The Railway Station, Redfern, 1893, Art Gallery of New South Wales
Arthur Streeton 

The Railway Station, Redfern, 1893, Art Gallery of New South Wales

Arthur Streeton 


Land of the Golden Fleece, 1926, Private Collection
Arthur Streeton

Land of the Golden Fleece, 1926, Private Collection

Arthur Streeton


Above Us the Great Grave Sky, 1890, National Gallery of Australia 
Arthur Streeton

Above Us the Great Grave Sky, 1890, National Gallery of Australia 

Arthur Streeton


Found on ty-214.livejournal…  originally from the 2012 urban photo contest on skyscrapercity.com, photographer:  Vagamondo  / Jesus Giraldo on flickr  (photo name: working on a dream)

This is from an opera festival in Austria. The Bregenz Festival. Performed on the water.
Dashboard if you’re interested click box below for video.



 From the youtube description: The Bregenz Festival … The set is inspired by the painting ” The Death of Marat” by Jacques-Louis David. This will be the setting for the opera “Andre Chenier “

Found on ty-214.livejournal…  originally from the 2012 urban photo contest on skyscrapercity.com, photographer:  Vagamondo  / Jesus Giraldo on flickr  (photo name: working on a dream)


This is from an opera festival in Austria. The Bregenz Festival. Performed on the water.

Dashboard if you’re interested click box below for video.





From the youtube description: The Bregenz Festival … The set is inspired by the painting ” The Death of Marat” by Jacques-Louis David. This will be the setting for the opera “Andre Chenier “


parabola-magazine:

The Middle Ground
There is a middle ground, a basic Reality embracing selfand Self. It may be called my true nature. To discover whatprevents me from the experience of it, I have only to lookat myself, just as I am.It is so simple.At this moment, what is my state?I let my attention embrace the whole of myself, from thetop of the head through the torso, solar plexus, the entirestructure.I am very still in the body. I follow the breath. I watchthe movements of thoughts and associations. The feelingsbecome quiet, and the activity in the head diminishes. I am more. I perceive the whole of my world, just as it is.I remain very still, refusing the mind’s inclinations to reachfor anything.Thoughts and feelings come and go like floating clouds.They are not me.The experience is at one and the same time, both activeand passive. Through sensation of the body, I perceive thatI am. Yet, I do not know who or what I am. I am witness tomy existence.I am aware of a feeling which suffuses the interior of myself.It is a choiceless, an accepting awareness. With it comes asensation that extends to and envelopes all the parts of the body. I am very still, relating to the silence that is both inside and outside.Nothing is lacking at this moment.–William Segal (1904-2000), painter and writer, met P.D. Ouspensky and G.I. Gurdjieff in the 1940s, and later spent long periods at the main Rinzai and Soto Zen monasteries in Japan. He is the author of numerous works, including Openings: Collected Writings of William Segal (1985-1997). This poem is from The Middle Ground, (Green River Press). From Parabola Magazine, Winter 2006, the “Home” issue. Purchase it here.Subscribe here.Photography Credit: A portarait of William Segal from the autobiography of William Segal, entitled A Voice at the Borders of Silence, edited by Mark Magill. (The Overlook Press, New York, 2003), p. 234.

parabola-magazine:

The Middle Ground


There is a middle ground, a basic Reality embracing self
and Self. It may be called my true nature. To discover what
prevents me from the experience of it, I have only to look
at myself, just as I am.

It is so simple.
At this moment, what is my state?

I let my attention embrace the whole of myself, from the
top of the head through the torso, solar plexus, the entire
structure.

I am very still in the body. I follow the breath. I watch
the movements of thoughts and associations. The feelings
become quiet, and the activity in the head diminishes. I 
am more. I perceive the whole of my world, just as it is.

I remain very still, refusing the mind’s inclinations to reach
for anything.

Thoughts and feelings come and go like floating clouds.
They are not me.

The experience is at one and the same time, both active
and passive. Through sensation of the body, I perceive that
I am. Yet, I do not know who or what I am. I am witness to
my existence.

I am aware of a feeling which suffuses the interior of myself.
It is a choiceless, an accepting awareness. With it comes a
sensation that extends to and envelopes all the parts of the 
body. I am very still, relating to the silence that is both 
inside and outside.

