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.