View allAll Photos Tagged Repent
Valparaíso
De repente se abrió de par en par esta mañana, la ventana
de mi corazón que mira a tu corazón.
Y maravillosamente vi mi nombre, aquel con que me nombra
tu voz más íntima y querida, escrito sobre las hojas y las flores en tu corazón.
Y esperé silencioso.
Un instante se alzó, volando, el visillo que separa tus cantos de los míos.
Y descubrí que en la claridad de tu mañana, en tu corazón, alguien cantaba
mis canciones futuras, las que no he soñado ni cantado todavía. Y para aprender
mis propias canciones, me senté, silencioso, a tus pies.
Rabindranath Tagore - La ventana
De repente , abrí los ojos. Parecía que había pasado tres meses durmiendo y eramos. Eramos algo parecido a la libertad. Mil preguntas en el agua y un montón de desorden incosciente que traía frío y viento del norte-otra vez-.
Ya después de incorporarme del sofá , de comprobar que la taza de café que deje tan solo anoche seguía en el mismo sitio y que mis zapatillas de "estar por casa" no se habian movido , decidí levantarme, para mirar por la ventana mientras disfrutaba del sueño casi eterno que acabó como si ya no hubiese más camino que recorrer y bueno , quizá ésto no acabe así y haya sido todo un mero capricho que , en menos de dos besos desaparecería como vino , eterno y divino, valiente y enérgico , pero a la vez , indiferente y demasiado querido.
Y después de todo esto , ya descubrí que hoy ya nada era como me dejó la noche y que había llegado el punto exacto en el que algo tenía que cambiar, algo tenía que morir para nacer de nuevo,ésta vez , le tocaba a la luz. Que sepas , que ésto solo pasa cuando me mezclo entre la gente e intento empezar a creerme que soy cómo los demás , pero tu ya sabes como miento y lo que significa una tangible mirada, que no hipócrita, dedicándola al azul eterno.
various 'stations' were present at our altar - providing an interactive way for us to experience God's forgiveness.
De repente no puedo respirar
Necesito un poco de libertad
Que te alejes por un
Tiempo de mi lado
Que me dejes en paz.
Siempre fue mi manera de ser
No me trates de comprender
No hay nada que se pueda hacer
Soy un poco paranoico lo siento.
Al ratito ya te empiezo a extrañar
Me preocupa que te pueda perder
Necesito que te hacerque a mi
Para sentir el calor de tu cuerpo
Un osito de peluche de taiwan
Una cascara de nuez en el mar
Suavecito como alfombra de piel
Delicioso como el dulce de leche.
Irish Church at Harpers Ferry. The church escaped demolition during the civil war by changing sides!
De repente no puedo respirar,
necesito un poco de libertad,
que te alejes por un tiempo de mi lado,
que me dejes en paz.
Siempre fue mi manera de ser,
no me trates de comprender,
no hay nada que se pueda hacer,
soy un poco paranoico lo siento.
Al ratito ya te empiezo a extrañar
me preocupa que te pueda perder,
necesito que te acerques a mi,
para sentir el calor de tu cuerpo.
THE REPENTANT ST. PETER
El Greco
( 1600 - 1605 or later )
Domenikos Theotokopoulos (El Greco) was born in Candia (Iráklion), Crete, in 1541, but little is known about his early life. He took up his vocation as a painter in Crete but around 1568 was in Venice, where he evidently studied the works of Jacopo Bassano, Tintoretto, Titian, and Veronese. Arriving in Rome in 1570, he became part of a circle of learned churchmen and other notables who shared an interest in the classics, literature, and art. El Greco left for Spain in 1577, possibly in the hope of obtaining more commissions than he had received in Italy. He seems to have pinned his hopes on Phillip II, who was recruiting painters for the decoration of the Escorial palace near Madrid. Although rejected as a court artist, he secured commissions in Toledo, and took up permanent residence there, becoming a citizen in 1589. He developed a highly original style characterized by the elongation of the human figure and flickering brushwork, and he painted mostly for churches and religious orders in and around Toledo, notably the masterpiece, The Burial of the Count of Orgaz.
Recalling the traditions of Byzantine icon painting, El Greco adopted a close-up view, thereby charging The Repentant Saint Peter with great feeling. Significantly, El Greco figured in Duncan Phillips’s attempt to employ baroque as a critical rather than a chronological category: “It is possible to be classic or romantic, realist or abstractionist, impressionist or expressionist in a baroque way.” While recognizing the importance of El Greco’s stylistic innovations for modern artists, Phillips maintained that El Greco’s plastic means were in the service of the artist’s own inner life, invoking another twentieth-century notion as he claimed El Greco for expressionism. Phillips insisted that El Greco’s emotional expression was ultimately submerged into a classical feeling for order: “As for El Greco, where in the history of art is there a better example of that search for unity and integration which the romantic artist requires to make his passionate utterance intelligible?”
