Σελίδες

On the Beach | Sketches by Vincent van Gogh, 1882-1890

Vincent van Gogh, Beach, Sea, and Fishing Boats, 1888
Vincent van Gogh, Beach and Sea, 1882
Vincent van Gogh, Fishing Boats on the Beach, 1888
Vincent van Gogh, A Group of Figures on the Beach, 1890 
Vincent van Gogh, Path to the Beach, 1883
Vincent van Gogh, People Walking on the Beach, 1882
Vincent van Gogh, Beach and Boats, 1882                           Group of People on the Beach with Fishing Boat Arriving, 1882


Alphabetarion # Heart | Virginia Woolf, 1915

Emil Nolde, Heavy Seas at Sunset, 1930-1935


"Her heart was made of liquid sunsets."

Virginia Woolf, The Voyage Out, 1915


J[A-Z]Z / p1ck ( Porgy & Bess | Ella Fitzgerald & Louis Armstrong, 1959

Illustration: David Stone Martin / Photography: Herman Leonard, Phil Stern, Tommy Amer


Recorded: August 18–19 and October 14, 1957
 in Los Angeles

Ella Fitzgerald & Louis Armstrong, Summertime, 1959

Ella Fitzgerald — vocals
Louis Armstrong — vocals, trumpet

Orchestra: 
Russell Garcia – arranger, conductor
Victor Arno, Robert Barene, Jacques Gasselin, Joseph Livoti, Dan Lube, Amerigo Marino, Erno
 Neufeld, Marshall Sosson, Robert Sushel, Gerald Vinci, Tibor Zelig — violins
Myron Bacon, Abraham Hochstein, Raymond Menhennick, Myron Sandler — violas
Justin Di Tullio, Kurt Reher, William Van Den Burg — cellos
Frank Beach, Buddy Childers, Cappy Lewis — trumpets
Milt Bernhart, Marshall Cram, James Henderson, Lloyd Ulyate — trombones
Vincent DeRosa – French horn
Bill Miller, Paul Smith – piano
Tony Rizzi – guitar
Joe Mondragon – double bass
Alvin Stoller – drums

Phil Stern: Ella Fitzgerald & Louis Armstrong, 1952

Stereosc2pe + | Restaurant Chartier, Paris | André Kertész, 1934

 André Kertész, Restaurant Chartier, Quartier Latin, Paris, 1934               André Kertész, Restaurant Chartier, Quartier Latin, Paris, 1934


Also:

Δύτης | Αλέξανδρος Μάτσας, 1910-1969

Deep Sea Diver lithographed tinplate wind-up toy, German


Άνοιξε πάλιν απρόοπτα η μυστική καταπακτή,
το έδαφος, πού 'ταν τόσο στερεό, υπεχώρησεν έξαφνα σαν
                                          έλος
και βυθίζεσαι βρίσκοντας στο χέρι σου βαρίδι
αυτή την κεφαλή πού 'χες θάψει και που μαρμαρώθηκε
στους ρηχούς τάφους της λήθης.

Δεν θά 'βρης συγγνώμη στα χείλη μήτε στο βλέμμα
της λίθινης κεφαλής με τα εκατό πρόσωπα
που όλο κι αλλάζουν, ασύλληπτα, μες στους βυθούς·
και κάποτε παίρνουν ανοικτίρμονες μορφές
απαρνημένων εαυτών σου.

Mην ελπίζεις άφεσι, μην περιμένεις χάρι
από τ' αγάλματα που διεκδικούν ζωή,
από τα είδωλα που δεν συγχωρούν αποστασία,
από τα φάσματα που ζητούν δικαίωσι,
στον έναστρο πυθμένα της ψυχής.

Όσο κι αν ήσουν επιδέξιος στη διαπραγμάτευσι,
όποιαν ασφάλεια κι αν σου φαίνεται ν' απέκτησες,
ενέδρες θα στήνουν στην εγρήγορσι και στον ύπνο σου·
πίσω απ' τα κάτοπτρα της κτίσεως, πίσω απ' τον Kαιρό,
θά 'βρης το πέτρινο κεφάλι της μομφής.

Αλέξανδρος Μάτσας, Δύτης, 1910-1969


Also:

Alphabetarion # Summer | Brian Wilson


Joan Miró, Sans titre, 1937


"Summer means happy times and good sunshine. 
It means going to the beach, having fun."

