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June 29 2017

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June 28 2017

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Cloches de Noël et de Pâques (The Bells of Christmas and Easter), Book/illustration, Paris, Champenois, Piazza, 1900                

In-4 (302 x 225 mm). Broché, emboîtage remplié percaline verte de l'éditeur.

illustration : encadrement de texte et vignette à chaque page d'Alphonse Mucha  (via:  Sothebys)

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Studies for The Arts, 1898

Alphonse Mucha

See in lightbox for larger images. 

Top l:        study for Poetry

Top r:        study for Painting

Bottom l:   study for Music

Bottom r:   study for Dance

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Study for La Madonna of the Lilies, 1903

Alphonse Mucha  

June 27 2017

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June 26 2017

Unending Love

I seem to have loved you in numberless forms, numberless times…
In life after life, in age after age, forever.
My spellbound heart has made and remade the necklace of songs,
That you take as a gift, wear round your neck in your many forms,
In life after life, in age after age, forever.

Whenever I hear old chronicles of love, its age-old pain,
Its ancient tale of being apart or together.
As I stare on and on into the past, in the end you emerge,
Clad in the light of a pole-star piercing the darkness of time:
You become an image of what is remembered forever.

You and I have floated here on the stream that brings from the fount.
At the heart of time, love of one for another.
We have played along side millions of lovers, shared in the same
Shy sweetness of meeting, the same distressful tears of farewell-
Old love but in shapes that renew and renew forever.

Today it is heaped at your feet, it has found its end in you
The love of all man’s days both past and forever:
Universal joy, universal sorrow, universal life.
The memories of all loves merging with this one love of ours –
And the songs of every poet past and forever.

Rabindranath Tagore

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Line Drawings 

Pablo Picasso 

June 23 2017

The ascendancy over mens minds of the ruins of the stupendous past, the past of history, legend and myth, at once factual and fantastic, stretching back and back into ages that can but be surmised, is half-mystical in basis. The intoxication, at once so heady and so devout, is not the romantic melancholy engendered by broken towers and mouldered stones; it is the soaring of the imagination into the high empyrean where huge episodes are tangled with myths and dreams; it is the stunning impact of world history on its amazed heirs.
— Rose Macaulay

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Auriga (detail of The Charioteer of Delphi, 478 or 474 BC)  from the series:   “Il tempo grande scultore"That Mighty sculptor, Time

Photographer:  Giovanni Ricci Novara

From Wiki: The Charioteer of Delphi, also known as Heniokhos (Greek: Ηνίοχος, the rein-holder), is one of the best-known statues surviving from Ancient Greece, and is considered one of the finest examples of ancient bronze sculptures. The life-size (1.8m) statue of a chariot driver was found in 1896 at the Sanctuary of Apollo in Delphi. It is now in the Delphi Archaeological Museum.

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Emperor Constantius Chlorus, marble bust, ca. 300 AD. from the series: “Il tempo grande scultore” That Mighty sculptor, Time 

Photographer:  Giovanni Ricci Novara

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Nemrut-Dagh - from the series: “Il tempo grande scultore” That Mighty sculptor, Time 

Photographer:  Giovanni Ricci Novara

From Wiki:  “Nemrut or Nemrud (Turkish: Nemrut Dağı; Kurdish: Çiyayê Nemrûdê‎; Armenian: Նեմրութ լեռ) is a 2,134-metre-high (7,001 ft) mountain in southeastern Turkey, notable for the summit where a number of large statues are erected around what is assumed to be a royal tomb from the 1st century BC. The name is a relatively modern one, dating back to the Middle Ages. In Armenian legend, Hayk defeated the Biblical king Nimrod (equated with Bel) and buried him in these mountains. The conquering Arabs gave many ancient ruins they encountered the name Nimrud, including the famous Assyrian capital.” wiki

Ruins are the cathedrals of Time.

Marty Rubin

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Hermes and the Infant Dionysus -   from the series: “Il tempo grande scultore” That Mighty sculptor, Time 

Photographer:  Giovanni Ricci Novara

From wiki:  “Hermes and the Infant Dionysus also known as the Hermes of Praxiteles or the Hermes of Olympia is an ancient Greek sculpture of Hermes and the infant Dionysus discovered in 1877 in the ruins of the Temple of Hera, Olympia"

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Torso di guerriero - from the series: “Il tempo grande scultore” That Mighty sculptor, Time 

Photographer:  Giovanni Ricci Novara

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Laocoön and His Sons  - from the series:   “Il tempo grande scultore” That Mighty sculptor, Time 

Photographer: Giovanni Ricci Novara

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Nike - from the series: “Il tempo grande scultore” That Mighty sculptor, Time

Photographer:  Giovanni Ricci Novara

From wiki: “A relief from the parapet around the temple which shows an ancient goddess fixing her sandal. It is housed at the Acropolis Museum”

The stones here speak to me, and I know their mute language. Also, they seem deeply to feel what I think. So a broken column of the old Roman times, an old tower of Lombardy, a weather-beaten Gothic piece of a pillar understands me well. But I am a ruin myself, wandering among ruins.

Heinrich Heine

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Valle dei Templi, Agrigento, Sicily (Valley of Temples) -  from the series:   “Il tempo grande scultore” That Mighty sculptor, Time

Photographer:  Giovanni Ricci Novara

June 16 2017

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The Restorers at San Lorenzo Maggiore, Naples

Artist: Thomas Struth (German, born Geldern, 1954)

Date: 1988

Medium: Chromogenic print

Image: 119.1 x 159.7 cm (46 7/8 x 62 7/8 in.) Frame: 48 × 63 in. (121.9 × 160 cm)

Credit Line: Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel; Alfred Stieglitz Society Gifts; Jennifer Saul Gift; Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family; and Gary and Sarah Wolkowitz Gift, 2010 © Thomas Struth

Accession Number: 2010.121 - The Metropolitan Museum of Art

Description and image from The Metropolitan Museum of Art:  "The working method Struth devised for The Restorers, one of his first portraits, would become his standard procedure: photographing only subjects he could get to know over an extended period and collaborate with on how they wished to be seen. He also decided to focus on couples or groups defined by a shared history—often familial—or a communality of purpose, as with this portrait of four art restorers he befriended in Naples.

The setting they chose was the restorers’ current work place—the former refectory of a church then being used as a staging area for paintings from the surrounding area that had been damaged in a recent earthquake. The almost hypnotic effect achieved in this picture is due not only to the artist’s intimacy with his subjects and their own understanding of his aims but also to his technical choices. Struth uses a large-format view camera on a tripod, which, with its oversize negatives and slow exposure time allows for a tremendous amount of detail, and the shallow depth of field subtly pushes the four figures into the space of the viewer.”  (met)

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