visceral theory, it's late -- the mission was there was the great men in the gallery, leonardo, rembrandt, and so on, it was romantic myths. the notion of the great artist in melancholy was dreamed up by the romantics who described him in those terms to talk about the fact that some of their melancholy disposition was part of the excess of black bile. : there is didn't actually have an incredibly difficult moment in particular composition whatever it was some artists who lived their lives in a moment of input temporal serenity from beginning to end but not many of those you look at the early as agonized moments of violence and cruelty and all sorts of weird things you get to the much more arena. so i thought i wanted to really reinstate the notion of a kind of her a rick narrative of the artist. as i did with rembrandt i did feel documentation and everyone knows about him from those around him many quite clear he was far more than someone who simply responded to the society of the time. we know that he's a real nose bricker so the idea was to take one work of art almost frantically as the

rembrandts and the cezannes and it was medical cony and it was dreamed up of the romantics. it was not dreamed up of the romantics but by those giorgio in the 16th century who describes michelangelo's painting and their melancholy disposition was of their black bile. and that art really is kind of -- it's a sort of positive relationship and i think this is true between a patron, an artist and the way the artist perceives the competition he has before him. and the competition he really wants to beat in some way which artists are very susceptible. enough have that. i felt it had gone too far that way. it's historically obively a fortification of the way artists conceived of their own activity at not all the time but at some moments of crisis. and it's not it's only a romantic melodramatic way of writing for artists to have. they really do have them, you know, there are no great artist who did not have a incredible difficult moment of composition and there's some artist who lived their life of imperfemome and cezanne had a life of cruelty and violence which is ironic. i wanted

i mean, i prefaced my book on rembrandt where i thought about it a lot and this book is like a million pages long and i got over my problems over with words but i did preface by paul valerie's remark that one should apologize about one's painting. the case with food-writing, too, i think, does food-writing has more ambitions to be more simply than what you can buy at the green market and how to cook it which is a good kind of food-writing but if it has more ambitions and actually to do a certain issue of food-writing because, you know, our olfactory being our incredible organ of preserved writing. it has this quality of trying to translate sensation of taste, of texture, of what happens on our palate into speech or writing. the essay called mouthing off which i haven't published anywhere actually about those two things we do with our mouth, speech and taste. and the two don't fit together really without, you know, a particular set of calculations coming into play. and very often it's some of the most poetic writers the dangers are of overreach. what most -- not all but most wine-writin