artemisdreaming:
Figurehead
Andreas Heumann  HERE

artemisdreaming:

Figurehead

Andreas Heumann  HERE


Full Moon
Andreas Heumann  HERE

Full Moon

Andreas Heumann  HERE


artemisdreaming:
Contrasting Sounds,  1924
Wassily Kandinsky
See archive for more

artemisdreaming:

Contrasting Sounds,  1924

Wassily Kandinsky

See archive for more


Masao Yamamoto (via: Jackson Fine Art)


Artemis:  I’ve posted a couple of these in the past.  I want them with this set though.  :)


心   kokoro
Japanese
Meaning:  heart, mind, mentality, emotions, feelings 

心   kokoro

Japanese

Meaning:  heart, mind, mentality, emotions, feelings 


artemisdreaming:
Photo: Ernest Hemingway 1923 passport (via: latimesblogs)

"If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast."
"We ate well and cheaply and drank well and cheaply and slept well and warm together and loved each other."
"But Paris was a very old city and we were young and nothing was simple there, not even poverty, nor sudden money, nor the moonlight, nor right and wrong nor the breathing of someone who lay beside you in the moonlight."
“When spring came, even the false spring, there were no problems except where to be happiest. The only thing that could spoil a day was people and if you could keep from making engagements, each day had no limits. People were always the limiters of happiness except for the very few that were as good as spring itself.” 
~Ernest Hemingway, A Moveable Feast

Free ebook:  HERE
See archive for more Ernest Hemingway:  HERE

artemisdreaming:

Photo: Ernest Hemingway 1923 passport (via: latimesblogs)


"If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast."

"We ate well and cheaply and drank well and cheaply and slept well and warm together and loved each other."

"But Paris was a very old city and we were young and nothing was simple there, not even poverty, nor sudden money, nor the moonlight, nor right and wrong nor the breathing of someone who lay beside you in the moonlight."

“When spring came, even the false spring, there were no problems except where to be happiest. The only thing that could spoil a day was people and if you could keep from making engagements, each day had no limits. People were always the limiters of happiness except for the very few that were as good as spring itself.” 

~Ernest Hemingway, A Moveable Feast


Free ebook:  HERE

See archive for more Ernest Hemingway:  HERE


Christian Waller  (Australia 02 Aug 1894 – 25 May 1954)

Title: The great breath; a book of seven designs

Year:  1932

Media categories:  Book, Print Materials used:  linocuts, black ink on tracing paper, tipped onto thick cream wove paper

Edition:  circa 30

Dimensions:  31.9 x 13.5 cm blockmark; 43.5 x 47.7 cm each sheet

Signature & date:  Not signed. Not dated.

Credit:  Gift of Klytie Pate 1975

Accession number:  250.1975

Copyright© Klytie W Pate

artgallery.nsw.gov.au


Description from Art Gallery of New South Wales (artgallery.nsw.gov.au): ”Christian Waller (née Yandell) was born at Castlemaine in 1894. Her family moved to Bendigo in 1908, and the following year at the age of fourteen she had an oil painting exhibited at the Bendigo Art Gallery. In 1910 she enrolled in the drawing class at the National Gallery School, Melbourne under Frederick McCubbin, and in 1912 in the painting school under Bernard Hall. She met her husband Napier Waller while a student; they married in 1915. She is best known as a book and magazine illustrator, printmaker and stained glass designer; her relief prints were principally made in the 1920s.

In 1929 the Wallers made a trip to Europe. Shortly after their return to Melbourne in 1930, they befriended Tatlock Miller, who owned a bookshop in Geelong; in the next few years he assisted with the production of a number of Christian Waller’s books and prints; she contributed to the initial editions of his literary and artistic magazine Manuscripts (published from November 1931). Miller established the Golden Arrow Press, the first release of which was The great breath, published in April 1932, priced at £3.3.0 each.

The production of ‘The great breath’ was entirely undertaken by Waller; all aspects from the cutting and printing of the linoblocks to the manufacture of the distinctive gold-painted emerald green cover was done by hand. She printed the blocks on her 1849 hand-press in her studio at Ivanhoe, each book taking about four days to make, hand-bound with green cord. Although it was intended to produce an edition of 150, it seems only about 30 were made, with some unbound impressions extant, usually untrimmed. Each consisted of a title page, colophon, contents page and seven linocut designs. The images were printed in solid black on white translucent tracing paper, trimmed and tipped onto the cream pages. The books were not numbered sequentially, but rather in relation to the numerology of the buyer - the Gallery’s copy was a gift of Klytie Pate, Waller’s niece.

Christian Waller was a Theosophist, beliefs which inform ‘The great breath’; in particular the Golden Dawn Movement. The central theme of the book is the evolution of the human race, based on the writings of Madame Blavatsky, the founder of the Theosophist movement, in particular her book ‘The secret doctrine’ (1888-97); the introduction stated ‘A book of seven designs, each design a symbolic rendering of the impulse behind an individual Root Race of the present world cycle’. The designs draw upon ancient Egyptian and Greek imagery, and symbolism from a number of sources including the Zodiac, as well as art deco and modernist design. ‘The lords of the flame’ is the third image in the book; ‘The lords of the flame made man a living soul in the Lemurian third race’.

