View allAll Photos Tagged CONFIDENT
.
Morning sun is beating down over her right shoulder..
Pretty young girl with the smarts to match her looks....
Hand Held D50 Nikon, 17-55 2.8 Nikkor.
.
.
Please,
No Awards, Invites, Large Logos or Copy an Pastes.
.
.
.
La bambina con il vestitino "che bello domani iniziamo danza insieme!"
La bambina con i pantaloni "sono contenta che ci vieni anche tu!"
La bambina con il vestitino "è vero ci divertiamo tanto!"
durerà il tempo di un corso di danza? durerà una vita intera? loro ancora non lo sanno.. e io sicuramente non lo saprò mai.. quello che so è che quelle poche parole che ho ascoltato sono in questa foto!
There are some outfits I wear that make me feel so good about myself, and this is one of the. Hope you like. A happy Mothers Day to all those moms out there xx
Last day of the week, and if I am honest, beginning to feel a little bit better after suffering more than I'd like to admit since knacking my back before going to Svalbard.
This was the first time I have felt sure on my feet since then, happy and confident as my brain ordered them plates to climb a down, and they obeyed and I didn't feel like I was going to come tumbling back down.
But before all that, there was work. And putting out the bins.
Jools went to yoga, so was on bin duty. Made a second coffee and made ready for work.
My colleagues are travelling this weekend, both going to Taiwan, meanwhile I will have an online audit on Tuesday. My audits are loaded to the second half of the year, so for now I try to make sense of our planning "tool", and try to make sense of the chaos.
Its different chaos from the usual general chaos.
I have chosen to pick a fight with someone two corporate levels above me, mainly because I am right and they're not. And because, what the fuck?
Anyway, the morning was spent swapping messages as they were too busy for a call. And is going on holiday at the end of the day.
So I throw a few grenades over the wall before signing off, and smiled to myself.
Jools returned at half one, changes and we go out. It was a glorious afternoon, she was going to go swimming in the harbour, and I was going to meet Graham and look for orchids.
An orchid.
Jools said not to hurry back, so I wouldn't. Within reason.
Drove to Wye where I was to meet Graham, before I got in his car and we drove to another down.
Last week two people posted shots of a rare "yellow" form of a Late Spider, and after some detective work, I decided it was at the site we were about to explore. I had not been here before, and Graham had found it only a few weeks back, where he saw maybe 15 spikes.
We had to limbo under a fence, go along a track then up the down, where we saw the first Late Spiders.
In huge numbers.
And monster spikes too, one with 10 (ten) flowers, and many with unusual lip markings, colouration and one with a yellow spike.
And the spikes kept showing all up to the top of the down, but the orchid we came to find, we did not see.
Two hours passed, and I had to go to pick up Jools, so we walked back down to Graham's car, so he could run me to ours, then back along lanes to Stone Street and the short run to the motorway and to home.
Jools had met an old friend and they had talked for over an hour, so no worries on keeping her waiting.
We went back home, getting back at quarter past five, so time to feed the cats, and get ready for the quiz. Meanwhile, Jools went to collect a Chinese takeaway, so that when the quiz was done, I would be collected and we would go to Jen's for dinner and cards.
Sylv is still here, and running interference. She means well, but chaos follows here. Everywhere.
We eat well, then after packing away, we play cards, taking two hours to get through a game of Meld, as Sylv is poorly organised she seems just to stare at her cards. Jools helps here twice, and she wins the hands as a result.
But no John, it was too late for a hand of Queenie. So we went home.
Delphi in 1889
During the 1830s & 40s, the Canal transformed this region into a new cultural & economic entity. This new era propelled a now confident Delphi into the mid & the late 19th century. It was now ready to develop new structures to house the burgeoning businesses, & the social & religious organizations that compose the Delphi of today. The Little Church on the Canal is just one of many buildings at Canal Park which symbolize this caring community attitude.
The congregation of the German Lutheran Church was organized in March of 1889 at the residence of a William Hagan who was a well-known miller in Delphi.
The March 15th Delphi Times recorded that the German Lutheran Church is digging a foundation of a new church at the foot of Union Street. The land was purchased for $240,000.
In June the Times mentioned "The German Lutheran Church is so pretty a structure as one would see in a day's travel. The white edifice surrounded grounds speaks well for the enterprising congregation."
In April 1918 the Lutheran congregation voted to drop the name German from the constitution & hence forth it shall be known as the Evangelical Lutheran St. John congregation of Delphi, Indiana.
