We used to have a small Georgian Theatre in Penzance!
Mme Angelique Catalani de Valabregue, J.F. Moeller, 1829. Courtesy of National Museum of Denmark
On Saturday 1st May 1813 at the King’s theatre a serious disturbance broke out, proceeding apparently a call from the audience for the reappearance of Madame Catalani, who had withdrawn her services from the theatre as they had not paid her monies owed for…
via Riot at the King’s Theatre in 1813 – All Things Georgian
Entstehung Gerbera – 25 x 25 cm – Tusche auf Hahnemuehle Aquarellkarton (c) Zeichnung von Susanne Haun
Man sollte meinen, dass Blumen zeichnen kein Problem für mich darstellt.
Blumen gehören zu meinem Repertoire, weckt man mich in der Nacht auf und sagt “Zeichne eine Gerbara!” dann sollte ich die Blüte im Schlaf zeichnen können.
Und genau da liegt das Problem! Ich zeichne, was sich in meinem Inneren befindet und auch eine Blume muss aus meinem Inneren herauswollen. Ich benötige dafür Ruhe, Wollen, Lust und Freude!
Den Auftrag für die heute gezeichnete Gerbera bekam ich eine Woche nach dem Afrikaurlaub, heute habe ich endlich (!) Lust und Muse dafür gefunden und bin mit dem Ergebnis zufrieden.
Eigentlich kein Wunder, dass heute der Tag der Entstehung war, die Gerbera war in der Farbe Maigrün gewünscht und schließlich beginnt morgen der Mai!
Signiert habe ich die Blüte in den Blättern, denn so ist…
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Giardino autunnale
Al giardino spettrale al lauro muto
de le verdi ghirlande
a la terra autunnale
un ultimo saluto!
A l’aride pendici
aspre arrossate nell’estremo sole
confusa di rumori rauchi grida la lontana vita:
grida al morente sole
che insanguina le aiole.
S’intende una fanfara
che straziante sale: il fiume spare
ne le arene dorate; nel silenzio
stanno le bianche statue a capo i ponti
volte: e le cose già non sono più.
E dal fondo silenzio come un coro
tenero e grandioso
sorge ed anela in alto al mio balcone:
e in aroma d’alloro,
in aroma d’alloro acre languente,
tra le statue immortali nel tramonto
ella m’appar, presente.
Autumn garden
A last salute to the spooky garden to the silent laurel
of the green garlands
and the autumn land!
At the arid
rugged slopes reddened in the extreme sun,
confused with raucous noises, the distant life
cries : shouts to the dying sun
that bloody the flowerbeds.
It is meant a fanfare
that is excruciating salt: the river spare
and its golden arenas; in silence
are the white statues at the head of the bridges
sometimes: and things are no longer there.
And from the background, silence like a
tender and grandiose chorus
arises and longs up at my balcony:
and in the aroma of laurel,
in the aroma of bitter, acrid laurel,
among the immortal statues in the sunset
she appeared to me, present.
Dino Campana, (born Aug. 20, 1885, Marradi, Italy—died March 1, 1932, Florence), innovative Italian lyric poet who is almost as well known for his tragic, flamboyant personality as for his controversial writings.
Recommended:- The Penguin Book of Italian Verse
Walking for my morning coffee
through the falling rain,
I feel again the cold and my toothache pain,
leaving the bus, negotiating the speeding traffic
through what to me feels a rush,
reaching the corner, a hush as
slipping along the side street,
avoiding sudden traffic, above the narrow pavement,
I notice the broken awning.
Here next to the closed, derelict barber’s shop,
three gobbling pigeons have found
a box-shaped shelter; a tabloid sized hole
from where a torn out section of thin wood
and have made a home, an aviary,
a sort of “rus in urbe” among the tangled wires.
The birds bob and cheerfully chirp exchanges.
In this section life flourishes.
I stop to snap these jovial creatures that
triumph amidst the clutter,
defeating austerity, likewise
I recover my affection for broken places
….and the game is still on.
Andrés Nagel Tejada (San Sebastián, 1947) is a Spanish painter, sculptor and engraver, one of the current Basque artists with the greatest international projection.
