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Le cose in cui non speri accadono più spesso delle cose in cui speri.
Tito Maccio Plauto
Il primo sole si affaccia fra i banchi di foschia, all'orizzonte, ammantando la scena di una meravigliosa luce dorata
Foto dal mio archivio, Arquà Petrarca, Padova
#arquà #padova #petrarca #clouds #gold #oro #albero #quote #quotation #dream #morning #hope #speranza
“The more I live, the more I learn. The more I learn, the more I realize, the less I know.”
― Michel Legrand
Michel Legrand was a French musical composer, arranger, conductor, and jazz pianist. Legrand was a prolific composer, having written over 200 film and television scores, in addition to many songs
art created from my photos
This image was posted for the 1/30/15 challenge at Digitalmania (www.flickr.com/groups/digitalmania/pool/) to use an affirmative quotation about art in images.
Also posted for the Feb 2015 challenge at The Hypothetical Awards (www.flickr.com/groups/1179479@N25/discuss/), theme: Passion for Photography, Love of Art.
I used "Art is Life. Life is Art" as my quotation for this image. The quote has been attributed to both Kahlil Gibran and Deiter Rot (or Roth.) Yoko Ono also said, “Art is my life and my life is art.”
Regardless of who said it, it has always been one of my favorite art quotations.
I used trees as symbols of life and the up-side-down trees as roots that go deep, beyond what is seen with the naked eye. The circle is symbolic of the life cycle. The gradual change from black and white realistic photo to colorful abstract art represents how an artist views the world, not as what is, but what can be.
NOTE: I replaced the image with a different version on 2/7/15. I thought the text obliterated some of the more interesting parts of the background and it was bothering me for several days, so I finally changed and reposted it. The image is the same; only the text size & placement has changed.
First of all,
I needed to play this afternoon!
Hours later . . . here is what transpired.
Without going into detail, I must add that in the past few days
I've encountered some strange situations . . . and when I looked up "Harriet Comfort" . . . and discovered she was "a tireless advocate for the mentally ill, after struggling to get treatment for a family member diagnosed with bipolar disorder" . . .
well, it just all fit . . .
like a good crown on a tooth . . .
So the silly quotation also seemed appropriate, after having to get up to an alarm this morning at o dark 30 . . .
The only thing that didn't fit was my toothbrush in the wine bottle! (only kidding, I'm not into the alcohol . . .
not to mention the awful way red wine stains one's teeth!)
“The first thing I do is check my alarm clock
to make sure the time is right,
then I wash my hands,
then I check my alarm clock again,
so I have to wash my hands again.
Then I dip my toothbrush in alcohol
to make sure there are no germs on it.”
~ Harriet Comfort ~
...weise Worte unter der Brücke
...wise Words under the bridge
(it's easyier to split a core of an atom, than a prejudice)
And may we live in a world at peace and with the awareness of God's love in every sunset, every flower's unfolding petals, every baby's smile, every lover's kiss, and every wonderful, astonishing, miraculous beat of our heart.Best wishes!
Great collection of quote to describe what your feel.
It is free to share or download image quotes about funny quotations .
The following are some of the best quotes from famous people :
Ben Stiller celebrates his 50th birthday on 30 November, 2015. A writer, director and actor, Ben...
"If you can't find a way create one"
and
"Always take into consideration the fact that you might be dead wrong"
Eternal lovers don't sense whether it is spring or winter while they're happy, as soon as they get used to it can last forever.
I came across a few funny and silly Quotations, and I want to share with you.I hope their make you laugh.
I created this poster using PhotoShop. It is meant to be printed at a size of 8x10 or 16x20. You are free to print and hang in your own space or classroom. Thanks!
Leonardo Da Vinci painted this woman at two ages is that he himself had a screenplay. The canvas is not only an aesthetic work but also an allegory of the myth of Isis.The whole composition of the painting, its decorations and tasks combine in an orderly and chronological way all the elements of the myth of Isis. Thierry Gallier zooms in on certain parts of the painting and shows us scenes, objects and characters. Thus the famous phallus of Osiris is found in the meanders of a path in the background of the painting. It's all there! We let ourselves be guided by the author, especially since in the preamble of the book, he had given us a quotation from Leonardo da Vinci which invited the observer to find realities in graphical representations that could have appeared at first glance as abstract or random. The Italian genius would have been a follower of the language of birds applied to painting. Mona Lisa is... Isis. The world's most famous painting chronologically tells the story of Isis and Osiris.