In August of 2016 the church building was moved from 6 blocks away on Union Street to this location in Canal Park. Supported by a grant from TAF, donations & many hours of work by volunteers the final stages of renovation were finished in the summer of 2017. We are very proud of the church & hope it will serve the community for many functions well into the future.
I walk with my head held high, not to put others down, but becase I deserve to be happy. I dresss myself up, not to make others look bad, but to make me look my best. I think I'mbeautiful, not to make others think they aren't, but because I think every girl should believe they are beauitful.
2015 Copyright Tracy T. Simpson with McKenzies. All rights reserved. Do not copy, reproduce, download or use in any way without written permission.
A high resolution image is available for purchase. Contact us at mckenzies_photography@outlook.com
Like other chickadee species, mountain chickadees move constantly and don't spend any spare time beyond the harbor of the trees, making them a bit of a challenge to photograph. That's why I took so many pics of them, and why I especially like this one.
Although these little guys are similar to the black-capped chickadees we have in town (4,500 ft elevation), their markings are just a little different, and they enjoy much higher elevations (in this case, about 9,000 ft). I love both kinds for the sweet sounds they make.
Tallinn, Estonia.
"Sixteen, I was silly, confused and incapable. Twenty-five I was smart, confident and decisive. Forty-five, I am silly, confused, insecure and incapable. Who would have thought that this mature period is so short a man's age? "Jules Feiffer
Scientists have discovered that people are the happiest at the beginning and end of their lives. At the age of 40, the graph of happiness makes the head of the U-shaped arc, and this "hard every" remains exactly on the bottom of this graph. The highest risk group is "weaker gender", ie men in their 40s.
"Men's Home" is the five main characters - four men and one ... home. The home that the man built with his wife and which should be sold off after a break. Does she have a depression? Loneliness? Yeah, but this does not talk to the men. But what are the men really talking about? So with each other? If they have come to the forties in the "hard time"?
And then that's home. Valuable and valued. How long has you been done? Home - it's a fortress, a sense of security and ... love. Yes, love is still the most. Funny, that's how easy it is. Really funny
Premiere: February 4, 2011
Translator
Margus Alver
Director and artist
Andres Noormets
Light artist
Margus Vaigur
In parts
Ago Anderson (Endla),
Mait Malmsten (Drama Theater),
Indrek Sammul (Drama Theater) and
Riho Kütsar (Vanemuine)
THE MEDIA
The last chance to see the menus of middle-aged men
- kultuur.postimees.ee, August 30, 2017
How do men reach the middle of the crisis? Wrong, crises send us through life!
- Silja Paavle / Ohio Post, 07.02.2011
Indrek Sammul and "The Men's Home" brought together schoolgirls in Ugala
- Andres Laasik / Eesti Päevaleht, 07.02.2011
The four new theater actors will take part in the new production
- Ragnar Kond / ERR, Feb 04, 2011
The Voyage of Life: Childhood
West Building, Main Floor—Gallery 60
•Date: 1842
•Medium: Oil on Canvas
•Dimensions
oOverall: 134.3 × 195.3 cm (52⅞ × 76⅞ in.)
oFramed: 162.9 × 224.8 × 17.8 cm (64⅛ × 88½ × 7 in.)
•Credit Line: Ailsa Mellon Bruce Fund
•Accession Number: 1971.16.1
•Artists/Makers:
oArtist: Thomas Cole, American, 1801-1848
Overview
Cole’s renowned four-part series traces the journey of an archetypal hero along the “River of Life.” Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of “Youth” and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature’s fury, evil demons, and self-doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.
From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero’s triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. Cole’s intrepid voyager also may be read as a personification of America, itself at an adolescent stage of development. The artist may have been issuing a dire warning to those caught up in the feverish quest for Manifest Destiny: that unbridled westward expansion and industrialization would have tragic consequences for both man and nature.
Inscription
•Lower Left: 1842 / T. Cole / Rome
Provenance
Sold by the artist to George K. Shoenberger [1809-1892], Cincinnati, perhaps as early as 1845 and no later than May 1846;[1] Shoenberger heirs, after 20 January 1892;[2] purchased 1908 by Ernst H. Huenefeld, Cincinnati;[3] gift 1908 to Bethesda Hospital and Deaconess Association of Methodist Church of Cincinnati;[4] sold 17 May 1971 through (Hirschl & Adler Galleries, New York) to NGA.