Nothing is lacking at this moment.

William Segal (1904-2000), painter and writer, met P.D. Ouspensky and G.I. Gurdjieff in the 1940s, and later spent long periods at the main Rinzai and Soto Zen monasteries in Japan. He is the author of numerous works, including Openings: Collected Writings of William Segal (1985-1997). This poem is from The Middle Ground, (Green River Press). 

From Parabola Magazine, Winter 2006, the “Home” issue. Purchase it here.

Subscribe here.

Photography Credit: A portarait of William Segal from the autobiography of William Segal, entitled A Voice at the Borders of Silence, edited by Mark Magill. (The Overlook Press, New York, 2003), p. 234.


Unknown (via: vk.com/id240609712)

Unknown (via: vk.com/id240609712)




Princess Fuse (Fusehime 伏姫)
Kobayakawa Kiyoshi, 1896-1948 小早川清
Artist: Kobayakawa Kiyoshi, 1896-1948 小早川清
Title: Princess Fuse (Fusehime 伏姫)
Kobayakawa Kiyoshi
Date: 1927 (Shôwa 2)
ink, color, and gold on silk (diptych)
Dimensions h: 220.0 cm, w: 110.0 cm - with mount h: 274.0 cm, w: 117.5 cm
Japanese Modern (1912-1989)
Shôwa hinotô aki Kobayakawa Kiyoshi 昭和丁卯秋 小早川清
Seal: Kiyoshi 喜与志
Exhibited at the Teiten, or Imperial Fine Arts Academy (Teikoku bijutsuin 帝国美術院), in Shôwa 2 (1927)
 See archive for more Kobayakawa Kiyoshi:  HERE

From Wiki:  ”Nansō Satomi Hakkenden (Kyūjitai: 南總里見八犬傳?, Shinjitai: 南総里見八犬伝) is a Japanese 106 volume epic novel by Kyokutei Bakin. It was written and published over a period of nearly thirty years (1814 to 1842). Bakin had gone blind before finishing the tale, and he dictated the final parts to his daughter-in-law Michi. It is translated as The Eight Dog Chronicles, Tale of Eight Dogs, or Biographies of Eight Dogs.
Set in the tumultuous Sengoku period (350 years before Bakin lived), Hakkenden is the story of eight samurai half-brothers—all of them descended from a dog and bearing the word “dog” in their surnames—and their adventures, with themes of loyalty and family honor, as well as Confucianism, bushido and Buddhist philosophy. One of the direct inspiration sources of the novel is the 14th-17th-century Chinese epic novel Water Margin. The story of a princess marrying a dog who brings her father the head of his enemy seems to be a reference to the Chinese myth of Panhu.”


Princess Fuse (Fusehime 伏姫)

Kobayakawa Kiyoshi, 1896-1948 小早川清

Artist: Kobayakawa Kiyoshi, 1896-1948 小早川清

Title: Princess Fuse (Fusehime 伏姫)

Kobayakawa Kiyoshi

Date: 1927 (Shôwa 2)

ink, color, and gold on silk (diptych)

Dimensions h: 220.0 cm, w: 110.0 cm - with mount h: 274.0 cm, w: 117.5 cm

Japanese Modern (1912-1989)

Shôwa hinotô aki Kobayakawa Kiyoshi 昭和丁卯秋 小早川清

Seal: Kiyoshi 喜与志

Exhibited at the Teiten, or Imperial Fine Arts Academy (Teikoku bijutsuin 帝国美術院), in Shôwa 2 (1927)

 See archive for more Kobayakawa Kiyoshi:  HERE


From Wiki:  ”Nansō Satomi Hakkenden (Kyūjitai: 南總里見八犬傳?, Shinjitai: 南総里見八犬伝) is a Japanese 106 volume epic novel by Kyokutei Bakin. It was written and published over a period of nearly thirty years (1814 to 1842). Bakin had gone blind before finishing the tale, and he dictated the final parts to his daughter-in-law Michi. It is translated as The Eight Dog Chronicles, Tale of Eight Dogs, or Biographies of Eight Dogs.

