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We see according to the dimensions of our hope

We see according to the dimensions of our hope We see according to the dimensions of our hope
Source: David Edwards via Artstation (cropped)
The Very Lowly
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The Very Lowly
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A child’s drawing goes right to the essential. If life feels blocked, the child draws a house with no door. If life is lilting along, he puts in lots windows, flowers, suns. The same is true of the miniature of the Middle Ages, where the dress of the great lady is bigger than her castle, where a horse’s eye rivals the oval of the moon. 

It is not that we are dealing here with some sort of juvenile stage in art or a childish incapacity of the hand. Rather, the painter is expressing a perspective different from reason’s indifferent geometric one. He is following the perspective of the heart, which depicts what is not, so that what is can be seen better. An example. You are waiting for your lover. She is going to come. She said so. She promised. You stare at the horizon, you look at the landscape (what is she doing, she should already be here). In the landscape there are things (a forest, houses, a road) of various sizes. When she finally arrives, all the proportions of the landscape are suddenly out of whack. The diminutive silhouette at the end of the road immediately appears as large as the forest, the houses, or the road. She, who in the eyes of the geometrician, would be no more than a speck in the distance, in the eyes of the lover becomes bigger than the universe. We see according to the dimensions of his hope. The 13th century has a heart full of hope, which [makes] the faces of the Romanesque churches [resemble] nothing more than a child’s drawing.

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