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try to describe what happened to me, a Brabantian Dutchmen, when, not worth expressing. But those same moments of dreadfulness did
speechless in countless ancient and modern languages, I was con- become - after some days - the first words in a chain of associations
fronted with the first painting to which the Bosnian Dutchman Mirzo which did merit reconstruction. `Oriental`, I had said, and `exotic`,
Bajramovic introduced me. A work from his hands. Which was `com- expressions I most seldom and reluctantly use. I’m afraid I even
municating itself ` to me, very eloquently, and in immaculate Dutch, dished up some shameful generalities connected with the `Thousand
let me add. But alas, I did not come up with a reply. Not one word of and One Nights`. In any case: I thought the painting `SPLENDID` and,
Bosnian or Dutch occurred to me. Or rather: much too much occurred moreover, `GRAND` - and said so. Justifiedly so. Infinitely meaningful
to me simultaneously, except for anything verbal, a single word in one yet meaningless words. It was a large painting studded with un-Dutch
of my innate or acquired mother or father tongues. But - let me repeat carbuncle-sized stars, which are as much beyond us, Occidentals, as
it - the painting with its extraordinarily refined enunciation was not that `Starry Night` painted by Van Gogh under a Mediterranean sky.
to blame. No, I was offside and But I did not think of Vincent but
tongue-tied. Countless associa- of one of those medieval manu-
tions appeared on the tv-screen scripts, scalloped with planets
of my consciousness, but none and stars, which open up seventh
was subtitled decently enough heaven to us. Once I had got that
in any language or dialec t to far - close enough to the Van
come out of my mouth decently- Eyck brothers, the Duc de Berry
framed. The articulate painting and that first Turkish luxury edi-
had silenced me, so who can tion of the Koran in the British
picture my distraction and under- Museum - I finally started to feel
stand that my silence had to do comfortable in the language of
with overawe? And with a desper- Bajramovic and his `magnum
ate attempt to express approval opus`, entitled, no doubt, like so
and admiration. Who can picture much modern art: `u.t.`, `unti-
my bewilderment and explain to tled` or `namelessly beautiful`.
the artist that it was the inimitable Only, just then the painting was
quality of his painting which was getting (entitled to) a name. I
reflected by my silence (which he loved it and was thinking of the
did not imitate)? Dutch poetess Neeltje Maria Min
In my position I should at least and her `for the one who loves
be able to speak up when a work me I will be named`. Suddenly
of art or an artist reduces me to the work would be named `The
quiet admiration. And why. Now Adoration of the Shepherds`,
may I tr y to picture all those and one of those stars stood
things which did not - but almost still so on reflec tion I called
did - (instantly) occur to me on the the painting `Sainte Chapelle`.
right moment? Well, I retrace the Causing some uncertainties of
steps of my esprit de l’escalier, nomenclature. The shepherds
as I mount the stairs connecting emancipated, becoming kings,
the basement and top floor of my magicians, astrologers, and, for
silence. What did initially occur a change, the painting was now
to me was too trivial to be true, named `Twelfth Night` or `The
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