Henri Cartier-Bresson - "For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to 'give a meaning' to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression. . . . "
An Edward Hopper Scrapbook - Art, friends, places, shows . . . "This scrapbook, compiled by the staff of the Smithsonian American Art Museum, offers a glimpse into Hopper's life, his friends, and the paintings that have fascinated art lovers worldwide ever since Hopper first came to prominence during the mid 1920s.
Thumb through the scrapbook page by page or find specific items according to the themes listed on the left." - (Treasures from the Smithsonian American Art Museum - Washington, DC)
Artists' Perspectives: Ellsworth Kelly on L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848-1911), by Vincent van Gogh - (Metropolitan Museum of Art, NYC)
Rebels: Painters and Poets of the 1950s - "America demands a poetry that is bold, modern and all-surrounding and kosmical, as she is herself . . . . Although Walt Whitman wrote that prescription shortly after the Civil War, it also vividly describes the generation of American poets who came of age after World War II. Particularly during moments of cultural change, poets have joined artists on the front lines of expanding consciousness by forging a vernacular language that gives expression to contemporary life." - (National Portrait Gallery, Smithsonian Institution)
Boetti - Boetti's theoretical universe - Historical work by the Italian artist Alighiero Boetti presented for the first time in South America at Fondation Proa in Buenos Aires, Argentina.
QUOTES: - "A harvest moon like an orange gong appeared over the ridge of the mountain, and soon it seemed to sail down in stately pearliness to hang above the lake, slits of moonlight creeping into the bottom of the boathouse as Bugler unties the rope, then, lifting an oar, he steers a slow passage through a lattice . . . . Water birds start in revolt, their cries strangled, signalling outrage that the nighttime solitude of the lake is interrupted. A windless night, the water a mirror in which piles of moving cloud make soft, expiring patterns . . . .
Everything seemed the same, the same chores, the same crows, rain, Goldie with her wet fawn back to the window feeling sorry for herself, then sudden shafts of sunlight yellowing the rained-on grass and around the roots of the beech tree a crop of weirdly orange-coloured mushrooms . . . .
- - - -
Cloontha it is called --a locality within the bending of an arm. A few scattered houses, the old fort, lime-dank and jabbery and from the great whooshing belly of the lake between grassland and callow land a road, sluicing the little fortresses of ash and elder, a crooked road to the mouth of the mountain . . . . "(Excerpts from 'Wild Decembers' - Edna O'Brien)
NOTES: - In the warm sunshine and play of shadow beneath the high clouds, the future . . . . "The sun will not rise or set without my notice, and thanks." - (Winslow Homer, 1895)
THE WORK FEATURED ABOVE: - 'Sun and Clouds' - 1882. Winslow Homer (American, 1836-1910). Watercolor on paper H: 31.6 W: 54.5 cm. Gift of Charles Lang Freer, F1913.31a-b. (Freer Gallery of Art and Arthur M. Sackler Gallery - Washington, DC) . . . . . . . . AUDIO: -
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