Tuesday, March 20, 2012

Terestchenko in sitù

The most capable photographer
of places, active today and 
known to me, is also one of
the very most cultivated men-
talities upon which this page
leans for restoration of fo-
cus. A valuation of terroir 
in all of its formative, sus-
taining aspects is inveterate-
ly supported by resort to his
photography; and this strikes
home, as the signature he has
given himself from a cosmopol-
itan inheritance, breadth of
curiosity, and way of life.

It was far from foretold, in his absorption of the manners of a gentleman, that he would direct even them, too, toward his investigation of the genius of place. I draw the inference from his work that we see demonstrated in Henry James, that assets such as affection, reticence, and deference are truly our most powerful instruments of observation; that the foundation of all consolation of learning is the humane temperament. 
This view of a terrace in the Basque town of Guéthary, although only of built works, could not have been made without those gifts, and we refresh our heart in looking upon their discovery.

                                And do not call it fixity,
Where past and future are gathered. Neither movement
      from nor towards,
Neither ascent nor decline. Except for the point, the still
There would be no dance, and there is only the dance.

T.S. Eliot
Four Quartets
  Burnt Norton
Harcourt, 1971©

ii  Matthias Lauridsen
    photographer unknown

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