… So, we would just leave Paris by this train of one hour twenty-two that I had taken too long to look for in the indicator of the railways, where it gave me each time the emotion, almost the blessed illusion of departure, so as not to imagine that I knew him … (…) At a time when I was counting the thoughts that had filled my mind during the previous minutes, to realize whether or not I had just slept (and when the very uncertainty that made me ask myself the question was providing me with a affirmative answer), in the window pane, above a small black wood, I saw indented clouds whose soft down was of a fixed, dead pink, which will never change, like the one who dyes the feathers of the wing which assimilated it or the pastel on which the painter’s fantasy deposited it. But I felt that on the contrary this color was neither inertia, nor whim, but necessity and life. Soon, heaps of light piled up behind her. It came alive, the sky...
This article is reserved for subscribed members only. If you are already a member, you can log in here below.
Subscribe for full access to The Eye of Photography archives!
That’s thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for $5 or annually for $50 (2 months offered).