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Art history student. Fool for love.
There’s no description in the braided stone,
the pear, the stone in the pear, the birchbark,
bread hills on the snowfall tablecloth.
The dog of work gnaws the day’s short bone,
snarls a mountainside into lavender and green.
In the mind where objects vanish, almost is all.
Element of pitcher, sky, rockface, blank canvas
plastic and vast in one off-center patch.
To copy what’s invisible, to improvise
a soul of things and remake solid life
into fresh anxious unlifelike form.

ON A PICTURE BY CÉZANNE
By W. S. Di Piero
There’s no description in the braided stone,
the pear, the stone in the pear, the birchbark,
bread hills on the snowfall tablecloth.
The dog of work gnaws the day’s short bone,
snarls a mountainside into lavender and green.
In the mind where objects vanish, almost is all.
Element of pitcher, sky, rockface, blank canvas
plastic and vast in one off-center patch.
To copy what’s invisible, to improvise
a soul of things and remake solid life
into fresh anxious unlifelike form.

ON A PICTURE BY CÉZANNE

By W. S. Di Piero

grieveyard:

“and they sacrificed everything to the stars”

grieveyard:

“and they sacrificed everything to the stars”

(via bragasdepana)

penrose-stairs:

Lesley Dill, Flower Hands, 1997

penrose-stairs:

Lesley DillFlower Hands, 1997

slippyslop:

I have been here before,
But when or how I cannot tell:
I know the grass beyond the door,
The sweet keen smell,
The sighing sound, the lights around the shore.

-Dante Gabriel Rossetti

slippyslop:

Malevich

slippyslop:

Malevich

Filed under: longing, hoping,
Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counterglance, between ‘I love you’ and ‘I love you too’, the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundary that creates Eros: the boundary of flesh and self between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realize I never can.
— Anne Carson (1998). Eros the Bittersweet. Champaign: Dalkey Archive Press; p. 30. (via acadaimon)

(via cesaire-deactivated20130428)

Source: acadaimon
Murray Favro, Van Gogh’s Room, 1973-1974, painted wood, film projection.

Murray Favro, Van Gogh’s Room, 1973-1974, painted wood, film projection.

Vincent Van Gogh, Les Alyscamps, Allee in Arles, 1888 
I am showing Van Gogh next week. So right now I am wondering how I will speak of such work and convey its desire for retreat from a world difficult to endure in, and a remarkable, insistent reaching for unfathomable grandeur, without becoming a mess. I feel excessively vulnerable up there,  too conscious that as I step toward communicating about the work, will myself to supply it with language, I perform myself,  and my own anxieties, longings, loves, contentions about the forms projected upon the wall. I ache doing this, I know I do not know precisely how to do it. 

Vincent Van Gogh, Les Alyscamps, Allee in Arles, 1888 

I am showing Van Gogh next week. So right now I am wondering how I will speak of such work and convey its desire for retreat from a world difficult to endure in, and a remarkable, insistent reaching for unfathomable grandeur, without becoming a mess. I feel excessively vulnerable up there,  too conscious that as I step toward communicating about the work, will myself to supply it with language, I perform myself,  and my own anxieties, longings, loves, contentions about the forms projected upon the wall. I ache doing this, I know I do not know precisely how to do it. 

Filed under: best,
Source: raveneuse
Claude Monet, Walking Near Argenteuil, 1873
“‘Worldly asceticism’ emphasizes an ‘inner-world’ which paradoxically has two sides: not only a moral severity and self-control but also the context for pursuing ‘personal visions’ as compensations for the demands of every day life under capitalism.” 
- Modernity and Modernism: French Painting in the Nineteenth Century p.130

Claude Monet, Walking Near Argenteuil, 1873

“‘Worldly asceticism’ emphasizes an ‘inner-world’ which paradoxically has two sides: not only a moral severity and self-control but also the context for pursuing ‘personal visions’ as compensations for the demands of every day life under capitalism.”

- Modernity and Modernism: French Painting in the Nineteenth Century p.130



Edouard Manet, Berthe Morisot With a Fan, 1872

Edouard Manet, Berthe Morisot With a Fan, 1872

(via greenfinch)

The passé simple and the third person in the Novel are nothing but the fateful gesture by which the writer points to the mask he is wearing. The whole of literature can say ‘Larvatus Prodeo,” “I advance while pointing to my mask.”

- Roland Barthes, Writing Degree Zero, 1967

Helen Levitt, New York, Children with Masks, ca. 1942. 
 

Helen Levitt, New York, Children with Masks, ca. 1942. 

 

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