Close Up (Mar-Dec 1933)

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CLOSE UP ^ Note on Five Brugiiiere Photographs This, and the following four photographs by Francis Bruguiere, must speak for themselves, for no words — except perhaps in the Greek poems translated by H. D. — could be needed, or indeed justified. In their conception of noble paradox they achieve a mysticism which is certainly more than ephemeral. Bringing together expressions of the loftiest heights of human aspiration and heights romanticised by expediency, they succeed in merging, in becoming dissociated memoirs of hieratic impact. Close Up has probably not printed before pictures so intrinsically dynamic, so innately motivated and complete. Impressionistic, in the simplest sense of the word, they inform the parallelism of classic divergences with a unity which to those who pursue their ideals along the mellow paths of antiquity will be rare sustenance. From the inscrutable Attic goddess and sky-line temple with its sacred olives, sheep and quiet sea and pale sea-monastery tilting over all, to Byzantium and cinquecento Florence, to the ritually crucified lord-of-all against what looks like latish Roman walls, is, as they say, a far cry. Yet the same transcendentalism occurs in each. Incidentally, the " latish Roman walls " are a bit of a mystery. Those columns. In the Pelasgic walls, marbles of different periods — later, of course — are to be found, as in the grotto above the Theatre of Dionysus — or the fortress-like clumsy Roman Odeon. But these walls are not prehistoric, far from it. And yet the columns do not appear to be superimposed. We shall have to ask Mr. Bruguiere . . . K. M.