sexta-feira, 28 de novembro de 2014
Alfredo Roque Gameiro, Nuremberga (1885)
«Nuremberg is a wonderful old city, and looks as if it had been cut out of an old picture-book. The streets seem to have arranged themselves according to their own fancy, and as if the houses objected to stand in rows or rank and file. Gables, with little towers, ornamented columns, and statues, can be seen even to the city gate; and from the singular-shaped roofs, waterspouts, formed like dragons, or long lean dogs, extend far across to the middle of the street. Here, in the market-place, stood Knud, with his knapsack on his back, close to one of the old fountains which are so beautifully adorned with figures, scriptural and historical, and which spring up between the sparkling jets of water. A pretty servant-maid was just filling her pails, and she gave Knud a refreshing draught; she had a handful of roses, and she gave him one, which appeared to him like a good omen for the future. From a neighboring church came the sounds of music, and the familiar tones reminded him of the organ at home at Kjøge; so he passed into the great cathedral. The sunshine streamed through the painted glass windows, and between two lofty slender pillars. His thoughts became prayerful, and calm peace rested on his soul. He next sought and found a good master in Nuremberg, with whom he stayed and learnt the German language.»
Hans Christian Andersen, Under the Willow-tree (1853).
quinta-feira, 27 de novembro de 2014
sexta-feira, 21 de novembro de 2014
quinta-feira, 20 de novembro de 2014
Arquitecto Alves de Sousa - Ambiente, Estúdio Mário Navais (FCG - CFT003.024173.ic)
«Rather than unreflexively adopting a lifestyle, through tradition or habit, the new heroes of consumer culture make lifestyle a life project and display their individuality and sense of style in the particularity of the assemblage of goods, clothes, practices, experiences, appearance and bodily dispositions they design together into a lifestyle. The modern individual within consumer culture is made conscious that he speaks not only with his clothes, but with his home, furnishings, decoration, car and other activities which are to be read in terms of the presence and absence of taste.»
Featherstone (1991), citado in Woodward, Studying Material Culture. Origins and Premises.
quarta-feira, 19 de novembro de 2014
Karin Larsson, cadeira de baloiço.
«It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.»
Louis Sullivan (1896).
Carl Larsson, auto-retrato.
terça-feira, 18 de novembro de 2014
Retrato do artista quando coisa
A maior riqueza
é sua incompletude.
Palavras que me aceitam
— eu não aceito.
Não aguento ser apenas
um sujeito que abre
portas, que puxa
válvulas, que olha o
relógio, que compra pão
às 6 da tarde, que vai
lá fora, que aponta lápis,
que vê a uva etc. etc.
Perdoai. Mas eu
preciso ser Outros.
renovar o homem
segunda-feira, 17 de novembro de 2014
Paul Gauguin, Lane at Alchamps, Arles (Allée des Alyscamps) (1888)
“Hope can be a powerful force. Maybe there's no actual magic in it, but when you know what you hope for most and hold it like a light within you, you can make things happen, almost like magic.”
sábado, 15 de novembro de 2014
Ernest Biéler, The leaf litter picker (Ramasseuse de feuilles mortes) (c. 1909, Musée des Beaux-Arts de Berne)
Já não voam besouros no ar quente.
Foi-se o Verão embora.
É Outono agora,
tudo está diferente.
É castanha a terra
onde a pá se enterra.
É castanha a folha
que a chuva já molha.
O avô Inverno chega das montanhas,
com os bolsos repletos de castanhas,
e vai sentar-se ao lume da lareira,
fumando o seu cachimbo de madeira.
E para o imitar
(vejam o disparate!)
o neto põe-se a trincar
um pau de chocolate.
