InthisPicasso,forexample,thefreshnessofthecolourleapsoutofthefactthatIhaveonlyseenitinreproduction.

Becauseofpreviouslookingatlotsof
Picasso's,Iknowthathispaintingsoftensurprise'inreallife'andIbringmysenseofrealongoingsurprisetothisimageofit.Itwaspaintedin1908and
nowinSt.PetersburgRussia.Viewingpaintingsonscreenobviouslybooststheirluminosity,removesthesenseofdisappointmentthatcansometimes
initiallybefeltcomingacrosspaintingsinagallery,asensethatisactuallyquiteimportantIthink,importantinthesensethatitcontradictsanynotionof
paintingbeingideal,itisasenseofdisappointmentthatgivesusaccesstocoloursmateriality,oflightsgroundingincolourandcoloursgroundinginpaint.
Itisthedisappointmentoftheactual,actuallyitisdisappointmentandtheendofdisappointmentsimultaneously.Weloseanyidealnatureoflightwhen
facedwithapaintingscolour,itspaint,butgainsomethingelse,somethingthatwecanwitnessbeingconstructed.Lookingatapaintingcanbethe
constructionofthisgain,ofasenseofelaborationfromthegivenfactsinfrontofus.Howthecolouredmaterialworksandkeepsworkingistheprimal
problem.