By Annette Kowalski
This was once a present for a pal who loves Bob Ross. every little thing confirmed up in nice form and suggested. more than happy.
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Additional info for Bob Ross' New Joy of Painting
It is an intense and intensive body. It is traversed by a wave that traces levels or thresholds in the body according to the 44 Hysteria variations of its amplitude. Thus the body does not have organs, but thresholds or levels. Sensation is not qualitative and qualified, but has only an intensive reality, which no longer determines with itself representative elements, but allotropic variations. Sensation is vibration. We know that the egg reveals just this state of the body "before" organic representation: axes and vectors, gradients, zones, cinematic movements, and dynamic tendencies, in relation to which forms are contingent or accessory.
Suppose the Figure no longer had only elements of dissipation, and that it was no longer even content to privilege or return to this element. Suppose the Figure had effectively disappeared, leaving behind only a vague trace of its 30 Bacon's Periods and Aspects former presence. The field will then open up like a vertical sky, and at the same time will increasingly take over the structuring functions: the elements of the contour will establish more and more divisions within the field, creating flat sections and regions in space which form a free armature.
2 In a completely different context, Bacon has painted such a spinal column on a Figure doubled over in contortions (Three Figures and a Portrait, 1975 ). This pictorial tension between flesh and bone is something that must be achieved. And what achieves this tension in the painting is, precisely, meat, through the splendor of its colors. Meat is the state of the body in which flesh and bone confront each other locally rather than being composed structurally. The same is true of the mouth and the teeth, which are little bones.
Bob Ross' New Joy of Painting by Annette Kowalski