centuriespast: EYCK, Jan vanThe Madonna of Luccac. 1436Oil on wood, 65,5 x 49,5 cmStädelsches Kunstinstitut, Frankfurt I came to, became more attentive, even alert. As if an internally anchored reflection had suddenly spilled outward, I became absorbed in the page that happened to be open in front of me. It was Jan Van Eyck’s so-called “Madonna of Lucca,” the lovely one, in her red coat, who offers her delicate breast to the sitting and seriously suckling infant. Where to? Where to? And suddenly I wished, wished, o wished with all the ardor my heart had ever been capable of, wished to be, not one of the two small apples — in the painting —, not one of these painted apples on the painted window sill — even that seemed too much of a fate…No: to to become the soft, the small, the unseeming shadow of one of those apples — that was the wish into which the whole of my being gathered itself. — Ranier Maria Rilke/translated by Pierre Joris  View high resolution

centuriespast:

EYCK, Jan van
The Madonna of Lucca
c. 1436
Oil on wood, 65,5 x 49,5 cm
Städelsches Kunstinstitut, Frankfurt

I came to, became more attentive, even alert. As if an internally anchored reflection had suddenly spilled outward, I became absorbed in the page that happened to be open in front of me. It was Jan Van Eyck’s so-called “Madonna of Lucca,” the lovely one, in her red coat, who offers her delicate breast to the sitting and seriously suckling infant.

Where to? Where to?

And suddenly I wished, wished, o wished with all the ardor my heart had ever been capable of, wished to be, not one of the two small apples — in the painting —, not one of these painted apples on the painted window sill — even that seemed too much of a fate…No: to to become the soft, the small, the unseeming shadow of one of those apples — that was the wish into which the whole of my being gathered itself.

— Ranier Maria Rilke/translated by Pierre Joris 

(Reblogged from centuriespast)

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