[1]For a discussion of a possible 1845 date, see Thomas Cole, Exh. cat. Memorial Art Gallery of the University of Rochester, 1969: 35. Other sources place the acquisition a bit later than 1845; see Paul D. Schweizer, “The Voyage of Life: A Chronology,” in The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985: 45 (“December 1846?”), and Ellwood C. Parry III, The Art of Thomas Cole: Ambition and Imagination, Newark, Delaware, 1988: 332 (“sometime late in 1846 or, more likely, early in 1847”); however in a Boston Transcript article entitled “The Voyage of Life,” which appeared 21 May 1846, the pictures are mentioned as then belonging to “a wealthy gentleman of Cincinnati.”
[2]A letter of April 1979 from Mrs. Robert Heuck (in NGA curatorial files) specifies: “Mr. Shoenberger died in 1892, at which time many of the belongings of the home were given to heirs.” Shoenberger died 20 January 1892; for additional information, see The Biographical Cyclopaedia and Portrait Gallery with an Historical Sketch of the State of Ohio, 6 vols., Cincinnati, 1895: 6:1457-1458.
[3]Mrs. Robert Heuck, letter of April 1979 (in NGA curatorial files) states: “In 1908 Mr. and Mrs. Ernest W. [sic] Huenefeld purchased the land [and the house and contents].”
[4]Edward H. Dwight and Richard J. Boyle, “Rediscovery: Thomas Cole’s ‘Voyage of Life’,” Art in America 55 (May 1967): 62.
Associated Names
•Bethesda Hospital and Deaconess Association
•Hirschl & Adler Galleries
•Huenefeld, Ernst H.
•Shoenberger, George K.
Exhibition History
•1842—Annual Exhibition of Modern Artists, Piazza del Popolo, Rome, 1842, no cat.
•1842—Private Exhibition, Luther Terry’s studio, Orto di Napoli, Rome, 1842.
•1843—Pictures by Thomas Cole N.A. … The Voyage of Life! A Series of Allegorical Pictures, National Academy of Design, New York, 1843-1844, no. 1.
•1843—Second Exhibition, Boston Artists’ Association, 1843, no. 1.
•1844—Paintings Exhibited…, Pennsylvania Academy of Fine Arts, Philadelphia, 1844, no. 1.
•1848—Western Art Union, Cincinnati, 1848, no cat.
•1854—Pictures at the Ladies’ Gallery, Cincinnati, 1854, 2 and 5, no. 20, as Infancy.
•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 25, repro.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints, Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985, 4, 5, 28, 30-32, 34-36, 38-40, 42, 44, 45, 48, 53, 66-69, no. 33.
•1994—Thomas Cole: Landscape into History, National Museum of American Art, Washington, D.C.; Wadsworth Atheneum, Hartford; The Brooklyn Museum, 1994-1995, fig. 115.
•1995—Loan for display with permanent collection, The Detroit Institute of Arts, 1995-1996.
•2000—Explorar el Edén: Paisaje Americano del Siglo XIX, Fundación Colección Thyssen-Bornemisza, Madrid, 2000-2001, no. 2, repro.
Technical Summary
Secondary ground layers include red under the top left corner; yellow under the boat and angel; red under the center in the light area of mountain; red under top right corner in the light area of sky; red under the water around the boat. Infrared reflectography reveals some underdrawing of mountain contours in the right middle and far distance. There are scattered small losses along the edges, a small loss below the boat, and craquelure throughout.
All four paintings in The Voyage of Life series were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970-1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
Bibliography
•1843—“Cole’s Pictures at the National Academy of Design.” Anglo American (30 December 1843): 239.
•1843—“Dottings on Art and Artists. No. II.” New World 6 (25 February 1843): 246.
•1843—“Mr. Cole’s Paintings.” New-York Daily Tribune (26 December 1843): 2.
•1843—New-York Daily Tribune (18 February 1843): 3.
•1844—“A Few Words About Mr. Cole’s Paintings.” New World 8 (17 February 1844): 217.
•1844—“Cole’s Paintings.” New-York Daily Tribune (9 January 1844): 2.
•1844—“Editor’s Table.” The Knickerbocker 23 (January/February 1844): 97, 196.
•1844—P., S.H.J. “To Thomas Cole.” New Mirror 2 (27 January 1844): 269.
•1847—Transactions of the Western Art Union for the Year 1847. Cincinnati, 1847: 25.
•1848—Bryant, William Cullen. A Funeral Oration, occasioned by the death of Thomas Cole delivered before the National Academy of Design, New York, May 4, 1848. Philadelphia and New York, 1848: 30.
•1848—Whitley, Thomas W. Reflections on the Government of the Western Art Union and a Review of the Works of Art on Its Walls. [Originally published in the Herald of Truth] Cincinnati, 1848: 17-18.
•1849—Lanman, Charles. “The Epic Paintings of Thomas Cole.” Southern Library Messenger 15 (June 1849): 353.
•1849—Transactions of the Western Art Union for the Year 1848. Cincinnati, 1849: 10.
•1853—Noble, Louis Legrand. The Course of Empire, Voyage of Life, and other Pictures of Thomas Cole, N.A.. New York, 1853: 295-298, 301, 309, 312-314, 317, 320-322, 353, 359.
•1854—“Thomas Cole.” National Magazine 4 (April 1854): 318-321.
•1855—“Sketchings.” The Crayon 1 (7 February 1855): 92.
•1858—“Notes and Gleanings—Cole’s Pictures of Life.” National Magazine 13 (September 1858): 284-285.
•1860—Green, George W. Biographical Sketches. New York, 1860: 101, 105, 110-112.
•1860—“The Artists of America—Taken from New American Cyclopaedia.” The Crayon 7 (February 1860): 46.
•1865—Cummings, Thomas S. Historic Annals of the National Academy of Design (1825-1863). Philadelphia, 1865. Reprint, New York, 1965: 170, 176, 201.
•1932—Mayer, Frank Blackwell. With Pen and Pencil on the Frontier in 1851: The Diary and Sketches of Frank Blackwell Mayer. Edited by Bertha L. Heilbron. Reprint, Saint Paul, 1932: 41.
•1954—La Budde, Kenneth James. “The Mind of Thomas Cole.” Ph.D. dissertation, University of Minnesota, Minneapolis, 1954: 171, 212.
•1962—Devane, James. “Sightseers Have Visited Scarlet Oaks for 95 Years.” Cincinnati Enquirer (20 May 1962): 6A.
•1964—Noble, Louis Legrand. The Life and Works of Thomas Cole (1853). Edited by Elliot S. Vesell. Cambridge, Massachusetts, 1964: 220-224, 231, 233-235, 237, 239-240, 264.
•1967—Dwight, Edward H., and Richard J. Boyle. “Rediscovery: Thomas Cole’s ‘Voyage of Life’.” L’Art et les Artistes 55 (May 1967): 60-63, repro. 62.
•1967—Merritt, Howard S. “Thomas Cole’s List, ‘Subjects for Pictures.’” In Baltimore Museum of Art, Annual II: Studies on Thomas Cole, an American Romanticist. Baltimore, 1967: 84, 90.
•1970—Riordan, John. “Thomas Cole: A Case Study of the Painter-Poet Theory ofArt in American Painting from 1825-1850.” 2 vols. Ph.D. dissertation, Syracuse University, 1970: 1:99-100; 2:345, 455-497.
•1973—Wallach, Alan Peter. “The Ideal American Artist and the Dissenting Tradition: A Study of Thomas Cole’s Popular Reputation.” Ph.D. dissertation, Columbia University, New York, 1973: 70-72, 106.
•1976—Kurland, Sydney. “The Aesthetic Quest of Thomas Cole and Edgar Allan Poe: Correspondence in their Thought and Practice in Relation to their Time.” Ph.D. dissertation, Ohio University, Athens, 1976: 105-109, 172, repro. 227.
•1977—Wallach, Alan. “The Voyage of Life as Popular Art.” The Art Bulletin 59 (1957): 234.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 133, repro.
•1980—Coen, Rena N. “Cole, Coleridge and Kubla Khan.” Art History 3 (June 1980): 218, 227, pl. 31.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 11, 14, 88, repro. 88.
•1981—Virdis, Caterina Limentani. “Paesaggio e racconto in Edgar Allan Poe.” Artibus et Historiae 4 (1981): 90, 94, repro. 89.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 96, 112-113.
•1983—Schweizer, Paul D. “Another Possible Literary Source for Thomas Cole’s Voyage of Life.” In “New Discoveries in American Art.” Edited by Jayne A. Kuchina. The American Art Journal 15 (1983): 74-75.
•1985—The Voyage of Life by Thomas Cole, Paintings, Drawings, and Prints. Exh. cat. Museum of Art, Munson-Williams-Proctor Institute, Utica, New York, 1985: 66-69.
•1987—Sarnoff, Charles A. “The Voyage of Life Had a Life of Its Own.” Paper presented to the NGA, January 1987.
•1987—Wilmerding, John. American Marine Painting. Rev. ed. of A History of American Marine Painting, 1968. New York, 1987: 44, 46, 47, color repro. 42.
•1988—Parry, Ellwood C., III. The Art of Thomas Cole: Ambition and Imagination. Newark, London, and Toronto, 1988: 218, 228, 265-268, 270-272, 275, 277, 280, 284-285, 291-298, 301-303, 332, 338, 378.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 11, 17, 102, 103, repro. 102.
