Helena opens up to view the genius of Giotto and in so doing reveals her own genius. Every time I listen to her latest piece I am lost in admiration. Come away thinking the same thought – which I’ve said before but it bears repeating – art criticism doesn’t come any better than what this little blonde lass in Truro unerringly turns out, And, yes, I know, it’s hopelessly unreconstructed of me to describe her that way – putting something that way isn’t kosher these days – but to hell with politically correct. At least in this instance.
As I said about last week’s podcast, it’s a rewarding listen even without the painting (or a reproduction) in front of you, Helena’s that good. But why would you do that when a good visual is at your fingertips, a click away. Here’s a good link.
“it’s brilliant stage management”
“wants to give us a real sense of the confusion and chaos of the scene”
“how to show the calm within the storm”
“he has puckered up his lips in preparation”
“a stroke of genius”
“there’s no sense of balance or order or symmetry”
“yellow symbolising deceit, treachery, cowardice and decay”
“all the actors suddenly freeze except the two the director wants us to focus on”
“that moment of silence and solitude which they require”
“the psychological intensity of Christ’s stare penetrates to Judas’s soul”
“there is no turning back”
“the final nail in the coffin”
“his ability to go straight to the heart of the subject”