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In the bleak midwinter Frosty wind made moan,Earth stood hard as iron,Water like a stone;Snow had fallen, snow on snow, Snow on snow, In the bleak midwinter, Long ago.
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~Christina Rossetti 
from: In the Bleak Midwinter
Image:  The story of Hikaru via: fangkuang.com

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In the bleak midwinter 
Frosty wind made moan,
Earth stood hard as iron,
Water like a stone;
Snow had fallen, snow on snow, 
Snow on snow, 
In the bleak midwinter, 
Long ago.

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~Christina Rossetti

from: In the Bleak Midwinter

Image:  The story of Hikaru via: fangkuang.com

Gloucester Cathedral Choir - In the Bleak Midwinter

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Artemis:  Thank you gnostix1 !    Wonderful.   :))  

Roads to Eternity, 1959, The Tate
André Verlon (1917–1993, Austrian)
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Catalog entry from The Tate:  ”… Verlon has given a detailed account of his preoccupations, influences and techniques in an article entitled ‘Montage-Painting’ published in Leonardo in 1968, pp.383–92. His art, he says, is an attempt to express his concern with man’s fate which is at present fraught with great uncertainty. ‘We live between promises of tremendous material development on the one hand and threats of total extinction on the other…My intention is not only to bring out the quintessence of the polarity of the problems of modern reality: construction - destruction, security - fear, civilisation-barbarity, man-machine, movement-blockage, etc; but also to probe the fundamental interplay beneath the conflicting forces of technology, profit, fear, violence and man’s hope for a better world.’
In order to communicate these ideas to the widest possible public, he has tried to make full use of modern media and the discoveries that have been made in art and technology, and this has led him since 1958 to make extensive use of the technique of montage with its varied possibilities. ‘My own appreciation of the conflicts of our times instilled in me as an artist an inclination to take portions of our visual reality and reassemble them anew … One of the reasons I was attracted to the montage technique was, that I found oil painting tends to stress continuity over discontinuity. It tends to force the artist towards harmonization. For this reason it ignores the heterogeneous aspects of reality, the confrontation of formal contradictions in life and the shock effect of unexpected juxtapositions an artist can make. It was not until I broke with the idea of a surface uniformly covered with paint that it became possible for me to show the dialectically changing nature of reality. There is no doubt in my mind that the technique of montage has played a decisive role in bringing conflict into the sphere of art.’
[[MORE]]
'Roads to Eternity’ (no.19 in his work catalogue) is an example of his use of montage in its purest and most classical form. That is to say it is a composite picture made out of printed pictures or photographs or parts of them, and consists simply of paper pasted on paper; the only part that has been painted is the background. (There are other montages that include additional pieces made by himself, or areas of drawing or painting, or which incorporate materials such as wood or iron). He writes in a letter of 30 December 1982 that the figures on a sort of ladder - actually figures on a rack - were taken from the ‘Folterordnung’ (torture manual) of Maria Theresa, the eighteenth-century Empress of Austria, the ‘Folterordnung’ being a section of the ‘Constitutio Criminalis Theresiana’ of 1768. Parts of this ‘Folterordnung’ can also be found in the following works, and together they form a series which he calls ‘Reges et Imperato’:'Mont Calv.’ 1961
‘The Degree of Thumbscrews’ 1961‘Reges et Imperato I’ 1962 (Musée d’Art Moderne de la Ville de Paris)‘The Degree of Tying Up’ 1962‘Reges et Imperato II’ 1963‘Reges et Imperato III’ 1967
The images which make up the other forms are parts of classical columns, windows, stairs and railway lines taken from architectural journals and the like. The second background is oil painting on which the collages are integrated. At this period he tried to make a systematic archive of his clippings and classify them according to theme, but he found that this took up far too much of his time, so he gave it up after two or three years. Published in: The Tate Gallery 1980-82: Illustrated Catalogue of Acquisitions, London 1984”

Roads to Eternity, 1959, The Tate

André Verlon (1917–1993, Austrian)

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Catalog entry from The Tate:  ”… Verlon has given a detailed account of his preoccupations, influences and techniques in an article entitled ‘Montage-Painting’ published in Leonardo in 1968, pp.383–92. His art, he says, is an attempt to express his concern with man’s fate which is at present fraught with great uncertainty. ‘We live between promises of tremendous material development on the one hand and threats of total extinction on the other…My intention is not only to bring out the quintessence of the polarity of the problems of modern reality: construction - destruction, security - fear, civilisation-barbarity, man-machine, movement-blockage, etc; but also to probe the fundamental interplay beneath the conflicting forces of technology, profit, fear, violence and man’s hope for a better world.’

In order to communicate these ideas to the widest possible public, he has tried to make full use of modern media and the discoveries that have been made in art and technology, and this has led him since 1958 to make extensive use of the technique of montage with its varied possibilities. ‘My own appreciation of the conflicts of our times instilled in me as an artist an inclination to take portions of our visual reality and reassemble them anew … One of the reasons I was attracted to the montage technique was, that I found oil painting tends to stress continuity over discontinuity. It tends to force the artist towards harmonization. For this reason it ignores the heterogeneous aspects of reality, the confrontation of formal contradictions in life and the shock effect of unexpected juxtapositions an artist can make. It was not until I broke with the idea of a surface uniformly covered with paint that it became possible for me to show the dialectically changing nature of reality. There is no doubt in my mind that the technique of montage has played a decisive role in bringing conflict into the sphere of art.’

