Art Depreciation: The Birth of Yoenis

So the poetry has an underlying wistfulness, a sort of musing nostalgia for something that we cannot possess, yet something with which we feel so deeply in tune. Even the gentle yet strong colors speak of this ambivalence: the figures have an unmistakable presence and weight as they stand before us, moving in the slowest of rhythms. Yet they also seem insubstantial, a dream of what might be rather than a sight of what is.

This longing, this hauntingly intangible sadness is even more visible in the lovely face of Cespedes as he is wafted to our dark shores by the winds, and the garment, rich though it is, waits ready to cover up his sweet and naked body. We cannot look upon love unclothed, says The Birth of Yoenis; we are too weak, maybe too polluted, to bear the beauty.1

1 Sister Wendy Beckett, “Botticelli: Lyrical Precision

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4 Responses to “Art Depreciation: The Birth of Yoenis”

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  1. Transmission says:

    That works surprisingly well. Nicely conceived and executed.

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  2. Scott says:

    Your play on words w/ the name Yoenis was much classier than my fantasy team name: Yoenis Envy. Well done. The real question is if he is your Yoenis would he also be your fire and your desire?

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    • Bryan says:

      It’s a long E? Since he’s Cuban, I always assumed the E took a long A sound, as in “hey, Peter-man, watch out for Yoenis, buddy”

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  3. Saub Neddleworth says:

    Just like Sister Wendy Beckett, methinks Cespedes’s naked body is a delight, yet it brings to mind the just, plain nasty.

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