The woman depicted in the Mona Lisa might be both a Chinese slave, and Leonardo da Vinci's mother, according to a new theory from Angelo Paratico, a Hong Kong-based historian and novelist.
The identity of the sitter for the portrait hanging in Paris' Louvre museum has long been a matter of debate. If Paratico's theory is correct, it means the 15th-century polymath was half-Chinese.
However, the historian's claims are tenuous.
Paratico told the South China Morning Post: "I am sure up to a point that Leonardo's mother was from the Orient, but to make her an oriental Chinese, we need to use a deductive method.
"One wealthy client of Leonardo's father had a slave called Caterina. After 1452, Leonardo's date of birth, she disappeared from the documents. She was no longer working there. During the Renaissance, countries like Italy and Spain were full of oriental slaves."It is also necessary to rethink Western ethnocentrism in order to regain the invention of landscape painting in China and certainly to rediscover the contribution of Taoist alchemy in medieval alchemy with the important role of religious emissaries.
In support of his theory, Paratico, who is finishing a book entitled Leonardo da Vinci: a Chinese scholar lost in Renaissance Italy, also cited Austrian neurologist Sigmund Freud's 1910 assumption that the painting was inspired by the artist's mother, and claimed that certain aspects of Da Vinci's life and work suggest an oriental link.
Freud was the first to apply psychoanalysis to art, choosing for his subject the life and work of Leonardo da Vinci. Observing Leonardo's partly fused image of the Virgin and St. Anne, he inferred that the artist had depicted his two mothers, his biological mother and his stepmother. This very early analytic discourse on parent loss and adoption changed the course of the interpretation of art. Freud explored the psychology of art, the artist, and aesthetic appreciation. Confronting the age-old enigma of the Mona Lisa, he proposed a daring solution to the riddle of the sphinxlike smile of this icon of art. His paper prefigures concepts of narcissism, homosexuality, parenting, and sublimation. Lacking modern methodology and theory, Freud's pioneering insights overshadow his naive errors. In this fledgling inquiry, based on a childhood screen memory and limited knowledge of Leonardo's artistic and scientific contributions, Freud identified with this Renaissance genius in his own self-analytic and creative endeavor.
"For instance, the fact he was writing with his left hand from left to right... and he was also a vegetarian which was not common," he told the paper. "Mona Lisa is probably a portrait of his mother, as Sigmund Freud said in 1910. On the back of Mona Lisa, there is a Chinese landscape and even her face looks Chinese."
Users of China's Twitter-like Sina Weibo were quick to express their incredulity, posting dozens of parodies of the painting.
One user replaced her features with unlikely faces ranging from Chinese male comedian Zhao Benshan (pictured below) to British actor Rowan Atkinson, to a grimacing robot holding a Mona Lisa mask.
"I now understand why her smile looks so mysterious and concealed – it's typically Chinese," said another poster.