Two pencil studies for The lords of the flame are in the National Gallery of Australia, with other studies for the book. There is a second copy of the book in the Gallery library (number 43). The engraved linoblock is in the collection of the Castlemaine Art Gallery. In 1978 Gryphon Books published a facsimile edition in slightly smaller format, limited to 600 copies, signed by Klytie Pate.

Hendrik Kolenberg and Anne Ryan, ‘Australian prints in the Gallery’s collection’, AGNSW, 1998”  Description and images: artgallery.nsw.gov.au


Artemis: Click through images for details.   For more about theosophy see wiki:  HERE  


No one saves us but ourselves, no one can and no one may. We ourselves must walk the path…


~Buddha
  Image:  Buddha  Justin Braithwaite


Artemis:  It is often quoted as a verse from the Dhammapada.  

It’s said to be a liberal translation of verse 165:   By oneself indeed is evil done and by oneself is one defiled; by oneself is evil not done and by oneself is one purified. Purity and impurity depend entirely on oneself; no one can purify another.
No one saves us but ourselves, no one can and no one may. We ourselves must walk the path…


~Buddha
  Image:  Buddha  Justin Braithwaite


Artemis:  It is often quoted as a verse from the Dhammapada.  
It’s said to be a liberal translation of verse 165:   By oneself indeed is evil done and by oneself is one defiled; by oneself is evil not done and by oneself is one purified. Purity and impurity depend entirely on oneself; no one can purify another.
artemisdreaming:
Marcel Duchamp Cast Alive - Marcel Duchamp and Alfred Wolkenberg, 1967 

artemisdreaming:

Marcel Duchamp Cast Alive - Marcel Duchamp and Alfred Wolkenberg, 1967 


Comtesse Sofia La belle de cadiz scarf   (via:  comtesse-sofia.com)


Rosie Lee Monument  

Mark Fleming  HERE
Artists statement:  ”The 2012 sporting calendar is a unique pinnacle in British sport and creativity. As an agency that prides itself on high-end sport art direction and creative concept development we wanted to celebrate this fact. We titled the project Monument. 
Working with photographer John Ross, we explored and developed a unique casting technique first utilised by John in his 2010 project Impressions. Identifying a link between Greek sculpture and the alabaster-like visuals produced from this method of casting, Monument documents, preserves and celebrates outstanding athletic achievement 
Representing 10 disciplines, athletes were cast to display the physical attributes specific to their sport – the swimmer’s shoulders, the fencer’s poise, the specific twist of the relay baton pass. Our attention to the minutiae of correct pose and form is in direct homage to the unwavering dedication of the athlete as they train to be the best in their field.”

Artemis:  See the high-res.


Pomegranate Heart

Salvador Dali


Description from 1stdibs: “The “Pomegranate Heart” was designed by Dali in the 1950’s with rubies and diamonds. This example was fabricated by Henryk Kaston who made all of Dali’s jewelry from 1980 to 1990. The stones include 17 pear shaped and oval cabochon cut rubies, for a total weight of 6.44 carats. The brooch is further highlighted by 63 full cut round diamonds for a total weight of .63 carats. The brooch is signed Dali by Kaston.” 1stdibs.com


Tristan & Isolde Brooch
Salvador Dali 

Description from 1stdibs:  ”The romantic opera Tristan & Isolde was Salvador Dali’s favorite opera. It inspired him to design this brooch of the two dreamy lovers who are attempting a kiss only to be separated by a golden goblet of garnet and diamonds. Dali designed the brooch in 1953. At that time Dali commissioned Carlos Alemany to fabricate his jewelry designs. Their relationship continued until Alemany died at which time Dali commissioned Henryk Kaston, a violin bow maker and jeweler, to fabricate his jewelry designs. Their relationship continued until Dali’s death in 1989. This brooch dates from the Kaston period, circa 1980’s.
The brooch shows the two figures in profile, separated by a chalice of a triangular buff brushed garnet and 33 full cut diamonds weighing approximately one carat. Signed on the back “Tristan and Isolde 18K HK After Dali” Dali (1904-1989) wrote of this brooch :"The heads are juxtaposed to form a goblet, which, in turn, suggests the effluence of love possible between man and woman." 1stdibs.com

Tristan & Isolde Brooch

Salvador Dali 


Description from 1stdibs:  ”The romantic opera Tristan & Isolde was Salvador Dali’s favorite opera. It inspired him to design this brooch of the two dreamy lovers who are attempting a kiss only to be separated by a golden goblet of garnet and diamonds. Dali designed the brooch in 1953. At that time Dali commissioned Carlos Alemany to fabricate his jewelry designs. Their relationship continued until Alemany died at which time Dali commissioned Henryk Kaston, a violin bow maker and jeweler, to fabricate his jewelry designs. Their relationship continued until Dali’s death in 1989. This brooch dates from the Kaston period, circa 1980’s.


The brooch shows the two figures in profile, separated by a chalice of a triangular buff brushed garnet and 33 full cut diamonds weighing approximately one carat. Signed on the back “Tristan and Isolde 18K HK After Dali” 

Dali (1904-1989) wrote of this brooch :
"The heads are juxtaposed to form a goblet, which, in turn, suggests the effluence of love possible between man and woman." 1stdibs.com


Nu à  la jarretière (Nude with Garter), 1969-70
Salvador Dali

Nu à  la jarretière (Nude with Garter), 1969-70

Salvador Dali


Isamu Noguchi (via: architekturfuerkinder.ch)

Click through for details