António Manuel Couto Viana, Versos de Cacaracá, Litexa Portugal, 1984.
sexta-feira, 14 de novembro de 2014
Vasile Dobrian, Look How the Moon Steps on the White Lonely Hills (Autumn series)
«It is in your power to withdraw yourself whenever you desire. Perfect tranquility within consists in the good ordering of the mind, the realm of your own.»
quinta-feira, 13 de novembro de 2014
Thomas Bowman Garvie, Man Feeding his Cat (1891, Castle Morpeth Borough Council)
“Only the development of compassion and understanding for others can bring us the tranquility and happiness we all seek.”
quarta-feira, 12 de novembro de 2014
Ernest Biéler, Portrait de l'Écrivain Edouard Rod (Lausanne Cantonal Museum of Fine Arts)
“No fundo de cada alma há tesouros escondidos que somente o amor permite descobrir.”
segunda-feira, 10 de novembro de 2014
sábado, 8 de novembro de 2014
Zinaida Serebriakova, In the studio Braz.France (1905-1906)
«Perguntam-nos com ironia indulgente quantas grandes mulheres artistas é que existiram. Ah, senhores, existiram algumas, o que é surpreendente tendo em conta as enormes dificuldades com que se depararam.»
Marie Bashkirtseff (1859-1884), com o pseudónimo de Pauline Orell, «Les femmes artistes», La Citoyenne, n.º 4, 6 de Março de 1881. - Citado in Filipa Lowndes Vicente, A arte sem história. Mulheres e cultura artística (Séculos XVI-XX), Lisboa, Babel, 2012, p. 53.
sexta-feira, 7 de novembro de 2014
Paul Klee, Magic Garden (Zaubergarten) (Março 1926, Guggenheim)
«But the first ball was not the last, and Emily could not stand it; it was a good thing, therefore, that summer brought with it rest, and exercise in the open air. The family had been invited by the old Count to visit him at him castle. That was a castle with a garden which was worth seeing. Part of this garden was laid out quite in the style of the old days, with stiff green hedges; you walked as if between green walls with peep-holes in them. Box trees and yew trees stood there trimmed into the form of stars and pyramids, and water sprang from fountains in large grottoes lined with shells. All around stood figures of the most beautiful stone—that could be seen in their clothes as well as in their faces; every flower-bed had a different shape, and represented a fish, or a coat of arms, or a monogram. That was the French part of the garden; and from this part the visitor came into what appeared like the green, fresh forest, where the trees might grow as they chose, and accordingly they were great and glorious. The grass was green, and beautiful to walk on, and it was regularly cut, and rolled, and swept, and tended. That was the English part of the garden.»
Hans Christian Andersen, The Porter’s Son (1866)
quinta-feira, 6 de novembro de 2014
Carl Gustav Carus, Autumn Landscape, Hosterwitz
A respiração de Novembro verde e fria
Incha os cedros azuis e as trepadeiras
E o vento inquieta com longínquos desastres
A folhagem cerrada das roseiras
quarta-feira, 5 de novembro de 2014
Matthäus Schiestl, Der Zaunkönig (Galerie Bassenge)
How to be a Poet
Make a place to sit down.
Sit down. Be quiet.
You must depend upon
affection, reading, knowledge,
skill-more of each
than you have-inspiration
work, growing older, patience,
for patience joins time
Breathe with unconditional breath
the unconditioned air.
Shun electric wire.
Communicate slowly. Live
a three-dimensional life;
stay away from screens.
Stay away from anything
that obscures the place it is in.
There are no unsacred places;
there are only sacred places
and desecrated places.
Accept what comes from silence.
Make the best you can of it.
Of the little words that come
out of the silence, like prayers
prayed back to the one who prays,
make a poem that does not disturb
the silence from which it came.
terça-feira, 4 de novembro de 2014
"Resta essa faculdade incoercível de sonhar
De transfigurar a realidade, dentro dessa incapacidade
De aceitá-la tal como é, e essa visão
Ampla dos acontecimentos, e essa impressionante
E desnecessária presciência, e essa memória anterior
De mundos inexistentes, e esse heroísmo
Estático, e essa pequenina luz indecifrável
A que às vezes os poetas dão o nome de esperança."
segunda-feira, 3 de novembro de 2014
Salomon van Ruysdael, River Scene (1632, National Gallery, Londres)
Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
William Butler Yeats (1899)