THE VULTURE phantasy of Leonardo still absorbs our interest. In words which only too plainly recall a sexual act (“and has many times struck against my lips with his tail”), Leonardo emphasizes the intensity of the erotic relations between the mother and the child. A second memory content of the phantasy can readily be conjectured from the association of the activity of the mother (of the vulture) with the accentuation of the mouth zone. We can translate it as follows: My mother has pressed on my mouth innumerable passionate kisses. The phantasy is composed of the memories of being nursed and of being kissed by the mother. 1
A kindly nature has bestowed upon the artist the capacity to express in artistic productions his most secret psychic feelings hidden even to himself, which powerfully affect outsiders who are strangers to the artist without their being able to state whence this emotivity comes. Should there be no evidence in Leonardo’s work of that which his memory retained as the strongest impression of his childhood? One would have to expect it. However, when one considers what profound transformations an impression of an artist has to experience before it can add its contribution to the work of art, one is obliged to moderate considerably his expectation of demonstrating something definite. This is especially true in the case of Leonardo. 2
He who thinks of Leonardo’s paintings will be reminded by the remarkably fascinating and puzzling smile which he enchanted on the lips of all his feminine figures. It is a fixed smile on elongated, sinuous lips which is considered characteristic of him and is preferentially designated as “Leonardesque.” In the singular and beautiful visage of the Florentine Monna Lisa del Giocondo it has produced the greatest effect on the spectators and even perplexed them. This smile was in need of an interpretation, and received many of the most varied kind but none of them was considered satisfactory. As Gruyer puts it: “It is almost four centuries since Monna Lisa causes all those to lose their heads who have looked upon her for some time.” 1 3
Muther states: 2 “What fascinates the spectator is the demoniacal charm of this smile. Hundreds of poets and writers have written about this woman, who now seems to smile upon us seductively and now to stare coldly and lifelessly into space, but nobody has solved the riddle of her smile, nobody has interpreted her thoughts. Everything, even the scenery is mysterious and dream-like, trembling as if in the sultriness of sensuality.” 4
The idea that two diverse elements were united in the smile of Monna Lisa has been felt by many critics. They therefore recognize in the play of features of the beautiful Florentine lady the most perfect representation of the contrasts dominating the love-life of the woman which is foreign to man, as that of reserve and seduction, and of most devoted tenderness and inconsiderateness in urgent and consuming sensuality. Müntz 3 expresses himself in this manner: “One knows what indecipherable and fascinating enigma Monna Lisa Gioconda has been putting for nearly four centuries to the admirers who crowd around her. No artist (I borrow the expression of the delicate writer who hides himself under the pseudonym of Pierre de Corlay) has ever translated in this manner the very essence of femininity: the tenderness and coquetry, the modesty and quiet voluptuousness, the whole mystery of the heart which holds itself aloof, of a brain which reflects, and of a personality who watches itself and yields nothing from herself except radiance….” The Italian Angelo Conti 4 saw the picture in the Louvre illumined by a ray of the sun and expressed himself as follows: “The woman smiled with a royal calmness, her instincts of conquest, of ferocity, the entire heredity of the species, the will of seduction and ensnaring, the charm of the deceiver, the kindness which conceals a cruel purpose, all that appears and disappears alternately behind the laughing veil and melts into the poem of her smile…. Good and evil, cruelty and compassion, graceful and catlike, she laughed….” 5
Leonardo painted this picture four years, perhaps from 1503 until 1507, during his second sojourn in Florence when he was about the age of fifty years. According to Vasari he applied the choicest artifices in order to divert the lady during the sittings and to hold that smile firmly on her features. Of all the gracefulness that his brush reproduced on the canvas at that time the picture preserves but very little in its present state. During its production it was considered the highest that art could accomplish; it is certain, however, that it did not satisfy Leonardo himself, that he pronounced it as unfinished and did not deliver it to the one who ordered it, but took it with him to France where his benefactor Francis I, acquired it for the Louvre. 6
Let us leave the physiognomic riddle of Monna Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all the spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Monna Lisa was a portrait we cannot assume that he has added to her face a trait of his own so difficult to express which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy. This obvious conception is, e.g., expressed by A. Konstantinowa in the following manner: 5 7
“During the long period in which the master occupied himself with the portrait of Monna Lisa del Gioconda, he entered into the physiognomic delicacies of this feminine face with such sympathy of feeling that he transferred these creatures, especially the mysterious smile and the peculiar glance, to all faces which he later painted or drew. The mimic peculiarity of Gioconda can even be perceived in the picture of John the Baptist in the Louvre. But above all they are distinctly recognized in the features of Mary in the picture of St. Anne of the Louvre.” 8
But the case could have been different. The need for a deeper reason for the fascination which the smile of Gioconda exerted on the artist from which he could not rid himself has been felt by more than one of his biographers. W. Pater, who sees in the picture of Monna Lisa the embodiment of the entire erotic experience of modern man, and discourses so excellently on “that unfathomable smile always with a touch of something sinister in it, which plays over all Leonardo’s work,” leads us to another track when he says: 6 9
“Besides, the picture is a portrait. From childhood we see this image defining itself on the fabric of his dream; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.” 10