Brian Wilson 

A Pioneer of Mid-20th-Century Cuban Modernism | Loló Soldevilla, 1901-1971

Loló Soldevilla, Untitled, 1950
Loló Soldevilla, Untitled, 1955
Loló Soldevilla, Untitled, 1955
Loló Soldevilla, Untitled, undated
Loló Soldevilla, Paysage Lunar Duplex, 1969                                               Loló Soldevilla, Untitled, 1950
Loló Soldevilla - Velocidad No. 2, 1954
Loló Soldevilla, Untitled, 1953
Loló Soldevilla, Untitled, undated
Loló Soldevilla, Untitled, Celestial Realm, 1956
Loló Soldevilla, Untitled, 1956
Loló Soldevilla, Untitled, 1954
Loló Soldevilla, Untitled, 1954
Loló Soldevilla, Untitled, 1956
Loló Soldevilla, Untitled, undated
Loló Soldevilla, Índigo de Opus #16, 1955
Loló Soldevilla, Untitled, undated
Loló Soldevilla, Homage to Theo V. Doesburg, Composition No. 7, The Three Graces Variation, 1950
Loló Soldevilla, Untitled, 1951
Loló Soldevilla, Formas elementares nº15, 1954
Loló Soldevilla, Untitled, 1951

Born in 1901 in Havana, Cuba, Soldevilla was an avid painter, sculptor, collage artist and draughtsman.
 She began painting in 1948, and in 1949 traveled to Paris as Cuba's cultural attache, something which
 allowed her to travel extensively throughout Europe and Latin America, influencing her art style and
 career immensely. In Paris, she was influenced by the European avant-garde, most notably abstraction.
 In 1956, Soldevilla along with her husband and fellow artist Pedro de Oraá, returned to Cuba and
 founded Galeria Color-Luz, an artistic space solely focused on the promotion of abstract art. Oraá 
and Loló, along with Romanian-born artist Sandu Darie among others, were the pioneers of 
Concretism or Cuban Abstraction in 1950s Cuba, as well as the founders of the group
  Los Diez Pintores Concretos (The 10 concrete painters) or known simply as 
Los Diez (the ten).

Soldevilla graduated from the Falcón Conservatory for singing and the violin, founding the 
short-lived group La Orchestra de Loló (Lolo's Orchestra) before taking up painting in 1948. 
During the 1930s, she was a seminal political activist, enduring detainment for participation in 
several political rallies, as well as imprisonment in the Prison for Women in Guanabacoa, in
 1935 for her positions against the Machado dictatorship. She also helped found the Partido 
Aprista of Cuba, along with Enrique de la Osa and Guillermo de Zéndegui among others and 
integrated the Executive National Committee for this political organization. In 1949, she
 traveled to Paris as a cultural attaché for the Cuban Embassy and enrolled in the Académie 
de la Grande Chaumière, where she started to develop works that would later on that year, 
encompass her first two shows. Among her returns to Cuba, Soldevilla traveled extensively 
during her career, she was influenced by the avant-garde of several countries in Europe and
 Latin America including Spain, Switzerland, the Netherlands, Belgium, Great Britain, 
Austria, Germany, Venezuela, and Brazil among others. 

Loló Soldevilla, 1901-1971

The other me | Haruki Murakami, 2006

Ralph Gibson, Refractions, 2005

"These days I just can't seem to say what I mean. I just can't. Every time I try to say 
something, it misses the point. Either that or I end up saying the opposite of what 
I mean. The more I try to get it right the more mixed up it gets. Sometimes I can't 
even remember what I was trying to say in the first place. It's like my body's split 
in two and one of me is chasing the other me around a big pillar. We're running 
circles around it. The other me has the right words, but I can never catch her."

Haruki Murakami, Blind Willow, Sleeping Woman, 2006

Book//mark - The Hour of the Star | Clarice Lispector, 1977

The Hour of the Star, 1977 /  First edition (Portuguese)                                       Clarice Lispector, 1920-1977
                                                      
                         
“Everything in the world began with a yes. One molecule said yes to another molecule and life was born.”

“Who has not asked himself at some time or other: am I a monster or is this what it means to be a person?”

“First of all, I must make it clear that this girl does not know herself apart from the fact that she goes 
on living aimlessly. Were she foolish enough to ask herself 'Who am I?', she would fall flat on her 
face. For the question 'Who am I?' creates a need. And how does one satisfy that need? To probe
 oneself is to recognize that one is incomplete.”

“She believed in angels, and, because she believed, they existed”

“There are those who have. And there are those who have not. It's very simple: the girl had not. 
Hadn't what? Simply this: she had not. If you get my meaning that's fine. If you don't, it's still fine.”

“She wasn’t crying because of the life she led: because, never having led any other, she’d accepted 
that with her that was just the way things were. But I also think she was crying because, through
 the music, she might have guessed there were other ways of feeling.”

“She was incompetent. Incompetent for life. She had never figured out how to figure things out. 
She was only vaguely beginning to know the kind of absence she had of herself inside her.”

“And even sadness was also something for rich people, for people who could afford it, 
for people who didn’t have anything better to do. Sadness was a luxury.”

