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Pictures from Brueghel: II Landscape with the Fall of Icarus. Selected Poems. William Carlos Willams. Edited by Charles Tomlinson. New Directions. New York City NY. PS3545.I544A6 1985.  typographicdesign.wordpress

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Pictures from Brueghel: II Landscape with the Fall of Icarus. Selected Poems. William Carlos Willams. Edited by Charles Tomlinson. New Directions. New York City NY. PS3545.I544A6 1985.  typographicdesign.wordpress

La plus prodigieuse conquête de l’humanité, les ailes.” (Wings - mankind’s most fantastic achievement.), 1922
Georges Villa
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Aux temps fabuleux, Icare vit s’écrouler son rêve. Dans la suite des siècles, l’air apparut domaine inaccessible. …Enfin l’homme s’envola

Print by French illustrator Georges Villa (1883-1965). “La plus prodigieuse conquête de l’humanité, les ailes.” (“Wings - mankind’s most fantastic achievement.”) Caption: “Aux temps fabuleux, Icare vit s’écrouler son rêve. Dans la suite des siècles, l’air apparut domaine inaccessible. …Enfin l’homme s’envola.” Library of Congress description: “Print shows a fallen winged figure Icarus), other figures in historical costumes of several eras, and a winged figure soaring towards an airplane, together intended to portray the pursuit and achievement of flight.”

La plus prodigieuse conquête de l’humanité, les ailes.” (Wings - mankind’s most fantastic achievement.), 1922

Georges Villa

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Aux temps fabuleux, Icare vit s’écrouler son rêve. Dans la suite des siècles, l’air apparut domaine inaccessible. …Enfin l’homme s’envola

Print by French illustrator Georges Villa (1883-1965). “La plus prodigieuse conquête de l’humanité, les ailes.” (“Wings - mankind’s most fantastic achievement.”) Caption: “Aux temps fabuleux, Icare vit s’écrouler son rêve. Dans la suite des siècles, l’air apparut domaine inaccessible. …Enfin l’homme s’envola.” Library of Congress description: “Print shows a fallen winged figure Icarus), other figures in historical costumes of several eras, and a winged figure soaring towards an airplane, together intended to portray the pursuit and achievement of flight.”

Brooklyn Museum Exhibition, 1921
Alphonse Mucha

Brooklyn Museum Exhibition, 1921

Alphonse Mucha

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A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.
~ James Joyce, Dubliners
    Image: Praying Angel in the Snow, Mount Jerome cemetery, Dublin, Esther Moliné on Flickr

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A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

~ James Joyce, Dubliners

    Image: Praying Angel in the Snow, Mount Jerome cemetery, Dublin, Esther Moliné on Flickr

Frozen Field, 1993, drawing
AI Xuan 

Frozen Field, 1993, drawing

AI Xuan 

inthemoodforportnawak:

16 animalii - Enzo Mari - 1957

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Artemis:  :))  

Plum and Bamboo, 13th Century
Ma Lin

Plum and Bamboo, 13th Century

Ma Lin

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Describe plum-blossoms?
Better than my verses…white
Wordless Butterflies
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~Reikan
Image:  Incense Wrapper Decorated with White Plum Blossoms, Edo period, 18th century Hanging scroll, colour and gold leaf on silk, MOA Museum of Art  Artist:  Ogata Korin

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Describe plum-blossoms?

Better than my verses…white

Wordless Butterflies

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~Reikan

Image:  Incense Wrapper Decorated with White Plum Blossoms, Edo period, 18th century Hanging scroll, colour and gold leaf on silk, MOA Museum of Art  Artist:  Ogata Korin

City effect.

