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November 08 2017

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“Art historian, dealer, and BBC television host Philip Mould recently posted a video to his Twitter that reveals a gleaming 17th century painting hiding underneath two centuries of yellowed varnish. The protective finish is applied to protect paintings from wear, but over time will begin to discolour.”

“The only details known about the mysterious lady is from an inscription on the painting that notes she was 36 when the work was completed in 1618.”


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November 07 2017

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November 05 2017

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November 03 2017

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October 25 2017

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October 24 2017

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October 20 2017

Count each day as a separate life.

Marcus Annaeus Seneca , 54 BC – c. 39 AD

September 28 2017

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September 27 2017

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September 25 2017

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平福百穂 Hirafuku Hyakusui (1877 - 1933)

Rough Coast, 1926   

color on paper, a pair of two-fold screens   

each 150.5×141.0 

The National Museum of Modern Art, Tokyo

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I do believe in an everyday sort of magic – the inexplicable connectedness we sometimes experience with places, people, works of art and the like; the eerie appropriateness of moments of synchronicity; the whispered voice, the hidden presence, when we think we’re alone.

Charles de Lint  

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Robert Motherwell

Elegy to the Spanish Republic No. 1, 1948
Medium: Ink on paper
Object number: 639.1987
The Museum of Modern Art (MOMA, NYC)

Description from The Metropolitan Museum of Art:  “ Beginning in about 1948, Robert Motherwell made works that would evolve into an ongoing series of over one hundred painted variations on a theme that he called Elegies to the Spanish Republic.  Initially inspired by the Spanish Civil War as well as by the poetry of Harold Rosenberg and Federico García Lorca, the real subject of Motherwell’s Elegies is not any particular literary source or political event but rather a general meditation on life and death.  Although specific paintings may express an individual spirit, or “tone voice,” they remain a family group, related to one another by subject and by similarities in composition and format.  In all of these paintings, the horizontal white canvas is rhythmically divided by two or three freely drawn vertical bars and punctuated at various intervals by ovoid forms, creating a structure seemingly heraldic in nature.  The paintings are almost always composed entirely of black and white—the colors of mourning and radiance, of death and life.  Motherwell has remarked on the entanglement of these forces in these works, as a metaphor for his understanding of the experience of living. 

Motherwell’s Elegies of the 1960s reflect his Abstract Expressionist affiliations in the gestural, painterly treatment of form, the rapid execution, and the integration of accidental effects, such as spattered paint.”

Image:   The Museum of Modern Art (MOMA, NYC)

Poetry in painting:

I knew who had sent them in those

Green cases
Who doesn’t lose his mind will receive
Like me
That wire in my neck up to the ear.

Harold Rosenberg, from  A Bird for Every Bird

Related post:   HERE

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At Five in the Afternoon   

Fig. 7, from the series Elegies to the Spanish Republic  

Artist:    Robert Motherwell                                                                          

Date:     1950  

Accession Number:     2003.25.4   

Fine Arts Museums of San Francisco 

de Young Legion of Honor


Artemis: The painting is Motherwell’s response to Federico Garcia Lorca’s Llanto por la muerte de Ignacio Sánchez Mejías (Lament for the Death of Ignacio Sánchez Mejías)

Because you have died forever 

like all the dead of the earth
like all the dead who are forgotten
under a mound of darkened dogs.

No one knows you. No. But I sing to you.
I sing for the future your profile and your grace.
The ripe gleam of your wisdom.

Your appetite for death and the taste of its mouth.
The sadness borne in your valiant joy.

It will take a long time, if at all,
for an Andaluz to be born so clear,
so rich with adventure…

Related post:  HERE

September 24 2017

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