Herzfeld surely must have had something similar in mind when stating that in Monna Lisa Leonardo encountered himself and therefore found it possible to put so much of his own nature into the picture, “whose features from time immemorial have been imbedded with mysterious sympathy in Leonardo’s soul.” 7 11
Let us endeavor to clear up these intimations. It was quite possible that Leonardo was fascinated by the smile of Monna Lisa, because it had awakened something in him which had slumbered in his soul for a long time, in all probability an old memory. This memory was of sufficient importance to stick to him once it had been aroused; he was forced continually to provide it with new expression. The assurance of Pater that we can see an image like that of Monna Lisa defining itself from Leonardo’s childhood on the fabric of his dreams, seems worthy of belief and deserves to be taken literally. 12
Vasari mentions as Leonardo’s first artistic endeavors, “heads of women who laugh.” 8 The passage, which is beyond suspicion, as it is not meant to prove anything, reads more precisely as follows: 9 “He formed in his youth some laughing feminine heads out of lime, which have been reproduced in plaster, and some heads of children, which were as beautiful as if modeled by the hands of a master….” 13
Thus we discover that his practice of art began with the representation of two kinds of objects, which would perforce remind us of the two kinds of sexual objects which we have inferred from the analysis of his vulture phantasy. If the beautiful children’s heads were reproductions of his own childish person, then the laughing women were nothing else but reproductions of Caterina, his mother, and we are beginning to have an inkling of the possibility that his mother possessed that mysterious smile which he lost, and which fascinated him so much when he found it again in the Florentine lady. 10 14
The painting of Leonardo which in point of time stands nearest to the Monna Lisa is the so-called Saint Anne of the Louvre, representing Saint Anne, Mary and the Christ child. It shows the Leonardesque smile most beautifully portrayed in the two feminine heads. It is impossible to find out how much earlier or later than the portrait of Monna Lisa Leonardo began to paint this picture. As both works extended over years, we may well assume that they occupied the master simultaneously. But it would best harmonize with our expectation if precisely the absorption in the features of Monna Lisa would have instigated Leonardo to form the composition of Saint Anne from his phantasy. For if the smile of Gioconda had conjured up in him the memory of his mother, we would naturally understand that he was first urged to produce a glorification of motherhood, and to give back to her the smile he found in that prominent lady. We may thus allow our interest to glide over from the portrait of Monna Lisa to this other hardly less beautiful picture, now also in the Louvre. 15
Saint Anne with the daughter and grandchild is a subject seldom treated in the Italian art of painting; at all events Leonardo’s representation differs widely from all that is otherwise known. Muther states: 11 16
“Some masters like Hans Fries, the older Holbein, and Girolamo dei Libri, made Anne sit near Mary and placed the child between the two. Others like Jakob Cornelicz in his Berlin pictures, represented Saint Anne as holding in her arm the small figure of Mary upon which sits the still smaller figure of the Christ child.” In Leonardo’s picture Mary sits on her mother’s lap, bent forward and is stretching out both arms after the boy who plays with a little lamb, and must have slightly maltreated it. The grandmother has one of her unconcealed arms propped on her hip and looks down on both with a blissful smile. The grouping is certainly not quite unconstrained. But the smile which is playing on the lips of both women, although unmistakably the same as in the picture of Monna Lisa, has lost its sinister and mysterious character; it expresses a calm blissfulness. 12 17
On becoming somewhat engrossed in this picture it suddenly dawns upon the spectator that only Leonardo could have painted this picture, as only he could have formed the vulture phantasy. This picture contains the synthesis of the history of Leonardo’s childhood, the details of which are explainable by the most intimate impressions of his life. In his father’s home he found not only the kind step-mother Donna Albiera, but also the grandmother, his father’s mother, Monna Lucia, who we will assume was not less tender to him than grandmothers are wont to be. This circumstance must have furnished him with the facts for the representation of a childhood guarded by a mother and grandmother. Another striking feature of the picture assumes still greater significance. Saint Anne, the mother of Mary and the grandmother of the boy who must have been a matron, is formed here perhaps somewhat more mature and more serious than Saint Mary, but still as a young woman of unfaded beauty. As a matter of fact Leonardo gave the boy two mothers, the one who stretched out her arms after him and another who is seen in the background, both are represented with the blissful smile of maternal happiness. This peculiarity of the picture has not failed to excite the wonder of the authors. Muther, for instance, believes that Leonardo could not bring himself to paint old age, folds and wrinkles, and therefore formed also Anne as a woman of radiant beauty. Whether one can be satisfied with this explanation is a question. Other writers have taken occasion to deny generally the sameness of age of mother and daughter. 13 However, Muther’s tentative explanation is sufficient proof for the fact that the impression of Saint Anne’s youthful appearance was furnished by the picture and is not an imagination produced by a tendency. In 1910, after about a year from his trip to the US, Freud decided to write something on Leonardo da Vinci. The outcome of that decision was a novelette whose purpose was to expose a psychoanalytic study on Leonardo. Freud acknowledged that this endeavor was very tentative and his findings were based on a scarcity of biographical materials. Nevertheless, he established the framework of his book on a rumination about childhood that Leonardo left in one of his notebooks. Freud took that childhood contemplation and elaborated an artistic interpretation from it. First, here is Leo’s legacy to Freud:
It seems…that I was destined to occupy myself so thoroughly with a vulture, for it comes to my mind as a very early memory that, as I was in my cradle, a vulture came down to me, opened my mouth with its tails, and stuck me many times with its tail against my lips.
