Bio from askart.com: ”Painter and sculptor Vu Cao Dam was born in Hanoi in 1908. He attended the Ece des Beaux Arts de Indochine between 1926 and 1931. In 1932 he obtained a scholarship to further his studies as a sculptor in France. Eventually he specialized in painting. His painting during this period was mainly on silk, and showed the influence of ancient Chinese art.”
Flower Duet from Lakmé - Léo Delibes performed by Milica Ilic (soprano), Victoria Lambourn (mezzo soprano), Tasmanian Symphony Orchestra conducted by Andrew Greene
From Wiki: ”The Flower Duet” (French: Duo des fleurs / Sous le dôme épais) is a famous duet for sopranos from Léo Delibes’ opera Lakmé, first performed in Paris in 1883. The duet takes place in act 1 of the three-act opera, between characters Lakmé, the daughter of a Brahmin priest, and her servant Mallika, as they go to gather flowers by a river”
Lakmé: Dôme épais le jasmin Mallika: Sous le dôme épais où le blanc jasmin
L.: À la rose s’assemble, M.: À la rose s’assemble,
L.: Rive en fleurs, frais matin, M.: Sur la rive en fleurs, riant au matin,
L.: Nous appellent ensemble. M.: Viens, descendons ensemble.
L.: Ah! glissons en suivant M.: Doucement glissons; De son flot charmant
L.: Le courant fuyant; M.: Suivons le courant fuyant;
L.: Dans l’onde frémissante, M.: Dans l’onde frémissante,
L.: D’une main nonchalante, M.: D’une main nonchalante,
L.: Gagnons le bord, M.: Viens, gagnons le bord
L.: Où l’oiseau chante, M.: Où la source dort.
L.: l’oiseau, l’oiseau chante. M.: Et l’oiseau, l’oiseau chante.
L.: Dôme épais, blanc jasmin, M.: Sous le dôme épais, Sous le blanc jasmin,
L.: Nous appellent ensemble! M.: Ah! descendons ensemble!
L.: Mais, je ne sais quelle crainte subite s’empare de moi. Quand mon père va seul à leur ville maudite, Je tremble, je tremble d’effroi!
M.: Pour que le Dieu Ganeça le protège, Jusqu’à l’étang où s’ébattent joyeux Les cygnes aux ailes de neige, Allons cueillir les lotus bleus.
L.: Oui, pres des cygnes aux ailes de neige, Allons cueillir les lotus bleus.
L: Dôme épais le jasmin M: Sous le dôme épais où le blanc jasmin … L.: Nous appellent ensemble! M.: Ah! descendons ensemble!
Thick dome of jasmine Under the dense canopy where the white jasmine,
Blends with the rose, That blends with the rose,
Bank in bloom, fresh morning, On the flowering bank, laughing in the morning,
Call us together. Come, let us drift down together.
Ah! Let’s glide along Let us gently glide along; For its enchanting flow
The fleeing current; Let us follow the fleeing current;
On the rippling surface, On the rippling surface,
With a nonchalant hand, With a nonchalant hand,
Let’s go to the shore, Come, let’s go to the shore
Where the bird sings, Where the spring sleeps.
the bird, the bird sings. And the bird, the bird sings.
Thick dome, white jasmine, Under the dense canopy, Under the white jasmine,
Call us together! Ah! Let’s drift down together!
But, an eerie feeling of distress overcomes me. When my father goes into their damned city I tremble, I tremble with fright!
In order for him to be protected by Ganesh To the pond where joyfully play The snow-winged swans Let us pick blue lotuses.
Yes, near the swans with wings of snow, And pick blue lotuses.
Thick dome of jasmine Under the dense canopy where the white jasmine, … Together call us! Ah! Let’s drift down together!
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1157 Art Institute of Chicago
Description from The Art Institute of Chicago “One instant, one aspect of nature contains it all,” said Claude Monet, referring to his late masterpieces, the water landscapes that he produced at his home in Giverny between 1897 and his death in 1926. These works replaced the varied contemporary subjects he had painted from the 1870s through the 1890s with a single, timeless motif—water lilies. The focal point of these paintings was the artist’s beloved flower garden, which featured a water garden and a smaller pond spanned by a Japanese footbridge. In his first water-lily series (1897–99), Monet painted the pond environment, with its water lilies, bridge, and trees neatly divided by a fixed horizon. Over time, the artist became less and less concerned with conventional pictorial space. By the time he painted Water Lilies, which comes from his third group of these works, he had dispensed with the horizon line altogether. In this spatially ambiguous canvas, the artist looked down, focusing solely on the surface of the pond, with its cluster of plants floating amidst the reflection of sky and trees. Monet thus created the image of a horizontal surface on a vertical one. Four years later, he further transcended the conventional boundaries of easel painting and began to make immense, unified compositions whose complex and densely painted surfaces seem to merge with the water. — Entry, Essential Guide, 2009, p. 232.”
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Laura Youngblood, widow of U.S. Navy Petty Officer Travis L. Youngblood, touches his gravestone while visiting his grave in Section 60 of Arlington National Cemetery during the Memorial Day weekend in Arlington, Virginia, May 24, 2009. Youngblood died of wounds received in support of Operation Iraqi Freedom in July of 2005 in Iraq. (REUTERS/Larry Downing) # via: boston.com HERE