminile ("Dorotea"), in Berlin (Gemäldegalerie, Berlin-Dahlem; the painting appears on the cover of the French edition of Nabokov's early stories to which "La Veneziana" gave its title; see La Vénitienne et autres nouvelles, Paris, 1990). The landscape vista in the background of del Piombo's portrait symbolizes an alluring otherspace, that is a space with a dissimilar set of parameters.
While Maureen and Frank are in the midst of a tempestuous affair in the story, Frank's college roommate, one Simpson, also feels an irresistible attraction to Maureen. More so, after looking at the Colonel's new painting, Simpson notices an uncanny resemblance between Maureen and the woman on the canvas. To add to Simpson's fascination, McGore shares a "secret": years of dealing with paintings have taught him that through an act of concentrated will one can enter the space of a given painting and explore it from within. Simpson is equally drawn to Maureen and the Venetian woman in the painting. At night, literalizing McGore's supernatural metaphor, Simpson walks into the space of the portrait where the beautiful Maureen/La Veneziana offers him a lemon. Simpson "grows" into the canvas, becomes part of its painted space. The story's fantastical spring has now almost unwound itself.
"La Veneziana" embodies several key elements to become central to Nabokov's poetics. Afloat in the story's enchanting and elegant syntax, and never fully synthesized and harmonized, these elements call for scrutiny. One should start paying increasing attention to Nabokov's concern with the problem of entering a space whose parameters differ from the regular space enveloping a character. In addition, Nabokov constructs this otherspace to host visually perfect images. In the case of La Veneziana's portrait, the pictorial space of the canvas becomes charged with the features of the stunning and sensuous Maureen. Frank endows his creation with extraordinary perfection to further his love for the original and thereby not repeat Pygmalion's tragic mistake. In contrast to Frank, his friend Simpson falls in love with an image of idealized feminine beauty which appears to him even better than the possessor of this beauty in flesh and blood. Simpson succumbs to the magnetism of the otherworldly pictorial space, which gleams through an opening in his mundane reality. In his consciousness, the image of beauty wins over beauty itself. To put it differently, when Simpson reads the text of the otherspace within the story by gazing deeply at the portrait, he is compelled to become part of that text. During the act of reading, the reader who follows Simpson in his lunatic exploration thus experiences a textual simulacrum of the pictorial space which Simpson transgresses in the story. What we have then is a story, a verbal text, which frames another text-the pictorial text of the otherspace rendered by a linguistic medium-and thereby foregrounds a specific model of its reading.
D. Barton Johnson has drawn attention to Nabokov's remark from a 1967 interview: "I think that what I would welcome at the close of a book of mine is a sensation of its world receding in the distance and stopping somewhere there, suspended afar like a picture in a picture: The Artist's Studio by Van Bock" (Strong Opinions, 72-3). Johnson saw in Nabokov's formulation, based on a painting by a fictitious Flemish artist, a model of his "aesthetic cosmology." The real pictorial subtext behind Nabokov's alleged painting is Jan Van Eyck's Giovanni Arnolfini and His Bride (aka Wedding Portrait; The National Gallery, London). Johnson concluded that "the two paintings, [...], one imaginary and one real, constitute a concise paradigm of Nabokov's art: ut pictura poesis." Nabokov's lifelong interest in painting might in part be explained by the parallels he saw between the acts of reading a literary text and a pictorial text.
[refering to "A Dozen Notes to Nabokov's Short Stories" by Maxim D. Shrayer, "3. Entering the Otherspace"]
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