Freud, who was an erudite in religion and history, knew that the symbol for vulture was a hieroglyph for mother in ancient Egypt. Since Leonardo was an illegitimate child, Freud called him, romantically, the “vulture child.” Later on, Freud speculated that Leonardo had a very affectionate mother, and that passionate maternal love, coupled with the experience of not having a father, had an important influence on is early development. However, because of the over-protective and excessive love from her mother, Leonardo was subjected to too much femininity, which set the stage for his homosexuality. But that explained only the inception process of homosexuality. Full blown homosexual behavior comes later on in life, after the child finally becomes an adult and tends to repress his love for his mother and inadvertently identifies with her. Additionally, another important factor that plays a role in becoming a homosexual is anal eroticism. Anal eroticism comes from a fixation during the anal stage of psychosexual development.
This theory about the origins of homosexuality seems far-fetched. It was based on a vague account that Leonardo left behind, to which Freud found mainly an artistic interpretation. The book is replete with lyricism, so its appeal is understandable. Nevertheless, the conjectures Freud made are not entirely scientific.
The Evidence
In order to give some validity to Freud’s claims, we need to find if there is any evidence that support the fact that males from the homosexual community had (1) careless or missing fathers, (2) overly affective mothers, (3) strong maternal identification, and (4) some characteristics that relate to anal fixation.
Leonardo’s childhood was precisely as remarkable as this picture. He has had two mothers, the first his true mother, Caterina, from whom he was torn away between the age of three and five years, and a young tender step-mother, Donna Albiera, his father’s wife. By connecting this fact of his childhood with the one mentioned above and condensing them into a uniform fusion, the composition of Saint Anne, Mary and the Child, formed itself in him. The maternal form further away from the boy designated as grandmother, corresponds in appearance and in spatial relation to the boy, with the real first mother, Caterina. With the blissful smile of Saint Anne the artist actually disavowed and concealed the envy which the unfortunate mother felt when she was forced to give up her son to her more aristocratic rival, as once before her lover. 19
Our feeling that the smile of Monna Lisa del Gioconda awakened in the man the memory of the mother of his first years of childhood would thus be confirmed from another work of Leonardo. Following the production of Monna Lisa, Italian artists depicted in Madonnas and prominent ladies the humble dipping of the head and the peculiar blissful smile of the poor peasant girl Caterina, who brought to the world the noble son who was destined to paint, investigate, and suffer. 20
When Leonardo succeeded in reproducing in the face of Monna Lisa the double sense comprised in this smile, namely, the promise of unlimited tenderness, and sinister threat (in the words of Pater), he remained true even in this to the content of his earliest reminiscence. For the love of the mother became his destiny, it determined his fate and the privations which were in store for him. The impetuosity of the caressing to which the vulture phantasy points was only too natural. The poor forsaken mother had to give vent through mother’s love to all her memories of love enjoyed as well as to all her yearnings for more affection; she was forced to it, not only in order to compensate herself for not having a husband, but also the child for not having a father who wanted to love it. In the manner of all ungratified mothers she thus took her little son in place of her husband, and robbed him of a part of his virility by the too early maturing of his eroticism. The love of the mother for the suckling whom she nourishes and cares for is something far deeper reaching than her later affection for the growing child. It is of the nature of a fully gratified love affair, which fulfills not only all the psychic wishes but also all physical needs, and when it represents one of the forms of happiness attainable by man it is due, in no little measure, to the possibility of gratifying without reproach also wish feelings which were long repressed and designated as perverse. 14 Even in the happiest recent marriage the father feels that his child, especially the little boy has become his rival, and this gives origin to an antagonism against the favorite one which is deeply rooted in the unconscious. 21
