VI. Les gouaches découpées
Matisse to Tériade (1947)—He first asked for a white cane enlarging the turns
Matisse to Tériade (1947)—He first asked for a white cane enlarging the turns
Of his scissors in the intense sunlight—From the Mars-like rise of red,
in silhouette,
The Wife of Bath as
Icarus; one imagines as any straight woman would, the fleet
In Cádiz provisioned by HMS Endymion (1805); a palimpsest in the
mind of Major
Pierre Javet (1955) circling Helen’s manuscript (5 July 1949) in cord, by the South Bank
Alaska sealskin factory; canteen-updated, a bleached minaret—First he noticed
Canvasing the spot an aged Turner saw the Téméraire drawn for scrap (1839); noticing
Hopelessly, turned around on his way to his aunt’s—More than two decades, after taking turns,
Her pupils trained, Beauvoir finds Ghardaïa, a Cubist painting blued by the light (1963)—The bank
Withdrawal from the paternal account of, where do you come from?—Helen answers from a burgeoning silhouette—
As the embroiderer, onto her sixth man—In the vital isolation that makes it possible, if for a fleet
Second, for human beings to collide—Distended in his chair, Matisse, the former law clerk, tests the majority
In his second life—Paper cognates of torches, Helen desperately fought her way out of—The majority
Of critics cannot connect this new technique of painting, nor the incongruous space of having noticed
Laura—Voss (1957) saw that she carried a muff of sealskin—As protection against more abstract dangers, the fleeting
Start and finish of Helen Smith’s polar course opening like scissors inside, and turning
Pierre Javet (1955) circling Helen’s manuscript (5 July 1949) in cord, by the South Bank
Alaska sealskin factory; canteen-updated, a bleached minaret—First he noticed
Canvasing the spot an aged Turner saw the Téméraire drawn for scrap (1839); noticing
Hopelessly, turned around on his way to his aunt’s—More than two decades, after taking turns,
Her pupils trained, Beauvoir finds Ghardaïa, a Cubist painting blued by the light (1963)—The bank
Withdrawal from the paternal account of, where do you come from?—Helen answers from a burgeoning silhouette—
As the embroiderer, onto her sixth man—In the vital isolation that makes it possible, if for a fleet
Second, for human beings to collide—Distended in his chair, Matisse, the former law clerk, tests the majority
In his second life—Paper cognates of torches, Helen desperately fought her way out of—The majority
Of critics cannot connect this new technique of painting, nor the incongruous space of having noticed
Laura—Voss (1957) saw that she carried a muff of sealskin—As protection against more abstract dangers, the fleeting
Start and finish of Helen Smith’s polar course opening like scissors inside, and turning
The surface of her sombre green—Flickering, and escaping from a cage of black twigs, her banking
Angelic currents capsizing the craft of initiates, the Beatus of Saint Sever (Folio 139) into every subsequent Jazz (1947) silhouette—
La Danse (1909-1910); submerged, where Venus in Pisces is exalted—The pewter silhouette
Making sense of this preamble, like Matisse’s Sun, her Venus is in Capricorn, not for which the majority,
Most desired, the de rapto and floriated aftermath, is VI. Le Loup (1947)—Skull of a goat, whose banked
Fire, or blood, obscures the horizontal pupil—Cloven, the polled class; and when crossed, sterile—Notice
How early life abolishes a tendency to lock horns over this—A school mistress’s maxim, under the unchanging cobalt depth of sky—Fleetingly,
After the paramour who left her with ten pounds—The note is written, had it existed, would have made any difference to my own very real requirements—Turning
Into a recessed black marble tub; Helen, You will look like Venus—XV. Le lanceur de couteaux (1947), turning
From a pinned postcard—A querent quits the garden (VI), for its cross sum, of diabolical enslavement (XVI)—The heart’s negative silhouette
Angelic currents capsizing the craft of initiates, the Beatus of Saint Sever (Folio 139) into every subsequent Jazz (1947) silhouette—
La Danse (1909-1910); submerged, where Venus in Pisces is exalted—The pewter silhouette
Making sense of this preamble, like Matisse’s Sun, her Venus is in Capricorn, not for which the majority,
Most desired, the de rapto and floriated aftermath, is VI. Le Loup (1947)—Skull of a goat, whose banked
Fire, or blood, obscures the horizontal pupil—Cloven, the polled class; and when crossed, sterile—Notice
How early life abolishes a tendency to lock horns over this—A school mistress’s maxim, under the unchanging cobalt depth of sky—Fleetingly,
After the paramour who left her with ten pounds—The note is written, had it existed, would have made any difference to my own very real requirements—Turning
Into a recessed black marble tub; Helen, You will look like Venus—XV. Le lanceur de couteaux (1947), turning
From a pinned postcard—A querent quits the garden (VI), for its cross sum, of diabolical enslavement (XVI)—The heart’s negative silhouette
Before Matisse’s knife thrower, is the nodular bowel resectioned;
calling out, even in the Dominican chapel at Vence—Fleetingly,
Worse for privations real or imagined, what women most desire is dominance—With the lapse of the majority
Worse for privations real or imagined, what women most desire is dominance—With the lapse of the majority
Family—The Pazzi’s nineteen stab wounds of Giuliano de’ Medici (1478),
the Mercury of La Primavera (1482) forces its maker to bank
His ambitions with the Dominican, Savonarola—Zephyrus, from his quoit throwing, an idle grazier, he notices
Chloris, greening to her avatar Flora—The Graces, through the scrim of the wind’s bitter branches, notice
Voss shot off his mount as Laura’s atmosphere, dark, enameled blue, flattens to black—Turning
To his nurse, Matisse signs Le Cheval l'écuyère et le clown (1947) that could be a woolen tapestry Alisoun turns out—Helen banks
Her testament, on the sky will be red tonight, after being lashed with just such a whip—Silhouettes
Of Ovid, Fasti (Book IV: April 28), Floralia, when goats roam free in the Circus—Christina Rossetti (1879) issues, fleetingly,
A corrective for enjoined nights—[B]y night she stands / In all the naked horror of the truth / With pushing horns (9-11 )—Our Helen, rendered by the majority
From a swan’s egg, from her eidolon, of which we notice an anesthetic settling in a majority
Of interiors, Matisse’s silhouettes of Icarus, banking in flares—Turner’s The Wreck of the Minotaur (1810), when the Dutch suspended help—
His ambitions with the Dominican, Savonarola—Zephyrus, from his quoit throwing, an idle grazier, he notices
Chloris, greening to her avatar Flora—The Graces, through the scrim of the wind’s bitter branches, notice
Voss shot off his mount as Laura’s atmosphere, dark, enameled blue, flattens to black—Turning
To his nurse, Matisse signs Le Cheval l'écuyère et le clown (1947) that could be a woolen tapestry Alisoun turns out—Helen banks
Her testament, on the sky will be red tonight, after being lashed with just such a whip—Silhouettes
Of Ovid, Fasti (Book IV: April 28), Floralia, when goats roam free in the Circus—Christina Rossetti (1879) issues, fleetingly,
A corrective for enjoined nights—[B]y night she stands / In all the naked horror of the truth / With pushing horns (9-11 )—Our Helen, rendered by the majority
From a swan’s egg, from her eidolon, of which we notice an anesthetic settling in a majority
Of interiors, Matisse’s silhouettes of Icarus, banking in flares—Turner’s The Wreck of the Minotaur (1810), when the Dutch suspended help—
