Laboratory of the Future | Marie Curie

 David Seymour, Improvised Chemistry Lab Experiment, Szeged, Hungary, 1948

"A scientist in his laboratory is not a mere technician: he is also a child 
confronting natural phenomena that impress him as though they were fairy tales."

Marie Curie

Man Ray, Laboratory of the Future, 1935

Life of a Ghost | Jack Kerouac / Renato D’Agostin

Renato D’Agostin,Tokyo Untitled                              Renato D’Agostin,Tokyo Untitled                          Renato D’Agostin, The Beautiful Cliché

“I wasn’t scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost.” 

Jack Kerouac, On the Road, 1957

Renato D’Agostin was born in 1983. He started his career in photography in Venice, Italy in 2001. The atmosphere of city life nourished his curiosity to capture life situations with the camera. For this, in 2002, he journeys through the capitals of Western Europe. After a period in Milan where he worked with the production studio Maison Sabbatini, he moved overseas exploring photography in New York. In the dynamic city life he had the chance to meet photographer Ralph Gibson and later on become his assistance. 

Jamais vu | Chuck Palahniuk, 2001

Eugène Cuvelier: Près de la Caverne, Terrain Brûlé, early 1860s ^

“There's an opposite to déjà vu. They call it jamais vu. It's when you meet the same people 
or visit places, again and again, but each time is the first. Everybody is always a stranger. 
Nothing is ever familiar.”

Chuck Palahniuk, Choke, 2001


Daydreams in Music | Albert Einstein, 1879-1955

Albert Einstein playing violin

"If I were not a physicist, I would probably be a musician. I often think in music. 
I live my daydreams in music. I see my life in terms of music." 

Albert Einstein

                                                                                                                                                                                                                                                                              Albert Einstein developed an appreciation of music at an early age. His mother played the piano reasonably well and wanted her son to learn the violin, not only to instill in him a love of music but also to help him assimilate into German culture. According to conductor Leon Botstein, Einstein is said to have begun playing when he was 5, although he did not enjoy it at that age.

When he turned 13 he discovered the violin sonatas of Mozart, whereupon "Einstein fell in love" with Mozart's music and studied music more willingly. He taught himself to play without "ever practicing systematically", he said, deciding that "love is a better teacher than a sense of duty."
At age 17, he was heard by a school examiner in Aarau as he played Beethoven's violin sonatas, the examiner stating afterward that his playing was "remarkable and revealing of 'great insight'." What struck the examiner, writes Botstein, was that Einstein "displayed a deep love of the music, a quality that was and remains in short supply. Music possessed an unusual meaning for this student."

Music took on a pivotal and permanent role in Einstein's life from that period on. Although the idea of becoming a professional himself was not on his mind at any time, among those with whom Einstein played chamber music were a few professionals, and he performed for private audiences and friends. Chamber music had also become a regular part of his social life while living in Bern, Zürich, and Berlin, where he played with Max Planck and his son, among others. He is sometimes erroneously credited as the editor of the 1937 edition of the Köchel catalogue of Mozart's work; that edition was actually prepared by Alfred Einstein.

In 1931, while engaged in research at the California Institute of Technology, he visited the Zoellner family conservatory in Los Angeles, where he played some of Beethoven and Mozart's works with members of the Zoellner Quartet. Near the end of his life, when the young Juilliard Quartet visited him in Princeton, he played his violin with them, and the quartet was "impressed by Einstein's level of coordination and intonation."

Music was not only a relaxation to Einstein, it also helped him in his work. His second wife, Elsa, gives a rare glimpse of their home life in Berlin.

As a little girl, I fell in love with Albert because he played Mozart so beautifully on the violin,” she once wrote.

He also plays the piano. Music helps him when he is thinking about his theories. He goes to his study, comes back, strikes a few chords on the piano, jots something down, returns to his study.”

Albert Einstein, 1941                          A. Einstein with musician and Nobel laureate Rabindranath Tagore, 1930

When Rabindranath Tagore and Albert Einstein met for the first time, in Germany in 1930, both had won the Nobel Prize, Tagore for literature in 1913, Einstein for physics in 1921. At the time of that meeting, Dimitri Marianoff, a relative of Einstein, described Tagore as ''the poet with the head of a thinker'' and Einstein as ''the thinker with the head of a poet.'' The conversation, he added, was ''as though two planets were engaged in a chat.''

Albert Einstein / Plays Violin - Mozart Sonata in B-flat KV378 

Albert Einstein playing piano

I know I am but summer to your heart | Edna St. Vincent Millay

 Lou Bernstein, Coney Island, 1951

                                                        I know I am but summer to your heart,
                                                        And not the full four seasons of the year;
                                                        And you must welcome from another part
                                                        Such noble moods as are not mine, my dear.
                                                        No gracious weight of golden fruits to sell
                                                        Have I, nor any wise and wintry thing;
                                                        And I have loved you all too long and well
                                                        To carry still the high sweet breast of Spring.
                                                        Wherefore I say: O love, as summer goes,
                                                        I must be gone, steal forth with silent drums,
                                                        That you may hail anew the bird and rose
                                                        When I come back to you, as summer comes.
                                                        Else will you seek, at some not distant time,
                                                        Even your summer in another clime.

                                                    Edna St. Vincent Millay, I know I am but summer to your heart 
                                                       (Sonnet XXVII)

Ralph Crane, Santa Monica, 1950

The City / Autogeography | Saul Steinberg / Robert Musil, 1930-66

Saul Steinberg, The City, 1950                                                         Saul Steinberg, Autogeography, 1966

"Cities, like people, can be recognized by their walk."

