Among the items that make up the Clarice Lispector Collection, which has been at the IMS since 2004, are two of the approximately 20 known paintings by the author: Interior da gruta<\/em> (Cave Interior) and an untitled work. Although she does not appear to be as skillful at painting as she famously is at writing, in Interior da gruta<\/em>, Clarice creates a sensation that is similar to the one caused by her stories: discomfort. If at first glance the painting may cause an effect of estrangement, at second glance the observer tends to be overcome by a sort of hypnosis.<\/p>\n\n\n\n With its brown, green, red, and yellow colors vertically painted in gouache, the painting places its viewer in a state of near obtrusion. The image intends to be \u201cbehind thought,\u201d a title that would actually be given to \u00c1gua Viva<\/em>. Behind thought, close to the non-rational, the wild, the first impulse, divination. <\/p>\n\n\n\n The novel\u2019s narrator says the following about caves:<\/p>\n\n\n\n I want to put into words but without description the existence of the cave that some time ago I painted \u2013 and I don\u2019t know how. Only by repeating its sweet horror, cavern of terror and wonders, place of afflicted souls, winter and hell, unpredictable substratum of an evil that is inside an earth that is not fertile. I call the cave by its name and it begins to live with its miasma. I then fear myself who knows how to paint the horror, I, creature of echoing caverns that I am, and I suffocate because I am word and also its echo.<\/p><\/blockquote>\n\n\n\n In the second painting, the same dynamic: a profusion of lines, a layering of green, pink, and white, vertical strokes. A patchwork, apparently, just impetus, jumps without rest. Despite the simplicity of the material \u2013 gouache on plywood and oil on canvas, respectively \u2013 and the rusticity of the strokes, there remains an estrangement similar to that of her writing.<\/p>\n\n\n\n The paintings and the book \u00c1gua Viva <\/em>seem to have the same purpose: to discover the \u201cinstant-now,\u201d the it<\/em>, escaping possible definitions. \u201cMy painting,\u201d says the narrator, \u201chas no words.\u201d The intention is just to write and draw like a jazz improvisation.<\/p>\n","protected":false},"excerpt":{"rendered":" Being a writer was not the first option for Clarice Lispector, as strange as this may seem to us now. Despite having studied law at the University of Brazil, collaborated on editorials, and translated novels, it was fiction writing were she excelled. But one does not live from fiction alone, and Clarice had her affair […]<\/p>\n","protected":false},"author":8,"featured_media":11930,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[675],"tags":[566,800,558],"class_list":["post-4654","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-the-collection","tag-agua-viva-en","tag-interior-da-gruta-en","tag-literatura-en"],"yoast_head":"\n![\"\"](\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/2020\/05\/eu-queria-escrever-como-um-pintor-2.jpg\")
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