But some cities are like that, you know. Lahore kisses you all over like a hungry monster. A hungry, beautiful monster. There is so much life in this city, it aches, it spills from corners. I was pressing mama’s feet and she sighed. “Only mothers understand…

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Artemis:   Wow

journalofanobody:

Barrière - Cello Sonata No. 1 in b minor, Book 1 / Sonate N° 1 en si minor

:)

Length of brocaded velvet, 16th century, Metropolitan Museum of Art Spanish or ItalianSilk velvet brocaded with metal-wrapped thread; 87 x 22 1/2 in. (221 x 57.2 cm), Fletcher Fund, 1946 (46.156.120) 
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Image and description via  metmuseum:  ”Many of the so-called pomegranate velvets of the fifteenth and sixteenth centuries were designed with floral motifs so large that they covered almost the entire width of the finished textile. This version of the popular design may have been made in Spain, where the skill of the weavers equaled those of the Italian peninsula. This piece also has the characteristic European features of two heights of pile, and a combination of flat metal-thread surfaces and metal-thread loops. The highly stylized floral motifs, with their spadelike shapes, are reminiscent of motifs found on Spanish tiles, and similar textiles are featured in an altar painting in the Cathedral of Seville.
Like many of the lengths of Renaissance velvet that survive today, this is actually composed of many fragments, painstakingly assembled to re-create the original pattern. This was probably done by a dealer in the early twentieth century.”

Length of brocaded velvet, 16th century, Metropolitan Museum of Art 
Spanish or Italian
Silk velvet brocaded with metal-wrapped thread; 87 x 22 1/2 in. (221 x 57.2 cm), Fletcher Fund, 1946 (46.156.120) 

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Image and description via  metmuseum:  ”Many of the so-called pomegranate velvets of the fifteenth and sixteenth centuries were designed with floral motifs so large that they covered almost the entire width of the finished textile. This version of the popular design may have been made in Spain, where the skill of the weavers equaled those of the Italian peninsula. This piece also has the characteristic European features of two heights of pile, and a combination of flat metal-thread surfaces and metal-thread loops. The highly stylized floral motifs, with their spadelike shapes, are reminiscent of motifs found on Spanish tiles, and similar textiles are featured in an altar painting in the Cathedral of Seville.

Like many of the lengths of Renaissance velvet that survive today, this is actually composed of many fragments, painstakingly assembled to re-create the original pattern. This was probably done by a dealer in the early twentieth century.”

Unknown Artist
Fragment of a Velvet Yastik (cushion cover), 2nd quarter of 16th century
Textile
Ottoman, 16th century
Ottoman Empire, AH 680-1342 / AD 1281-1924
Creation Place: Bursa?, Turkey
Cut, voided silk velvet with brocaded silver thread (cut at both ends)
actual: 98 x 78 cm (38 9/16 x 30 11/16 in.)
Harvard Art Museums/Arthur M. Sackler Museum, The Edwin Binney, 3rd Collection of Turkish Art at the Harvard Art Museums, 1985.295

Unknown Artist

Fragment of a Velvet Yastik (cushion cover), 2nd quarter of 16th century

Textile

Ottoman, 16th century

Ottoman Empire, AH 680-1342 / AD 1281-1924

Creation Place: Bursa?, Turkey

Cut, voided silk velvet with brocaded silver thread (cut at both ends)

actual: 98 x 78 cm (38 9/16 x 30 11/16 in.)

Harvard Art Museums/Arthur M. Sackler Museum, The Edwin Binney, 3rd Collection of Turkish Art at the Harvard Art Museums, 1985.295

      Image:  Parsifal - Jean Delville 1890 

      Dashboard click box below for video.
      Wagner - ‘Parsifal’ - Act I Prelude (Georg Solti)
      Wiener Philharmoniker, conducted by Georg Solti
      Queue
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      Image:  Parsifal - Jean Delville 1890 

      Dashboard click box below for video.

      Wagner - ‘Parsifal’ - Act I Prelude (Georg Solti)

      Wiener Philharmoniker, conducted by Georg Solti

      Queue

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Daido Moriyama
Queue

Daido Moriyama

Queue