Robert Musil, The Man Without Qualities, 1930–1943


On the beach | Rene Magritte, 1925-65

René Magritte, L’éminence grise, Côte belge, 1938                           Rene Magritte, Mural design for Maison Norine, 1931

"If the dream is a translation of waking life, waking life is also a translation of the dream."

Rene Magritte

Rene Magritte, The Seducer, 1953                                                Rene Magritte, Bather between Light and Darkness, 1935
Rene Magritte, The connivance, 1965                                                René Magritte, Wonders of Nature, 1953

René Magritte, Sunset Rider                                                      Rene Magritte, The marches of summer, 1939
Rene Magritte, The presence of spirit, 1960                                  Rene Magritte, The search for truth, 1963
Rene Magritte, The flood, 1928                                           Rene Magritte, The man of the sea, 1927
Rene Magritte, Bather, 1925
René Magritte, Le Galet (The Pebble), 1948                                        Rene Magritte, The White Race, 1937
René Magritte, The horizon, 1950

Rene Magritte, Collective invention, 1934
Rene Magritte, Meditation, 1936

Venice, Summer 1932 | Annemarie Schwarzenbach / Ricki Hallgarten / Klaus & Erika Mann

Klaus Mann, Annemarie Schwarzenbach, Erika Mann and Ricki Hallgarten, 1932

“Memories are made of peculiar stuff, elusive and yet compelling, powerful and fleet.
You cannot trust your reminiscences, and yet there is no reality except the one we

Klaus Mann, The Turning Point

Annemarie Schwarzenbach, Klaus Mann, Erika Mann,Venice, 1932

“Actions may be judged according to time and place, and their values may change; 
but style, language (apart from content) are crystallized at the moment.” 

 Erika Mann, School for Barbarians, 1938

Erika Mann, Annemarie Schwarzenbach, Klaus Mann,Venice, 1932

“Every moment, as it has passed, has changed something in them; Time has transformed
the faces, voices, laughter. For Time is a murderer, and every moment is a little death.”

Klaus Mann, Symphonie Pathetique. Ein Tschaikowsky- Roman

Annemarie Schwarzenbach and Erika Mann, Venice, 1932

Annemarie Schwarzenbach (1908-42) Swiss writer, journalist, photographer and traveler.
Klaus Mann (1906-49) German writer, the son of German writer Thomas Mann.
Erika  Mann (1905-69) German actress, writer and Cabaret artist, the eldest daughter of novelist
Thomas Mann and Katia Pringsheim.
Ricki Hallgarten (1905-32)  German painter, son of Robert and Constance Hallgarten, friend of
Klaus and Erika Mann in Munich.


The Book & the Movie: Leave Her to Heaven (1944) / Ben Ames Williams | John M. Stahl (1945)

Leave Her to Heaven (1945)
Director: John M. Stahl
Writers: Jo Swerling (screenplay), Ben Ames Williams (novel)
Stars: Gene Tierney, Cornel Wilde, Jeanne Crain, Vincent Price

The title is taken from a line from William Shakespeare's "Hamlet".

“Leave her to heaven, and to those thorns that in her bosom lodge, to prick and sting her.” 

 William Shakespeare, “Hamlet” - Act 1, Scene 5

The original choice for the role of Ellen was Rita Hayworth, who turned it down.

”Probably half a million people had read the book, or would; but to see some stranger engrossed in one of his novels was an experience of which he never tired, and particularly when as in this case the reader was almost extravagantly beautiful. […] He looked at her again to confirm this impression and saw that she had fallen asleep! The book lay unheeded in her lap, her relaxed hands barely holding it there. Her head was tipped to one side against the back of her chair, and she was sleeping like a child. […] 
When the unheeded book slipped off her knees to the floor, thus rousing her, he leaned forward to pick it up - observing as he did so that her ankles were exquisite. She accepted the book, nodding, speaking a quiet word. ‘Thank you.’ For a moment when she spoke he met her eyes, and saw them, though still warm with sleep, widen in a quick surprise; and when he opened Victory again, he felt her watching him.” 

Ben Ames Williams, Leave Her to Heaven, 1944

 "When I looked at you, exotic words drifted across the mirror of my mind like clouds across the summer sky."
Russell Quinton: I loved you. 
Ellen Berent Harland: That's a concession. 
Russell Quinton: And I'm still in love with you. 
Ellen Berent Harland: That's a tribute. 
Russell Quinton: And I always will be. Remember that. 
Ellen Berent Harland: Russ, is that a threat?

“- What’s wrong with her?
 - There’s nothing wrong with her. She just loves too much.”
“To be lonely is one thing, but to be alone is another. There is no loneliness so acute as that of a man upon a pillory, facing ten thousand eyes; but to be alone is to be free, free from the eyes and tongues that watch and question and condemn.” 
 Ben Ames Williams, Leave Her to Heaven, 1944
“Now she was at once more awake than she had ever been in her life before and at the same time more at peace.”
Gene Tierney on the set of Leave Her to Heaven (1945)

"As much as any part I played, Ellen had meaning for me as a woman. She was jealous in a sad and destructive way. Jealousy is, I think, the worst of all faults because it makes a victim of both parties. Although treated subtly in the book, and the movie, Ellen was without a doubt insane. She believed herself to be normal and worked at convincing her friends she was. Most emotionally disturbed people go through such a stage, the equivalent of an alcoholic hiding the bottle.”

Gene Tierney

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