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Title : The brown spot.
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The brown spot.

From "Through a Glass Darkly" by Lev Mendes (New York Review of Books):

I recently discussed [the Balthus painting] Thérèse Dreaming with an older woman, an architect and former museum conservator. She told me that one thing she disliked about the painting was the brown spot on the girl’s underwear, which guided the viewer’s attention in a way that felt manipulative. I wasn’t sure if she was bothered by the brownness of the spot—with its possible menstrual or scatological connotations—or just the spot’s function as a focal point that drew one in, that narrowed one’s attention (like the punctum of a photograph, in Roland Barthes’s phrase—the point of interest, “that accident which pricks me”). Whatever the case, I was highly skeptical—in fact, in complete denial. I had looked carefully at the painting and had never noticed a brown spot. The whole thing struck me as absurd. The spot, I told myself, must be a projection of her imagination onto the painting.

Feeling unsettled, however, about my own dismissiveness, I returned again to the Met and to Thérèse Dreaming. This time, I saw it, a sort of brown triangular shadow across the bottom of the girl’s panties and the slip of her skirt. I had been wrong after all about the absence of the spot. Still, it remained for me a rather incidental detail. I experienced no “prick”; it did not draw me in; it barely registered at all. Certainly I did not feel that I had been manipulated by Balthus.

Here's the painting...



... seen previously on this blog, last December, in "The Metropolitan Museum of Art declines to remove a painting that is — according to a petition — 'undeniably romanticizing the sexualization of a child.'"

From "Through a Glass Darkly" by Lev Mendes (New York Review of Books):

I recently discussed [the Balthus painting] Thérèse Dreaming with an older woman, an architect and former museum conservator. She told me that one thing she disliked about the painting was the brown spot on the girl’s underwear, which guided the viewer’s attention in a way that felt manipulative. I wasn’t sure if she was bothered by the brownness of the spot—with its possible menstrual or scatological connotations—or just the spot’s function as a focal point that drew one in, that narrowed one’s attention (like the punctum of a photograph, in Roland Barthes’s phrase—the point of interest, “that accident which pricks me”). Whatever the case, I was highly skeptical—in fact, in complete denial. I had looked carefully at the painting and had never noticed a brown spot. The whole thing struck me as absurd. The spot, I told myself, must be a projection of her imagination onto the painting.

Feeling unsettled, however, about my own dismissiveness, I returned again to the Met and to Thérèse Dreaming. This time, I saw it, a sort of brown triangular shadow across the bottom of the girl’s panties and the slip of her skirt. I had been wrong after all about the absence of the spot. Still, it remained for

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me a rather incidental detail. I experienced no “prick”; it did not draw me in; it barely registered at all. Certainly I did not feel that I had been manipulated by Balthus. Here's the painting...



... seen previously on this blog, last December, in "The Metropolitan Museum of Art declines to remove a painting that is — according to a petition — 'undeniably romanticizing the sexualization of a child.'"

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