Set in the tumultuous Sengoku period (350 years before Bakin lived), Hakkenden is the story of eight samurai half-brothers—all of them descended from a dog and bearing the word “dog” in their surnames—and their adventures, with themes of loyalty and family honor, as well as Confucianism, bushido and Buddhist philosophy. One of the direct inspiration sources of the novel is the 14th-17th-century Chinese epic novel Water Margin. The story of a princess marrying a dog who brings her father the head of his enemy seems to be a reference to the Chinese myth of Panhu.”


Subtle Fragrance on a Quiet Night (Sei ya bun kô 静夜聞香)
Kobayakawa Kiyoshi, 1896-1948 小早川清
Title:  Subtle Fragrance on a Quiet Night (Sei ya bun kô 静夜聞香)
ink and color on silk
Dimensions h: 123.0 cm, w: 41.0 cm - with mount h: 210.0 cm, w: 56.0 cm
Japanese Modern (1912-1989)
Signature: Kiyoshi 清
See archive for more:  HERE

Subtle Fragrance on a Quiet Night (Sei ya bun kô 静夜聞香)

Kobayakawa Kiyoshi, 1896-1948 小早川清

Title:  Subtle Fragrance on a Quiet Night (Sei ya bun kô 静夜聞香)

ink and color on silk

Dimensions h: 123.0 cm, w: 41.0 cm - with mount h: 210.0 cm, w: 56.0 cm

Japanese Modern (1912-1989)

Signature: Kiyoshi 清

See archive for more:  HERE



Memory is not enough…

I do not recollect. What I amis alive in me because of you. I do not reinvent youat sadly cooled-off places you have left behind.Even your absence is filledwith your warmth and is more realthan your not-existing. Longing often meandersinto vagueness. Why should I throw myself awaywhen something in you may betouching me, very lightly, like moonlighton a window seat.

~Rainer Maria Rilke - To Lou Andreas-Salomé, Duino, 1911  (Image via: stella-dargento.blogspot)


Memory is not enough…


I do not recollect. What I am
is alive in me because of you. I do not reinvent you
at sadly cooled-off places you have left behind.
Even your absence is filled
with your warmth and is more real
than your not-existing. Longing often meanders
into vagueness. Why should I throw myself away
when something in you may be
touching me, very lightly, like moonlight
on a window seat.


~Rainer Maria Rilke - To Lou Andreas-Salomé, Duino, 1911
  (Image via: stella-dargento.blogspot)



Georges Bizet - Je Crois Entendre Encore

From Les pêcheurs de perles (The Pearl Fishers), 1863


Memorial Lights (via: guessthelighting.com)

Memorial Lights (via: guessthelighting.com)


Drawing by Vera Willoughby of Lubov Tchernicheva as the Tsarevna in Mikhail Fokine’s ballet L’Oiseau de feu (The Firebird). Watercolour and gouache.

Vera Willoughby

Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)

Materials and Techniques: Watercolour and gouache on art board
Credit Line: Cyril W Beaumont Bequest
Museum number: S.437-2000
Victoria and Albert Museum
Description and Image from: Victoria and Albert Museum  ”Full length female figure with long plaits entwined with pearls, facing front with bent outstretched arms, wearing a ‘pearl’ encrusted kokoshnik and a grey sarafan decorated in blue with blue front panel decorated with ‘pearls’ and decorative panels; the lower sleeves are banded in blue. The background is black and the ‘floor’ grey. Titled: Tchernacheva. Watercolour and gouache.” (vam.org) 

Drawing by Vera Willoughby of Lubov Tchernicheva as the Tsarevna in Mikhail Fokine’s ballet L’Oiseau de feu (The Firebird). Watercolour and gouache.


Vera Willoughby


Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)

Materials and Techniques: Watercolour and gouache on art board

Credit Line: Cyril W Beaumont Bequest

Museum number: S.437-2000

Victoria and Albert Museum



Description and Image from: Victoria and Albert Museum  ”Full length female figure with long plaits entwined with pearls, facing front with bent outstretched arms, wearing a ‘pearl’ encrusted kokoshnik and a grey sarafan decorated in blue with blue front panel decorated with ‘pearls’ and decorative panels; the lower sleeves are banded in blue. The background is black and the ‘floor’ grey. Titled: Tchernacheva. Watercolour and gouache.” (vam.org) 


Drawing for Mikhail Fokine’s ballet Scheherazade premiered by the Diaghilev Ballets Russes in 1910 with designs by Leon Bakst.