“She had what's known as inner life and didn't know it. She lived off herself as if eating her own
 entrails. When she went to work she looked like a gentle lunatic because as the bus went along
 she daydreamed in loud and dazzling dreams. These dreams, because of all that interiority, were
 empty because they lacked the essential nucelus of⁠—of ecstasy, let's say. Most of the time she 
had without realizing it the void that fills the souls of the saints. Was she a saint? So it seems. 
She didn't know what she was meditating because she didn't know what the word meant. But 
it seems to me that her life was a long meditation on the nothing. Except she needed others in 
order to believe in herself, otherwise she'd get lost in the successive and round emptiness 
inside her. She meditated while she was typing and that's why she made even more mistakes.”

“Things were somehow so good that they were in danger of becoming very bad 
because what is fully mature is very close to rotting”

“Do not mourn the dead. They know what they are doing.”

“I cannot stand repetition: routine divides me from potential novelties within my reach.”

“I am only true when I’m alone.”

“I am not an intellectual, I write with my body. And what I write is a moist fog.”

“I only achieve simplicity with enormous effort”

“So long as I have questions to which there are no answers, I shall go on writing."

“No it is not easy to write. It is as hard as breaking rocks. 
Sparks and splinters fly like shattered steel.”

“I write because I have nothing better to do in this world: I am superfluous and last in the world 
of men. I write because I am desperate and weary. I can no longer bear the routine of my 
existence and, were it not for the constant novelty of writing, I should die symbolically 
each day.”

“I ask myself: is every story that has ever been written in this world, 
a story of suffering and affliction?"

“Do not be frightened. Death is instantaneous and passes in a flash. I know,
 for I have just died with the girl. Forgive my dying. It was unavoidable.”

“But don't forget, in the meantime, that this is the season for strawberries. Yes.”

Clarice Lispector, The Hour of the Star, 1977

A letter to P.J. Harvey | Nick Cave, 1996

Nick Cave, P.J. Harvey, 1996 


Polly Jean, I love you. I love the texture of your skin, 
the taste of your saliva, the softness of your ears. 
I love every inch and every part of your entire body. 
From your toes and the beautifully curved arches of your feet, 
to the exceptional shade and warmth of your dark hair. 
I need you in my life, I hope you need me too.

Nick Cave, a letter to P.J. Harvey, 1996


Awake the Dark Unconscious | Vincent Price, 1911-1993

Vincent Price, 1911-1993

“A man who limits his interests limits his life.”

"Most people think that college is the end of education, but it isn't. The ceremony of giving you 
the diploma is called commencement. And that means you are fit to commence learning 
because you have learned how to learn.”

“In order to get out of the dumps, there are many steps to walk up, and most of the 
ones I know of, not only for myself but others, are made of money.”

“The main thing in life is survival. And survival is not just staying alive. 
It is also a constant effort to grow and to learn and to work.”

William Castle, House on Haunted Hill, 1955

“ The half-open door is often more exciting than the wide.”

“What's important about an actor is his acting, not his life.”

"If we're honest with ourselves, we have to admit we enjoy our tears just as 
much as we enjoy our laughter. The only moments of life that are a bore 
are when we don't care one way or another.”

"I sometimes feel that I'm impersonating the dark unconscious of the whole human race."

Roger Corman, House of Usher, 1960

"I don't play monsters. I play men besieged by fate and out for revenge."

“It's as much fun to scare as to be scared.”

"I open a Bible in a hotel room, hoping for some great happenstance spiritual word 
of advice. More often than not, I hit a long passage of begats and begots, which 
contain little inspiration other than the fact that procreation is the highest aim of life.”

“Do you ever rub your eyes and suddenly find you're awake 
and not asleep, as you'd grown to suspect you were?”

Roger Corman, The Tomb of Ligeia, 1964

"We exponents of horror do much better than those Method actors. We make the 
unbelievable believable. More often than not, they make the believable unbelievable."

“I'm extremely profane, unconsciously so, when I see something great for the first time; 
I don't know why, but beauty and profanity are related to me in the same way. "

"No one but Gene Tierney could have played 'Laura.' There was no other actress
 around with her particular combination of beauty, breeding, and mystery."

Gene Tierney and Vincent Price / Otto Preminger, Laura, 1944

"To miss the sensation of loving art is to miss a kind of parenthood—false pregnancy
 perhaps—but as Van Gogh said, "If, defrauded of the power to create physically, a man
 tries to create thoughts in place of children, he is still part of humanity"...a big part.”

 "The arts keep you alive. They stimulate, encourage, challenge, 
and, most of all, guarantee a future free from boredom."

Roger Corman, The Pit and the Pendulum, 1961

“Well, what do you owe yourself? Do you dare take time out to listen to the grass 
grow, or can you even afford the expense of getting far enough away from life's 
daily cacophony to hear it grow if you took the time?”

“There comes a time in life when you know what you like and have to make up 
your mind to like what you know, or at least have begun to know.”

"Be curious about life, and cautious with it!"

 Vincent Price, 1911-93

Tim Burton, Edward Scissorhands, 1990
Robert Fuest, The Abominable Dr. Phibes,1971


Also: