arts-histoire

[arts-histoire]

Detalle de Judith decapitando a Holofernes. Caravaggio (1599)

[arts-histoire]

Portrait of a Woman (detail) by Marie Wandscheer, 1886.

#painting #portraiture

[arts-histoire]

“I opened myself to the gentle indifference of the world.” 

#satie #music #classical music #modernism

[arts-histoire]

Rooms

By Charlotte Mews, 1869-1928

I remember rooms that have had their part     In the steady slowing down of the heart. The room in Paris, the room at Geneva, The little damp room with the seaweed smell, And that ceaseless maddening sound of the tide—     Rooms where for good or for ill—things died. But there is the room where we (two) lie dead, Though every morning we seem to wake and might just as well seem to sleep again     As we shall somewhere in the other quieter, dustier bed     Out there in the sun—in the rain.

#modernism #charlotte mews #poetry #literature

[arts-histoire]

“Bright star, would I were stedfast as thou art”

By John Keats, 1795-1821

Bright star, would I were stedfast as thou art—         Not in lone splendour hung aloft the night And watching, with eternal lids apart,         Like nature's patient, sleepless Eremite, The moving waters at their priestlike task         Of pure ablution round earth's human shores, Or gazing on the new soft-fallen mask         Of snow upon the mountains and the moors— No—yet still stedfast, still unchangeable,         Pillow'd upon my fair love's ripening breast, To feel for ever its soft fall and swell,         Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever—or else swoon to death.

#john keats #romanticism #poetry #19th century #literature

[arts-histoire]

Frédéric Chopin’s Complete Nocturnes played by Brigitte Engerer  1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto 2. 5:53 Op. 9, No. 2 in E flat major. Andante 3. 10:29 Op. 9, No. 3 in B major. Allegretto 4. 17:09 Op. 15, No. 1 in F major. Andante cantabile 5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto 6. 25:43 Op. 15, No. 3 in G minor. Lento 7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto 8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto 9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto 10. 47:27 Op. 32, No. 2 in A flat major. Lento 11. 53:01 Op. 37, No. 1 in G minor. Lento 12. 59:51 Op. 37, No. 2 in G major. Andante 13. 1:06:17 Op. 48, No. 1 in C minor. Lento 14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino 15. 1:20:11 Op. 55, No. 1 in F minor. Andante 16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto 17. 1:31:19 Op. 62, No. 1 in B major. Andante 18. 1:38:51 Op. 62, No. 2 in E major. Lento 19. 1:45:11 Op. 72, No. 1 in E minor. Andante 20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione 21. 1:53:18 Op. posth in C minor. Andante sostenuto ⏤ Nocturne, (French: “Nocturnal”), in music, is a composition inspired by, or evocative of, the night, and cultivated in the 19th century primarily as a character piece for piano.

#music #chopin #classical music

[arts-histoire]

Sailing to Byzantium

by William Butler Yeats, 1865 - 1939 I That is no country for old men. The young In one another's arms, birds in the trees, —Those dying generations—at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect. II An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence; And therefore I have sailed the seas and come To the holy city of Byzantium. III O sages standing in God's holy fire As in the gold mosaic of a wall, Come from the holy fire, perne in a gyre, And be the singing-masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity. IV Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come.

#william butler yeats #poetry #literature

[arts-histoire]

from, The Great Modern Poets

An anthology of the best poets and poetry since 1900. Edited by Michael Schmidt.  The reader who reads only for sense, rapidly running an eye across the lines without hearing the way the words work together, without getting the tongue, lips and teeth involved in the verse itself, will miss the poetry and probably the sense as well. This is because in poetry much of the sense and most of the pleasure reside in the sounds the poems make, the ways in which accented syllables balance with unaccented syllables, how the alliteration and assonance (the repetition and patterning of consonants, or of vowel sounds, within a line or over several lines) enact the sense, contribute to the tone; how the poem creates patterns of expectation through sound, and then plays variations, reversals, inversions.  Poems are wonderfully open, democratic spaces. They may ask us to read them several times before we understand the balances and contrasts, the lights and shadows, that they offer, but they are for the most part not deliberately obscure. If we read poems as prose, they have very little to say. 

Prose uses the medium of language while poetry serves language and explores it. 

#poetry #literature

[arts-histoire]

Mischa Maisky plays Bach Cello Suite No.1 in G 

#bach #cello #classical music #music