A high-flying Brussolo

Digest this work of genius: the delirious fight behind closed doors between a hyper-realistic painter and a Nazi Cubist painter on pure libertarian field of painting. The first believing himself obliged to represent a horse, start by painting the frame in the second layer of organs and muscles, and finally of the skin; while the second, by way of subversion, scratching the night the superimposed layers of paint to paint the other bolts as a ball, before reconstituting the layers of organs and skin that conceal them. The Nazi never ceasing to scratch here and there, his canvas to Verfier if it is not infected in depth 'cubist virus', the other ceasing to figure geometric structures in the recreated appearance of organic life. The first Brussolo is a master of metamorphic imagination implementing transmutation of the body (such as skin which solidifies shield tank with warts shaped bolts) in a panic atmosphere from the inability of subject to whether this happens in practice or whether it is a paranoid delusion. With the "House of the Eagle" Brussolo tries to 'historical novel' while preserving there the prestige of metamorphic imagination. Cubist contamination of academic painting offers us the vertiginous metaphor.