Act 1, Scene 2 (scroll down for post #1: scene 1)
The narrative began with Act 1, scene 1 on April 10, 2013.
To access all scenes, scroll to blog archive at the bottom of the page.

Van Gogh

We'll be lucky to have a smoke at all. Have you noticed that smoking is no longer allowed? Indoors, at least.

Picasso

Cigar smoke saved my life, and I have no intention of quitting.

Van Gogh

Yes, yes. We all know the story of the smoke that made the baby cough and breathe. Not again, please, Pablo.

Picasso, (laughing)

Vincent! (warmly clasps Van Gogh's shoulder). You must be tired; you are usually so indulgent. (turns to Cezanne). Paul, Diego and I were just beginning to connect the dots between his work, Manet's, yours and mine. What do you think?

Cezanne, (suddenly animated and intense)

This is such a fascinating lineage. I spent so much time studying your work in the Louvre when I was young, Diego. You've seen how my later paintings focused on planar elements, bringing some forward, pushing some back, building shapes in space, distorting ...

Van Gogh interrupts

Sorry to interrupt, but I'll leave you three to discuss planes in space. I have only a few minutes to get to Harry's Bar, and it's a bit of a walk from here. (he drops his cigarette to the pavement, crushes it underfoot)

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Picasso

Harry's Bar. Seems to me that Braque mentioned it. Hmm ... was it Hemingway he bumped into there?

Velázquez

Before you go, Vincent, let me say how much I admire your work: so expressive, so visceral. Quite distinct from Paul's interests, wouldn't you say?

Van Gogh

Thank you Diego. This discussion is one that Paul and I have had, and he knows that I mean no offence when I say that, when it comes to painting, he is a little too much in his head for me. The paintings are nevertheless beautiful and compelling, in a very thoughtful way. Perhaps in my work I let my heart and guts dictate too much, but I seem to have no choice in the matter. Pablo can offer more scholarly insight, I think. He appears to look for a better balance of head and heart, I think. But, just now I must hurry to meet some other friends. I hope we'll have a chance to talk more about this later. (waves and hurrys southward)

The sound of a flamenco guitar startles the three who remain. Velasquez takes something from a pocket, and the guitar music is heard more clearly. The other two look on with mouths agape.

Velázquez, (smiling at Picasso and Cezanne)

Manitas de Plata. I thought flamenco would make for a lively ringtone.

(answering his iPhone)

Si, pronto. Oh, hello my friend. (he covers the phone with one hand and leans over to quietly explain to the others). It's the Canadian I mentioned, Ronald Shuebrook. (to the phone) Hi Ron. Yes certainly. It'll be a pleasure. Join us for coffee. I thought we'd go to Caffé Florian (looks to Picasso and Cezanne who nod in agreement). It feels a bit more familiar to me than the Biennale cafe. I like the atmosphere, despite the tourists. (shrugs) Although I suppose we are all tourists here. We'll meet you there in about twenty minutes. You are familiar with Florian, in the Piazza San Marco ... good. Yes, of course, bring anyone you like. Ciao.

Cezanne (exchanges glances with Picasso) 

You have a cell phone, Diego!? 

Velázquez

Of course! Doesn't everyone? This is a marvellous machine. You really should have one. I'll show you where I got mine on the way to the café. There are quite a few Canadians here apparently, our host being one of them. Canadians, Americans, French, Italians ... it's all so interesting. 

(looks up as he pockets his iPhone, and is about to start off towards Piazza San Marco ...)

Speak of the devil! Look who's here. (smiling broadly, he calls out to an approaching figure) Welcome, welcome, welcome. (now more comfortable with the custom, he reaches out to shake Jack Chambers' hand)

Jack Chambers

Thank you, Diego. ¿Cómo está usted? 

Photo courtesy of The London Free Press Collection of Photographic Negatives, Western Archives, Western University

Velázquez

Muy bien, gracias, ¿y usted?

Chambers

Muy bien. 

Velázquez (addressing the others)

Gentlemen, you may not know of Jack's work, but you really should. Jack comes from London, Canada. He spent several years studying in Madrid, married a lovely Argentine girl living in Spain at the time, and then returned to Canada to create some of the most beautifully moving realist paintings the world has seen. (Chambers shuffles his feet, looks down as he crushes the cigarette he had been smoking). He is also an accomplished film maker, and a celebrated activist for Canadian artists. Jack, you already know these two, I'm sure.

Chambers, shaking hands with Picasso and with Cezanne

Hello, Pablo. Good to see you again. I'm not sure you remember the young Canadian who knocked on your door to ask you where he should study.

Picasso (chuckling)

Yes, of course. That took some guts. It's something I remember very clearly. I think I told you to go to Barcelona, and you wound up in Madrid instead. It worked out well for you.

Chambers, turning to Cezanne

What a great pleasure, Paul.

Cezanne

The pleasure is mine. Join us. We were just about to meet another of your countrymen at Caffé Florian. And god knows who else may turn up. 

