quinta-feira, 29 de outubro de 2015
terça-feira, 27 de outubro de 2015
segunda-feira, 26 de outubro de 2015
George Frederic Watts, After the Deluge (c.1885–1892)
Write it on your heart
that every day is the best day in the year.
He is rich who owns the day, and no one owns the day
who allows it to be invaded with fret and anxiety.
Finish every day and be done with it.
You have done what you could.
Some blunders and absurdities, no doubt crept in.
Forget them as soon as you can, tomorrow is a new day;
begin it well and serenely, with too high a spirit
to be cumbered with your old nonsense.
This new day is too dear,
with its hopes and invitations,
to waste a moment on the yesterdays.
sexta-feira, 23 de outubro de 2015
Viktor M. Vasnetsov, The Flying Carpet, a depiction of the hero of Russian folklore, Ivan Tsarevich (1880, Nizhny Novgorod State Art Museum)
Goethe terá afirmado:
«Magic is believing in yourself, if you can do that, you can make anything happen.»
Eu, sinceramente, acredito mais que:
«Life is a compromise between fate and free will.»
Mas, há sempre a possibilidade de ter outros pontos de vista
quinta-feira, 22 de outubro de 2015
segunda-feira, 19 de outubro de 2015
Walter Crane, The Lady's Chamber
in Clarence Cook, The House Beautiful, New York, Scribner, Armstrong and Co., 1878.
Give to barrows, trays and pans
Grace and glimmer of romance;
Bring the moonlight into noon
Hid in gleaming piles of stone;
On the city’s paved street
Plant gardens lined with lilacs sweet;
Let spouting fountains cool the air,
Singing in the sun-baked square;
Let statue, picture, park and hall,
Ballad, flag and festival,
The past restore, the day adorn,
And make to-morrow a new morn.
So shall the drudge in dusty frock
Spy behind the city clock
Retinues of airy kings,
Skirts of angels, starry wings,
His fathers shining in bright fables,
His children fed at heavenly tables.
‘T is the privilege of Art
Thus to play its cheerful part,
Man on earth to acclimate
And bend the exile to his fate,
And, moulded of one element
With the days and firmament,
Teach him on these as stairs to climb,
And live on even terms with Time;
Whilst upper life the slender rill
Of human sense doth overfill.
sexta-feira, 16 de outubro de 2015
Ary Scheffer, Portrait of Charles Dickens (1855)
«Never take a mean advantage of anyone in any transaction, and never be hard upon people who are in your power. Try to do to others, as you would have them do to you, and do not be discouraged if they fail sometimes. (...)»
Charles Dickens, carta para o filho Edward Bulwer Lytton ("Plorn") (1868)
quinta-feira, 15 de outubro de 2015
quarta-feira, 14 de outubro de 2015
segunda-feira, 12 de outubro de 2015
sexta-feira, 9 de outubro de 2015
quinta-feira, 8 de outubro de 2015
David Harber, The Portal
«The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself there where I am not, in an unreal, virtual space that opens up behind the surface; I am over there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent: such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there (...). The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there.»
Michel Foucault, «Of Other Spaces: Utopias and Heterotopias»,
quarta-feira, 7 de outubro de 2015
"Since as you know, you cannot see yourself
So well as by reflection, I your glass
Will modestly discover to yourself
That of yourself which you yet know not of."
In M. Digby Wyatt, W. R. Tymms, The History, Theory, and Practice of Illuminating, London, Day and Son, 1861, p. 22 (2.ª parte)
segunda-feira, 5 de outubro de 2015
Paul Serusier, L'averse (1893, Musée d'Orsay, Paris)
Soneto do Guarda-Chuva
Ó meu cogumelo preto
minha bengala vestida
minha espada sem bainha
com que aos moiros arremeto
chapéu-de-chuva, meu Anjo
que da chuva me defendes
meu aonde por as mãos
quando não sei onde pô-las
ó minha umbela – palavra
tão cheia de sugestões
tão musical tão aberta!
meu pára-raios de Poetas
minha bandeira da Paz,
minha Musa de varetas!”
Sebastião da Gama (1950)
domingo, 4 de outubro de 2015
Giotto di Bondone, São Francisco a pregar para as aves
Lá vai São Francisco
De pé descalço
Dormindo à noite
Junto ao moinho
Bebendo a água
Lá vai São Francisco
De pé no chão
No seu surrão
Dizendo ao vento
Bom dia, amigo
Dizendo ao fogo
Lá vai São Francisco
Levando ao colo
Vinicius de Morais (1970)
sexta-feira, 2 de outubro de 2015
Edmund Dulac (in Myth & Moor)
«(…) it would be as foolish to expect a man to be a good performer upon any instrument, because he had learnt the theory of music, as it would be to suppose that he must necessarily paint in harmonious colouring, because he had studied the theory of balance in combination. To the experienced eye and hand, functions become intuitive, which, to the mere theorist, however profound, are toil and weariness of spirit.»
M. Digby Wyatt, W. R. Tymms, The History, theory, and Practice of Illuminating, London, Day and Son, 1861, 2.ª parte, pp. 9-10.