Read More

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I was always going to the bookcase for another sip of the divine specific.
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~Virginia Woolf, The Waves
 

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I was always going to the bookcase for another sip of the divine specific.

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~Virginia Woolf, The Waves

 

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Be still.  Stillness reveals the secrets of eternity.
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~Lao Tzu  (image:  Fabienne Verdier)

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Be still.  Stillness reveals the secrets of eternity.

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~Lao Tzu  (image:  Fabienne Verdier)

Ryan Holladay: To hear this music you have to be there. Literally

From Ted:  ”TED Fellow, Ryan Holladay works with his brother as musicians and music producer, particularly focusing on projects where art and technology intersect. They’ve produced many site-specific audio-visual installations, engineered interactive concerts — and most recently have become interested in creating location-aware music.

To date, they have composed pieces activated by the National Mall in Washington DC, Central Park in New York City and they’re currently working on a piece inspired by Route One in California. 

Ryan is also an artist-in-residence at Stanford University’s Experimental Media Art Lab and the new media curator at the Artisphere in Arlington, Va.”

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Artemis:  Interesting.  

  1. Cold Tears 3
  2. Aornos 9
  3. Ascension 1
  4. Place 4
  5. Space 1
  6. Departure4
  7. Departure
  8. Group Shot #3
  9. Bird on Cage

pastel, flour, ash on paper

Gale Antokal  HERE and HERE

Head of a Young Woman Looking to Lower Right
Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)
Date: 1565
Medium: Black, red, and yellow chalk 
Dimensions: 9-7/16 x 7-3/8 in. (24.0 x 18.8cm) 
Credit Line: Metropolitan Museum of Art, Pfeiffer Fund, 1964 
Accession Number: 64.136.3
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Artemis:  See archive for more  HERE

Head of a Young Woman Looking to Lower Right

Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)

Date: 1565

Medium: Black, red, and yellow chalk 

Dimensions: 9-7/16 x 7-3/8 in. (24.0 x 18.8cm) 

Credit Line: Metropolitan Museum of Art, Pfeiffer Fund, 1964 

Accession Number: 64.136.3

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Artemis:  See archive for more  HERE

Head of an Old Woman Looking to Lower Right
Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)
Date: 1584–86 
Medium: Brush and oil paint on paper 
Dimensions: 15-3/8 x 10-13/16 in. (39.1 x 27.4 cm)  
Metropolitan Museum of Art,  Harry G. Sperling Fund, 1976 
Accession Number: 1976.87.2     
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Head of a Bearded Man Looking to Lower Left
Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)
Date: 1579–82 
Medium: Brush and oil paint on paper 
Dimensions: 15-1/4 x 10-3/4 in. (38.7 x 27.3 cm) 
Metropolitan Museum of Art, Harry G. Sperling Fund, 1976 
Accession Number: 1976.87.1
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Artemis:  See archive for more  HERE. 

Head of an Old Woman Looking to Lower Right

Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)

Date: 1584–86 

Medium: Brush and oil paint on paper 

Dimensions: 15-3/8 x 10-13/16 in. (39.1 x 27.4 cm)  

Metropolitan Museum of Art,  Harry G. Sperling Fund, 1976 

Accession Number: 1976.87.2     

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Head of a Bearded Man Looking to Lower Left

Federico Barocci (Italian, Urbino ca. 1535–1612 Urbino)

Date: 1579–82 

Medium: Brush and oil paint on paper 

Dimensions: 15-1/4 x 10-3/4 in. (38.7 x 27.3 cm) 

Metropolitan Museum of Art, Harry G. Sperling Fund, 1976 

Accession Number: 1976.87.1

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Artemis:  See archive for more  HERE

Japanese tree in the snow
DeanHarte  HERE

Japanese tree in the snow

DeanHarte  HERE

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Art! Who comprehends her? With whom can one consult concerning this great goddess?  
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~Ludwig van Beethoven  
Image: Michel Katzaroff

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Art! Who comprehends her? With whom can one consult concerning this great goddess?  

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~Ludwig van Beethoven  

Image: Michel Katzaroff

New England Snow
Eugene M Frandzen
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Eugene M Frandzen (1893-1972) was a painter, lithographer, etcher and a commercial artist born in San Diego, CA.

New England Snow

Eugene M Frandzen

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Eugene M Frandzen (1893-1972) was a painter, lithographer, etcher and a commercial artist born in San Diego, CA.

10,000 Maniacs - Candy  (youtube |Atlantic Records)

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:-/

artemisvoice:
Above:  Miles Davis, 1958, NYC, Dennis Stock 
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Dashboard:  click box below for video.
Miles Davis - Kind Of Blue - complete album  (via:  youtube | rfilosoficauruguay)
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artemisvoice:

Above:  Miles Davis, 1958, NYC, Dennis Stock 

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Dashboard:  click box below for video.

Miles Davis - Kind Of Blue - complete album  (via:  youtube | rfilosoficauruguay)

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Michael Carson

Michael Carson