An artist with eclectic tastes, a great traveller and with a history of many exhibitions, his work in painting, sculpture and engraving can be labelled as a postmodern figuration. In working against the mainstream, in the years 60 and 70, he followed an abstract and informalist path. Nagel addresses mostly social issues with some sarcasm and irreverence, in a style that at times echoes the New Madrid figuration and also adopted influences of pop art (in colourful and urban themes), surrealism (with shocking and humorous approaches) and Povera art ( using humble materials and wastes).
Further information in Spanish is at https://es.wikipedia.org/wiki/Andr%C3%A9s_Nagel
Holder was a great influence on the Viennese painter Richard Gerstl. He also reminds me a little of the Cornish Symbolist Thomas Cooper Hitch.
By 1895, Ferdinand Hodler (1853–1918) was turning to more Symbolist paintings and developing his mature ‘Parallelism’ from there.
Ferdinand Hodler (1853–1918), Retreat from Marignano (composition study) (c 1897), pencil and gouache on fabric, 43 × 65 cm, Private collection. Wikimedia Commons.
In 1897, Hodler won the commission to paint a large fresco in the Weapons Room of the Swiss National Museum (Schweizerisches Landesmuseum) in the centre of Zurich. Oddly, Hodler proposed depicting the Battle of Marignano, fought between France and the Old Swiss Confederacy near Milan in 1515. The French had been the victors there, leaving the defeated Swiss with around 50% casualties.
This compositional study for Retreat from Marignano was made in about 1897, using pencil and gouache on fabric. From its inception, the painting is composed as a frieze in two planes, with most of its figures in the nearer plane.
Ferdinand Hodler (1853–1918), Retreat from Marignano (study)…
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Heute war ich einfach den ganzen Tag müde,aber wie ein kleines Mädchen wollte ich lieber Zeichnen als ins Bett gehen.
So sind die beiden heutigen Portraits von einem Mädchen mit Blumenkranz im Haar entstanden. Ich sehe in der Zeichnung das Modell vor mir und ich sehe auch mich und meine Trotzhaltung darin. So ist die Ähnlichkeit zu meinem ursprünglichen Modell verlorengegangen aber der Augenblick festgehalten wo ich als Frau über 50 mich wieder in ein trotziges kleines Mädchen verwandele.
Deshalb mag ich diese beiden Portraitzeichnungen besonders.
Mädchem mit Blumen im Haar – 25 x 25 cm – Tusche auf Hahnemuehle Burgund – Version 1 (c) Zeichnung von Susanne Haun
Mädchem mit Blumen im Haar – 25 x 25 cm – Tusche auf Hahnemuehle Burgund – Version 2 (c) Zeichnung von Susanne Haun
This sounds really thoughtful and interesting!
I can’t think of a better way to explain the complexities of the term ‘comparative literature’ than to quote the blurb for this book:
Comparative Literature is both the past and the future of literary studies. Its history is intimately linked to the political upheavals of modernity: from colonial empire-building in the nineteenth century to the postcolonial culture wars of the twenty-first century, attempts at “comparison” have defined the international agenda of literature. But what is comparative literature? Ambitious readers looking to stretch themselves are usually intrigued by the concept, but uncertain of its implications. And rightly so, in many ways: even the professionals cannot agree on a single term, calling it comparative in English, compared in French, and comparing in German. The very term itself, when approached comparatively, opens up a Pandora’s box of cultural differences.
Yet this, in a nutshell, is the whole point of comparative literature. To…
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A really enjoyable film and an interesting review.
Having spent a good hour looking at the Expressionist paintings in the Emil Nolde exhibition at the National Gallery, I decided to go and have a look at some favourite paintings by the Irish artist Jack Butler Yeats in the Gallery’s permanent collection, who, over his career, developed an Expressionist style.
Many Ferries (1948)
Jack Butler Yeats was the brother of the famous poet, William Butler Yeats. He was born in London and spent his childhood between London, Dublin, and Sligo, eventually returning to live permanently in Ireland in 1910.
Jack began his artistic career, in the 1890s, as a black and white journalistic illustrator for various publications before eventually becoming a professional artist. He initially painted in watercolour, but about 1906 he began painting regularly in oil. His early paintings were rather conservative in style and, in my view, most of his paintings, although displaying a clear talent as…
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