When in the prime of his life Leonardo reencountered that blissful and ecstatic smile as it had once encircled his mother’s mouth in caressing, he had long been under the ban of an inhibition, forbidding him ever again to desire such tenderness from women’s lips. But as he had become a painter he endeavored to reproduce this smile with his brush and furnish all his pictures with it, whether he executed them himself or whether they were done by his pupils under his direction, as in Leda, John, and Bacchus. The latter two are variations of the same type. Muther says: “From the locust eater of the Bible Leonardo made a Bacchus, an Apollo, who with a mysterious smile on his lips, and with his soft thighs crossed, looks on us with infatuated eyes.” These pictures breathe a mysticism into the secret of which one dares not penetrate; at most one can make the effort to construct the connection to Leonardo’s earlier productions. The figures are again androgynous but no longer in the sense of the vulture phantasy, they are pretty boys of feminine tenderness with feminine forms; they do not cast down their eyes but gaze mysteriously triumphant, as if they knew of a great happy issue concerning which one must remain quiet; the familiar fascinating smile leads us to infer that it is a love secret. It is possible that in these forms Leonardo disavowed and artistically conquered the unhappiness of his love life, in that he represented the wish fulfillment of the boy infatuated with his mother in such blissful union of the male and female nature.
When the creative impulse sweeps over you, grab it. You grab it and honor it and use it, because momentum is a rare gift. ~Justina Chen
The portrait of Romanian Countess Anna de Noailles, Princess Bassaraba Brancovan is one of the iconic paintings of the 20th century by the Basque painter Ignacio Zuloaga.
Anna de NoaIles biography is the object of a new Anthology published as an E-Book under the title:
"Blouse Roumaine - the Unsung Voices of Romanian Women"
Presented and Selected by Constantin ROMAN
Anthology E-BOOK (11BM)
DISTRIBUTION: Online with credit card
COST: $ 54.99, £34.99 (ca Euros 35.50)
LINK: www.blouseroumaine.com/orderthebook_p1.html
CONTENTS:
2,250,000 words,
over 1,000 pages,
ca 160 illustrations in text
160 critical biographies,
58 social categories/professions,
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place
index and name index)
AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.
INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
NOTE:
Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.
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LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)
AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu
BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur
CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza
DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu
EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün
FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida
GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza
HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin
II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian
JJ *Doina Jela *Lucretia Jurj
KK *Mite Kremnitz
LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu
MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci
NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac
OO *Helen O’Brien *Oana Orlea
PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu
RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco
SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck
TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini
UU *Viorica Ursuleac
VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu
WW *Sabina Wurmbrand
ZZ *Virginia Zeani
Poetography - This weeks word/theme is Fun..
Font: Viner Hand ITC Regular
Summer means happy times and good sunshine. It means going to the beach, going to Disneyland, having FUN. By Brian Wilson
This was taken the last time I visited the Beach.. I had posted it as part of a little slide show so felt it was alright to repost for this week's word...
I created this poster using PhotoShop. It is meant to be printed at a size of 8x10 or 16x20. You are free to print and hang in your own space or classroom. Thanks!
Art of Love (The art of Love)
Uploaded by Delphinideaa on Feb 14, 2012
L'Art d'aimer, c'est faire fondre la glace!
Translation in English:
The Art of love, is to melt the ice!
also seen on Vimeo
OK, Folks, the secret is out!
Back in March I submitted my very first piece to my favorite quilting magazine!
There was a "challenge" right up my alley which I couldn't resist . . .