Vera Willoughby
Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)
Materials and Techniques: Watercolour and gouache on art board
Credit Line:Cyril W Beaumont Bequest
Museum number: S.436-2000
Victoria and Albert Museum

Description and Image from: Victoria and Albert Museum “ Mikhail Fokine’s ballet “Scheherazade” was premiered by the Diaghilev Ballet at the Paris Opéra on 4 June 1910, with designs by Leon Bakst. Tchernicheva first danced Zobeide in 1916 and performed the role to great acclaim throughout the life of the Diaghilev Ballet and the De Basil Ballets Russes in the 1930s. The drawing came to the Museum as part of the Cyril Beaumont Bequest. The drawing was executed and published as plate 15 in the monograph “The Art of Lubov Tchernicheva including a portrait by Glyn Philpot and eight full page hand-coloured illustrations two decorations and cover design by Vera Willoughby together with an appreciation by Cyril W. Beaumont”, C. W. Beaumont, London, 1921.. (vam.org)

Drawing for Mikhail Fokine’s ballet Scheherazade premiered by the Diaghilev Ballets Russes in 1910 with designs by Leon Bakst.


Vera Willoughby

Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)

Materials and Techniques: Watercolour and gouache on art board

Credit Line:Cyril W Beaumont Bequest

Museum number: S.436-2000

Victoria and Albert Museum


Description and Image from: Victoria and Albert Museum “ Mikhail Fokine’s ballet “Scheherazade” was premiered by the Diaghilev Ballet at the Paris Opéra on 4 June 1910, with designs by Leon Bakst. Tchernicheva first danced Zobeide in 1916 and performed the role to great acclaim throughout the life of the Diaghilev Ballet and the De Basil Ballets Russes in the 1930s. The drawing came to the Museum as part of the Cyril Beaumont Bequest. The drawing was executed and published as plate 15 in the monograph “The Art of Lubov Tchernicheva including a portrait by Glyn Philpot and eight full page hand-coloured illustrations two decorations and cover design by Vera Willoughby together with an appreciation by Cyril W. Beaumont”, C. W. Beaumont, London, 1921.. (vam.org)


Drawing of Leonide Massine in the title role of his ballet “The Midnight Sun”. 

Vera Willoughby

Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)
Materials and Techniques: Watercolour and gouache on art board
Credit Line: Cyril W Beaumont Bequest
Museum number: S.439-2000
Victoria and Albert Museum

Description and Image from: Victoria and Albert Museum “ F”The Midnight Sun” (“Le Soleil de Nuit”) was Massine’s first ballet, premiered at the Grand Theatre in Geneva on 20 December 1915, with designs by Michel Larionov and with Massine in the title role. The drawing came to the Museum as part of the Cyril Beaumont Bequest. The drawing was probably executed for a proposed monograph on Massine similar to those published by Beaumont on Tchernicheva, Lopokova and Idzikowski.” (vam.org)

Drawing of Leonide Massine in the title role of his ballet “The Midnight Sun”. 


Vera Willoughby


Artist/Maker: Vera Willoughby, born 1870 - died 1939 (Artist)

Materials and Techniques: Watercolour and gouache on art board

Credit Line: Cyril W Beaumont Bequest

Museum number: S.439-2000

Victoria and Albert Museum


Description and Image from: Victoria and Albert Museum “ F”The Midnight Sun” (“Le Soleil de Nuit”) was Massine’s first ballet, premiered at the Grand Theatre in Geneva on 20 December 1915, with designs by Michel Larionov and with Massine in the title role. The drawing came to the Museum as part of the Cyril Beaumont Bequest. The drawing was probably executed for a proposed monograph on Massine similar to those published by Beaumont on Tchernicheva, Lopokova and Idzikowski.” (vam.org)

yankees:

Scenes from jeter Day. #FarewellCaptain


:(