#Ukraine #Russia #RussianInvasion #StoptheWar
there is a door
to exit neverland
you hold the key
in your own hand
even in the
darkest hours
in the face of
forced dispair
heroes aren’t made by
winning wars
they are born by
makin peace
Lovely- extraordinary
With Lyrics (click for English translation)
The Classical Girl introduced me to The Flower Duet in her post, Melting into Léo Delibes’ “Flower Duet”. READ MORE HERE.
~Sunnyside
Lovely gentle portraits!
1. Autoportrait supposé, c.1885 / Pencil and chalk on paper / Musee Roybet Fould, Courbevoie, FR
2. Autoportrait, c.1890 / Oil on canvas / Musee Roybet Fould, Courbevoie, FR
Beautiful, entrancing!!
~Sunnyside
Interesting work!
1. Self-portrait with Violin, 1928 / Oil on panel / Private collection
2. Self portrait, 1937 / Sculpture / Bertolami Collection, Rome
3. Self-portrait in Blue Overalls, c.1940 / Oil on panel/ Galleria del Laocoonte, Rome/London
4. Self-portrait Writing a Letter to Mario, 1942 / Oil on canvas / Private collection
Interesting- I recently read White’s book on the 18th Century -The Age of Scandal” which I found brilliant. Apparently he taught at Stowe- that engaging Public School where George Melly had been an eccentric pupil.
Terence Hanbury White was one of the founding fathers of fantasy in the twentieth century, producing nearly twenty-five novels, including the beloved modern Arthurian retelling, The Once and Future King. Still, much of T.H. White’s life remains a mystery and there has been little scholarship on his work. This gap stands in contrast to the Inklings, where, especially in the case of J.R.R. Tolkien and C.S. Lewis, there is a large and robust field of scholarly works. While White’s Arthuriad has not invited scholars and biographers in the way that Lewis’ Narniad and Tolkien’s Middle-earth has done — and despite the fact that he does not have seem to have met the Inklings in person — T.H. White’s life intersected with the Inklings in intriguing ways.
Born in 1906 – 8 years after C.S. Lewis – White died in 1964, outliving Lewis by less than six months. Like Lewis…
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Especially lovely is the third light pencil sketch!
1. Autoportrait à la Fenêtre, c.1926 / Gelatin Silver Negative / Centre Pompidou, Paris, FR
2. Autoportrait au Manteau, ND / Pastel and charcoal on paper / Private collection
3. Moi-même, c.1950 / Pencil on paper / Private collection
4. Autoportrait, ND / Oil on cardboard / Private collection
5. Autoportrait au Ventilateur, c.1926 / Gelatin Silver Print / Centre Pompidou, Paris, FR
I recently read a review in The Paris Review with Rebecca West that made me want to read more and more of her work. Thanks for posting.
An early start with the book group choice for next month, and what an astonishing book this first novel by Rebecca West, published in 1918, was. As First World War literature was one of the topics I specialised in teaching towards the end of my career, I was surprised never to have encountered this short novel, but since the Great War is only incidental to its plot, perhaps this is not surprising.
An officer suffers from shellshock, and all memories of fifteen years of his life have vanished; he has no recollection of his wife, the death of their small son, any of the changes which have taken place at his home. His memories are stuck on the idyllic happiness of his first love years back, and the first message from the field hospital contacts her… you can imagine the complexities West has set up…
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This is brilliant. As often is the case I find the original as intriguing as the prints coming off. Impressive!!
Here is a “packaging” monoprint I made of the huts in Walberswick.
The print is made using a discarded carton from a box of aspirin. It looks like this:
The brown colour is shellac, a varnish which helps make the plate last a little longer. I make the picture on the shiny side of the medicine packaging, by cutting off the shiny surface to reveal the rougher cardboard underneath. The plate is very thin and fragile. This plate made 5 prints. I lost one of the chimneys during the process.
Here is an 11-second video showing the print coming off the plate:
The ink is JS Gutenberg Carbon Black etching ink from Intaglio Printmaker in Southwark. The paper is Gampi smooth from Shepherds of London, in Gillingham Street.
I made the print at East…
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Glorious photograph!!!
penwithlit