•1990—Powell, Earl A., III. Thomas Cole. New York, 1990: 103.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 261, 263, color repro.
•1991—Wilmerding, John. American Views: Essays on American Art. Princeton, 1991: 56, 67, repro. 57.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 145, repro.
•1994—Truettner, William H., and Alan Wallach. Thomas Cole: Landscape into History. Exh. cat. Natl. Mus. of Am. Art, Wadsworth Atheneum, Hartford; Brooklyn Museum. Washington,1994: 42,46-47,79,82,84,98-101,113,130-133,138,144,149-150,152,154,182, no. 115.
•1995—Apostolos-Cappadona, Diane. The Spirit and the Vision: The Influence of Christian Romanticism on the Development of 19th-Century American Art. Atlanta, 1995: 137-148, fig. 26.
•1996—Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 95-108, color repro.
•1998—Boeckl, Christine M. “Path/Road/Crossroads.” In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:692.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 308-310, no. 247, color repros.
•2012—“Rethinking ‘Luminism’: Taste, Class, and Aestheticizing Tendencies in Mid-Nineteenth-Century American Landscape Painting.” In The Cultured Canvas: New Perspectives on American Landscape Painting edited by Nancy Siegel. Lebanon, N.H., 2012: 133-134.
•2013—Corbett, David Peters. “Painting American Frontiers: ‘Encounter’ and the Borders of American Identity in Nineteenth-Century Art.” Perspective 2013, no. 1: 140, 141, color fig. 9.
From American Paintings of the Nineteenth Century, Part I:
1971.16.1 (2550)
The Voyage of Life: Childhood
•1842
•Oil on Canvas, 134.3 × 195.3 (52⅞ × 76⅞)
•Ails a Mellon Bruce Fund
•Inscriptions:
oAt Lower Left: 1842 / T. Cole / Rome
Technical Notes
All four paintings were executed on herringbone twill fabric with moderately fine threads and a moderately rough surface. The paintings were lined (apparently for the first time) and the original panel-back stretchers were replaced during treatment in 1970—1971. The presence of unused tack holes and the pattern of wear on the canvas edges suggest that the paintings were originally stretched and painted on slightly larger stretchers, and then restretched by the artist on the panel-backed stretchers. All four paintings have white ground layers; in specific areas of each painting (see individual comments, below) secondary ground layers of different colors were applied. Infrared reflectography reveals only minimal underdrawing. Paint was applied moderately thinly and with low and broad brushstrokes in some areas such as the skies, and more thickly and with some high impasto in details such as the figures and foliage. In general, the paintings are in excellent condition, with only scattered small losses, some craquelure, and minor abrasion. In 1970-1971, discolored varnish was removed and the paintings were restored.
1971.16.1 (Childhood): Secondary ground layers include red under the top left corner; yellow under the boat and angel; red under the center in the light area of mountain; red under top right corner in the light area of sky; red under the water around the boat. Infrared reflectography reveals some underdrawing of mountain contours in the right middle and far distance. There are scattered small losses along the edges, a small loss below the boat, and craquelure throughout.
Description by the Artist:
First Picture: Childhood
A stream is seen issuing from a deep cavern, in the side of a craggy and precipitous mountain, whose summit is hidden in clouds. From out the cave glides a Boat, whose golden prow and sides are sculptured into figures of the Hours: steered by an Angelic Form, and laden with buds and flowers, it bears a laughing Infant, the Voyager whose varied course the artist has attempted to delineate. On either hand the banks of the stream are clothed in luxuriant herbage and flowers. The rising sun bathes the mountains and the flowery banks in rosy light.
The dark cavern is emblematic of our earthly origin, and the mysterious Past. The Boat, composed of Figures of the Hours, images the thought, that we are borne on the hours down the Stream of Life. The Boat identifies the subject in each picture. The rosy light of the morning, the luxuriant flowers and plants, are emblems of the joyousness of early life. The close banks, and the limited scope of the scene, indicate the narrow experience of Childhood, and the nature of its pleasures and desires. The Egyptian Lotus in the foreground of the picture is symbolical of Human Life. Joyousness and wonder are the characteristic emotions of childhood.
A me non piacciono le persone che inventano scuse, che ti fanno credere che sbagli in continuazione, che non ti danno merito delle cose buone, che cercano sempre il lato negativo, che ti mettono da parte solo perchè non sei uguale a loro, che dicono di non essere interessati a te ma che scrutano in continuazione cio’ che fai per commentarlo e criticarlo. Amo invece chi ti ama come sei, e ti sorride, senza volere nulla in cambio.
Dino Di Girolamo