El Greco’s painting El Greco’s The Repentant St. Peter (c. 1600–1605 or later), acquired by museum founder Duncan Phillips in 1922, is a visual embodiment of distressed emotions confined in a serene pictorial composition. It integrates the flatness, elongated forms, and sense of artifice of Byzantine art, the realism and stability of classicism, and the high drama of the baroque. Referring to Apostle Peter’s anguish at having denied Jesus three times after Jesus’s arrest (a betrayal that Jesus predicted at the Last Supper), El Greco’s painting captures Peter’s guilt, regret, and sorrow.
Bernhard Hildebrandt starts from El Greco’s painting and employs digital photography and video to stage an elaborate contemporary scene that highlights baroque theatricality and spectacle. Hildebrandt’s seven large-scale archival inkjet prints and seven-minute video all depict St. Peter’s repentance as a continuous, repetitive act, exploring the idea of unfolding time through digital media. The title, A Conjugation of Verb, further underlines the idea of repenting as an “active tense” of doing.
Much of Hildebrandt’s practice merges photography and painting. Although he was trained as a painter, photography has always had a great impact on Hildebrandt’s work; he is especially influenced by the medium’s early stages, from mid-19th century daguerreotypes to the late 19th-century photographic studies of motion by Eadweard Muybridge. The paintings of modern European masters Paul Cézanne, Georges Braque, Pablo Picasso, Juan Gris, Marcel Duchamp, and Giacomo Balla, who all in their different ways attempted to distort the picture plane into multifaceted fragments, are also highly inspirational for the artist. Recently, the nexus between painting and photography has become the primary focus of Hildebrandt’s work. Just as early photography challenged the illusionary quality and representational character of realistic painting and pushed painting toward abstraction, painting has also challenged photography both visually and conceptually. This Intersections project links the painterly aspects of photography and the photographic bases of painting that intrigue the artist.
www.phillipscollection.org/event/2013-06-26-intersections...
_______________________
Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
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"BE WISE AND REPENT. THE TIME IS FULFILLED. THE END IS AT HAND."
Honestly, it doesn't seem right to scribe your own edicts onto the pages of a bible using indelible ink.
Jesse got techy over at Alamosa on Panda Day. Kickflip Back 50 dropper. I'm really getting into these edits. www.abqflow.blogspot.com
Quedarse en casa de repente para disminuir la propagación de la actual pandemia de Covid 19 puede poner a los miembros de cualquier familia en tensión, lo que a su vez puede dar lugar a discusiones en una familia que en general es armoniosa. Gurudev Sri Sri Ravi Shankar, fundador de El Arte de Vivir alienta con entusiasmo a los miembros de la familia a que conversen, pero que no se queden demasiado atascados en sus posiciones.
¿Están discutiendo en casa? Entonces eres humano, entonces eres inteligente. Si no hay ninguna discusión en casa, entonces es una granja de ovejas, una granja de pollos. Los seres humanos deben exhibir sus diferencias, y eso casi siempre terminará en discusiones. Si hay discusiones en casa, tienes una familia sana.
Sin embargo, no dejen que se salga de control. Observa cómo cada uno es diferente. Si no hay diferentes personas en casa, si todos son iguales, no puede pasar nada. Será todo muy aburrido, improductivo y poco creativo.
Los argumentos deben ser acogidos por todos con los brazos abiertos. Si acoges la discusión, verás que acabarás desarrollando tu sentido del humor. Las discusiones deben terminar con humor, en vez de con tristeza y frustración. La gente realmente inteligente sabe cómo discutir y cómo salir de ello. ¿Alguna vez te has reído de repente en medio de una discusión? El mejor resultado de cualquier conflicto puede implicar reacciones menos serias sobre nosotros mismos y sobre los demás.
Deja que los demás ganen. Al establecerte intencionalmente para dar a otros la oportunidad de ganar argumentos, te liberas de sus propias posiciones. A menudo nos aferramos a nuestras ideas y nos quedamos tan atascados. Por un momento, deja ir tus ideas. Deja que los demás ganen la discusión. Este es un ejercicio para ustedes hoy. ¿Qué vas a hacer? Cuando se presente una discusión en casa, deja que la otra persona gane la discusión. Dejen que todos den la victoria como un regalo a los que están discutiendo. Verán la magia que ocurre.
El arte de vivir es estar en armonía con los distintos puntos de vista y aceptar la singularidad de cada ser.