The four set off toward the Ponte di Rialto. Velasquez trails the others, appears to be distracted by cell phone conversations and text messages. By the time the Canal Grande is in sight, all four are enjoying banter about art, about Venice, favourite restaurants, and sports. At the Ponte di Rialto, gondoliers push slowly under the bridge with their cargoes of tourists who fan themselves in the heat. The water of the canal is unusually still, and on the far side of the bridge, Cezanne points to Van Gogh who stands with his friend, Willem de Kooning. Both men seem to be lost in thought as they stare at the rippling patterns reflected in the water.

Act 1, Scene 1: The Scuola Grande di San Rocco, Venice, Italy, September, 2013.

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Velázquez
Thank you for meeting me here. I have always admired Tintoretto. San Rocco was a revelation for me.


Picasso
This is a magical place. And what a great pleasure to meet Diego Velázquez. (extends his hand, Velázquez mimics the gesture and bows).

Velázquez
The whole interior is stunning, no? Walk with me to the Crucifixion. Ah ... this is like visiting an old friend. I once spent many hours here making studies of this painting.

venezia-emilia.blogspot.com 

I came to San Rocco during my first visit to this country, which at that time was not yet a united Italy of course, and I was immediately enchanted and humbled when I saw Tintoretto's paintings. You know, Rubens had planned to accompany me on that trip. He loves this part of the world, the art and the people. He spent a lot of time in Italy, even called himself Pietro Paolo for many years (thinking of his friend, he smiles). Unfortunately, at that time he had other duties and I made the trip without him. Now there is a great painter. I wonder if he is here in Venice today?

They stroll back toward the centre of the Sala Superiore. In the quiet they hear hushed whispers, the echo of remarks spoken too loudly, and from time to time the clack of leather shoes on the polished floor as other visitors explore the room.

Picasso, examining a panel of the ceiling painting with the help of one of the provided mirrors.
I really don't know; perhaps. Certainly many others have come. Maybe our host will have more answers. Have you enjoyed the Biennale?

Velázquez

I am enjoying the city much more as this mob of tourists departs. September is generally a beautiful month in Italy and I can take my time now to see the various exhibitions of art. There is so much to learn from this festival.

Picasso smiles

Tactfully said. May I assume that, as I do, you find some of the art perplexing?

Velázquez, strolling around the room's perimeter

I am working at understanding it all, but yes, the art ... and the people! As you know, I'm all in favour of effective innovation. So, for the moment, I'm making no judgement about these new art forms. But I have found it almost overwhelming to be in the midst of such a throng, so diverse in language, in race, in religion. It is all difficult to take in. The Church I knew would have this Biennale shut down, and would likely have sponsored more than a few bonfires around the city, for those responsible. Performance pieces, I guess they'd have called them. (laughs)

Picasso, chuckling

No doubt. No doubt. The world has changed a great deal, and the debate continues about which changes have been good, and which bad. What you see here, however, is one of the manifestations of good change, in my opinion. But, as you mention your own work, you should know that Las Meninas was like the open door through which I walked. With that one painting, you left clues that led to solving many of the puzzles of abstraction. There are things I would like to ask you about. I'm sure you know of the important work of Edouard Manet and Paul Cezanne, both of them also inspired by your achievement. With luck we'll see them as well, maybe today or tomorrow.

Velázquez

Ah, you are very kind. Thank you. Your questions are welcome anytime. (smiling broadly) I am aware also of the pervasive influence of a certain Pablo Ruis y Picasso. You, my friend, have changed the nature of painting, and perhaps of all art. I have been studying these changes ... well, and indeed the evolution of painting since my own time. Astonishing and exciting. And in giving considerable attention to your invention of cubism, not forgetting M. Braque of course, I think I can appreciate our mutual fascination with the manipulation of spatial perception. I have some questions of my own for you as well. Today there is bound to be a far greater variety of expression than once would have been tolerated by the church, or the state. And the world – a world both bigger and smaller, I might add – is full of very successful artistic endeavour ... and of course it's also full of a great deal of less successful attempts. But, as you pointed out, my own work was about more than just verisimilitude. In exploring our ideas, we are all, in a sense, on the same path, don't you think?

Picasso appears to reflect on this.

It is such a beautiful day, and Venice is so hypnotically charming. Shall we walk in the sun for a while, perhaps have coffee somewhere?

Slowly they descend the staircase, admiring Tintoretto's work above the handrails on either side, and make their way through the main floor and out into the small campo San Rocco. 

And what about performance art, and video, and installation? What is your reaction there?

Velázquez, raising his eyebrows and audibly exhaling.

Ah. It seems to me that this differs from the kind of thing we have both had experience with in theatrical production. Well ...

As their eyes adjust to the brilliant light, they are warmly greeted by Cezanne and Van Gogh, waving from the steps of the adjacent church, the Chiesa di San Rocco. Van Gogh's severed ear seems to have been restored, as has a modicum of calm sanity – modern pharmaceuticals, perhaps. His eyes are shaded under the brim of a frayed straw hat, the sleeves of his white shirt rolled up in the heat. Introductions are made, and compliments exchanged. Picasso produces a pack of Gauloises, offering cigarettes to the others. Only Velasquez declines, taking a pinch of snuff instead, from an elegant little box.