Cloud Study, Moonlight, 1860, Bowdoin College Museum
theperfectworldwelcome: especially for you, artemisdreaming :)
Aww, thank you C!!! I love it. Have a good weekend too my friend. :)
The sum of human wisdom is not contained in any one language, and no single language is capable of expressing all forms and degrees of human comprehension.
Go, my songs, to the lonely and the unsatisfied,
Go also to the nerve wracked, go to the enslaved by convention,
Bear to them my contempt for their oppressors.
Go as a great wave of cool water,
Bear my contempt of oppressors.
Speak against unconscious oppression,
Speak against the tyranny of the unimaginative,
Speak against bonds.
Go to the bourgeoise who is dying of her ennuis,
Go to the women in suburbs.
Go to the hideously wedded,
Go to them whose failure is concealed,
Go to the unluckily mated,
Go to the bought wife,
Go to the woman entailed.
Go to those who have delicate lust,
Go to those whose delicate desires are thwarted,
Go like a blight upon the dullness of the world,
Go with your edge against this,
Strengthen the subtle cords,
Bring confidence upon the algae and the tentacles of the soul.
Go in a friendly manner,
Go with an open speech.
Be eager to find new evils and new good,
Be against all forms of oppression.
Go to those who are thickened with middle age,
To those who have lost their interest.
Go to the adolescent who are smothered in family___
Oh how hideous it is
To see three generations of one house gathered together!
It is like an old tree with shoots,
And with some branches rotted and falling.
Go out and defy opinion,
Go against this vegetable bondage of the blood.
Be against all sorts of mortmain.
Ezra Pound, Commission, from Lustra
Image: Lustra of Ezra Pound, London: The Author, 1916, Privately printed version of the edition published by Elkin Mathews. (via: udel.edu)
Pair of Cranes on Branch
Ink and color on silk
H: 36.5 W: 19.0 cm
Smithsonian Museum, F2004.16
escapekit: Hyper-Dimensional Portraits
Artemis: thank you C (theperfectworldwelcome) :) for sharing it with me. I really like the thought behind it… More on the portraits below…
"The subjects of her photos are usually elderly people who live in the rural countryside of Brazil, people who will probably never be able to travel to the city that their portraits are exhibited in because of factors like health, age, distance, or cost. The project is a lesson in contrasts—contrasts between old and young, urban and rural life, modernization and tradition, and so on.
The artist was inspired to create Giganto because of her own experience of feeling overwhelmed and anonymous upon moving to the sprawling metropolis of São Paulo. “I wanted to shut my ears and myself off from the outside world,” she says, “I couldn’t stand the noise, the chaos—everything going on all at once.” With Giganto, she says she seeks to “create an odd dialog with the environment” and to generate “a reflection about the life in the city and its scary structures.”
Paco de Lucía - Concierto Aranjuez - Adagio
The Concierto de Aranjuez is a composition for classical guitar and orchestra by the Spanish composer Joaquín Rodrigo. Written in 1939, it is probably Rodrigo’s best-known work, and its success established his reputation as one of the most significant Spanish composers of the twentieth century.
The Concierto de Aranjuez was inspired by the gardens at Palacio Real de Aranjuez, the spring resort palace and gardens built by Philip II in the last half of the 16th century and rebuilt in the middle of the 18th century by Ferdinand VI. The work attempts to transport the listener to another place and time through the evocation of the sounds of nature.
According to the composer, the first movement is “animated by a rhythmic spirit and vigour without either of the two themes… interrupting its relentless pace”; the second movement “represents a dialogue between guitar and solo instruments (cor anglais, bassoon, oboe, horn etc.)”; and the last movement “recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar.” He described the concerto itself as capturing “the fragrance of magnolias, the singing of birds, and the gushing of fountains” in the gardens of Aranjuez.
Rodrigo and his wife Victoria stayed silent for many years about the inspiration for the second movement, and thus the popular belief grew that it was inspired by the bombing of Guernica in 1937. In her autobiography, Victoria eventually declared that it was both an evocation of the happy days of their honeymoon and a response to Rodrigo’s devastation at the miscarriage of their first pregnancy. It was composed in 1939 in Paris.
Rodrigo, blind since age three, was a pianist. He did not play the guitar, yet he still managed to capture the spirit of the guitar in Spain…
… it was the first work Rodrigo had written for guitar and orchestra. The instrumentation is unusual: rarely does the guitar face the forces of a full orchestra. Instead, the guitar is never overwhelmed, remaining the solo instrument throughout…
A number of musicians have since reinterpreted the work, usually the second movement, perhaps most famously jazz legend Miles Davis in the company of arranger Gil Evans. On the album Sketches of Spain (1960), Davis says: “That melody is so strong that the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets.” Violinist Ikuko Kawai’s version, “Aranjuez”, is an upbeat, faster update to the work. Clarinettist Jean-Christian Michel’s transcription of “Aranjuez” has sold some 1,500,000 copies. Guitarist Buckethead covered “Sketches of Spain” on his album Electric Tears as a tribute to Miles Davis. Bassist Buster Williams performs a solo bass transcription of the second movement of Concierto de Aranjuez on his album Griot Liberté (2006).
Until asked to perform and interpret Concierto de Aranjuez in 1991, the Spanish flamenco guitarist Paco de Lucía was not proficient at reading musical notation. De Lucía claimed in Paco de Lucía-Light and Shade: A Portrait that he gave greater emphasis to rhythmical accuracy in his interpretation of the Concierto at the expense of the perfect tone preferred by classical guitarists. Joaquín Rodrigo later declared that no one had ever played his composition in such a brilliant manner… wiki. Read more: HERE
Artemis: I woke up with it in my head.
Ecstasy, Charcoal on paper
Ganesh Hire HERE
KwangHo Shin HERE
Salvador Dali in front of his painting “Apparition of Face and Fruit Dish on a Beach”, 1938-39… taken in Coco Chanel’s Villa “Pausa” where Dali painted several canvases for a New York exhibition and during this time a strong friendship developed between Dali and Chanel. (via:liveauctioneers.com)