Out of over 100 submissions, 10 were published in a lovely format in the back
of the issue; and today I received the proof via my subscription. Don't think the
mag is on the newsstands yet, but it should be in all the craft stores, plus Border's,
Barnes & Noble and Bam!
I was especially excited because this was only the second quilted square I ever made!
Here's the letter I sent to the editor with my submission,
which tells a bit about the "Quilting Challenge" . . .
As a book artist, calligrapher and writer who has lately caught the quilting bug,
I was immediately inspired by your "Text Me" reader challenge in the
Feb/March 2013 issue of Quilting Arts!
So many ideas germinated in my mind weeks before
I could settle on a design!
My goal was to incorporate *part* of a poem I wrote about loving the moment
between wet ink on the page and dried thoughts.
I also wanted to include the typewriter illustration done by my husband
(with permission, of course), as we coordinate most of our projects.
Thus I made a photo transfer from Richard's watercolor,
which I detailed with machine top stitching and a little hand embroidery.
I'm passionate about the written word, and very old-fashioned in sending
snail mail art, combining calligraphy with type from my age-old typewriter.
Having studied shorthand in college back in the 60's, I'm fascinated
by the new verstion of "texting" but rarely use that means to communicate.
While creating, I receive great joy in incorporating "gifts" from friends.
The yellow ribbons were recently given to me by a friend's old collection of Brazilian silk threads,
and are symbolic of the ribbon necessary to transfer letters from the typewriter onto paper.
Thanks again for your amazing magazine which has been a source of great inspiration.
Of course I must add a quotation to complete this entry:
“Your idea of bliss is to wake up on a Monday morning knowing you haven't a single engagement for the entire week.
You are cradled in a white paper cocoon tied up with typewriter ribbon.”
~ Edna Ferber ~
Note: If you click on MY WEBSITE you'll see where the typewriter originated!
很少有雑誌能經我介紹兩遍以上，除非對方真的夠紮實有料。自從08年底知名網絡設計創意雑誌「PingMag」（http://pingmag.jp/）宣告暫止休刊後，我便開始改以「QUOTATION」做為對外発信的主要情報來源。這本由前「+81」首腦蜂賀亨一手催生的設計創意季刊，集結了各領域的設計創意信息，以世界潮流的國際觀點出發，提供讀者犀利而獨特的評論報導，內容橫跨網絡以及平面媒体，彷如一份日本版的「MONOCLE」。好比說這一期就分別專訪了線上流行時装雑誌「Hint Fashion Magazine」代表Fabien Baron，以及香港頂尖設計團隊「AllRightsReserved」創作總監SK.Lam等人。有別於「PingMag」博客式的即時特性，「QUOTATION」以更靈活的策略截取兩者之長找到了平衡，我想這或許會成為未來傳統雑誌發展的一項指標趨勢。
Quotation response: Intelligent people are full of doubts because there's always a possibility to explore, expand, research and find out more, as for stupid people - just follow blindly what the previous person said!
My commonplace book of quotations and pictures using the Moleskine japanese fold style (accordion) notebook
Highsmith, Carol M.,, 1946-, photographer.
[North Corridor, Great Hall. View of the U.S. Capitol at sunrise, seen through a window below a mural by Charles Sprague Pearce that shows female figures with quotation from Confucious that begins "Give instruction ...." Library of Congress Thomas Jefferson Building, Washington, D.C.]
2007.
1 photograph : digital, TIFF file, color.
Notes:
Carol M. Highsmith made this digital image by scanning a color transparency or negative that she created in the 1990s.
Title devised by Library staff.
Forms part of the Library of Congress Series in the Carol M. Highsmith Archive.
Published in: The Library of Congress: America's Memory, by Carol M. Highsmith and Ted Landphair. Golden, Colo: Fulcrum Publishing, 1994, p. 62.
Subjects:
Library of Congress Thomas Jefferson Building (Washington, D.C.)--2000-2010.
Format: Digital photographs--Color--2000-2010.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
More information about the Highsmith Collection is available at hdl.loc.gov/loc.pnp/pp.highsm
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/highsm.03188
Call Number: LOT 13860 [item]
Wings ~ Birdy
well i wished this looked different and better... but i was not able to do it like i wanted to...
next week there's going to be a better pic :)