Author: penwithlit

Christ and His Mother Studying the Scriptures presents a dramatic, yet intimate scene. The figures of Christ and Mary clasp each other tenderly as they each hold the scroll from which they read, their physical bond an outward acknowledgment of their spiritual unity. Henry Ossawa Tanner’s lush, densely painted surface is restricted to shades of blue, purple, and gold, bathing the figures in a warm, golden light, a metaphor for the illumination gleaned from the scroll. His combination of the broken brushwork, Tonalist colors, and Symbolist subject matter has been compared to that of Albert Pinkham Ryder, without that artist’s obsessively overworked surfaces. Thanks to existing photographs, we know that Tanner used his wife and son as models for Mary and Jesus, giving the work a double resonance…

Internal pressure is often externalized and disavowed.

Most of us have a strong tendency to blame others for how we’re feeling. Consider the moments in which you chastised your friend or spouse for making you feel angry or for guilt-tripping you. In our minds, the lever that controls our emotions resides elsewhere, with others, as though we aren’t, to some extent, agents of our own thoughts and feelings.

And much of the time, our own agency largely remains unconscious. But think about feelings and their relationships with our interpretations and expectations. What if you didn’t expect yourself to constantly cater to a co-dependent partner? What if it isn’t your duty to resolve all of his problems? The internal pressure to become someone else’s savior matches with the external pressure to resolve another’s problems. Individuals who chronically complain pull for sympathy and aid, but there’s also a hard-wired part in many…

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Eugène Chigot at wikiwand

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Eugène Chigot | Artnet

Thanks for Visiting 🙂

~Sunnyside

I went to see Iranian film Hit the Road in the summer, but things got in the way and I never wrote it up.

This is a critically acclaimed road movie, written and directed by Panah Panahi (the son of director and political prisoner Jafar Panahi), and released in 2021, which features a loving, eccentric family as they make their way across country. (Peter Bradshaw in The Guardian has interestingly noted that an entirely new genre has effectively evolved in Iranian cinema, comprising films “shot semi-covertly in a car”, as a tactic to avoid state interference.)

The family is made up of two parents, chain-smoking father Kosro (played by Hassan Madjooni, and nursing a broken leg), the mother (played by Pantea Panahiha), adult, taciturn son Farid (Amin Simiar), his mischievous, much younger brother (played by Rayan Sarlak) and their sick dog. The success of Sarlak’s naturalistic performance really stands out…