Rohmer, whose films («Claire's Knee,» «My Night at Maud's») are all about
desire chilled in the icebox of custom, has brilliantly reproduced the impact of this rationally
irrational story: he captures Kleist's
almost surreal effect of a grenade whose exploding fragments somehow arrange themselves into a classically formal pattern.
Baskin delves further into his model with a series of prints of tulips embellished with gold leaf; questioning how value is defined, particularly in regard to the tulip, a rather ordinary item that came to command extreme prices, they reflect the
irrational and
almost metaphysical foundations of economic
desire.