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Monday, September 30, 2019

Caspar David Friederich: Dreamer (Ruins of the Oybin)

Dreamer (Ruins of the Oybin), 1835
entered the Hermitage in 1918
transferred from the Anichkov Palace
(image source: pinterest)
no copyright infringement intended


This time the Rückenfigur is no longer a man. but the ruin of a cathedral. There is also the man here, of course, only he is rather completing our circle of viewers.

Here the portal of the cathedral has the role of Sprecher, of Vorleser: the priest staying in front of us, with his back to us, looking ahead, contemplating the infinite, focusing us on it. I read somewhere about the Sprecher from the medieval mysteries. Elsewhere I found again the Rückenfigur, referred to Buddhist rituals.

So is here the cathedral portal acting as a silent Sprecher? Or maybe the trees behind? Then the portal having the role of the Beatiful Gate from Eastern Orthodox churches?

I like Friederich's work a lot, while also it scares me a little. Maybe because of his too mystical approach? I'm much more relaxed in front of a Constable (or even a Turner), his contemporaries.

Or maybe what frightens me at Friederich is his very modern radicalism? Everyting reduced to the essence, we as the viewers and co-participants, the Sprecher in the middle, the background suggesting the ultimate impenetrability of the Universe?



(Caspar David Friedrich)

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Wednesday, September 25, 2019

Caspar David Friederich, Chalk Cliffs on Rügen

Chalk Cliffs on Rügen, 1818
Oskar Reinhart Collection (Am Römerholz in Winterthur, CH)
(image source: artsdot)
no copyright infringement intended


The painting depicts the view from the chalk cliffs of the Stubbenkammer, at that time one of the most famous lookout points on the island of Rügen. It is frequently but incorrectly believed that the Wissower Klinken outcrops in particular were a model for the painting; however, these did not exist at the time of the painting's creation, but appeared later because of erosion. Friedrich often composed his landscapes from carefully chosen elements of different sketches, so that a specific location is not necessarily discernible. Two trees, whose leaves cover the upper third of the painting, frame the scenery. Two men and a woman in town clothes gaze in wonder at the view. The thin figure in the middle is usually interpreted as Caspar David Friedrich himself. His hat lies beside him as a sign of humility. He seeks for a foothold in the grass as a symbol of the transience of life and looks into the abyss opening before him - the abyss of death. On the right, the man with crossed arms leans against the trunk of a dying tree and looks far out to the sea. The two tiny sailboats stand as symbols for the soul which opens to eternal life and correspond to the figures of the two men On the left, the woman in a red dress (who is usually identified as Friedrich's wife Caroline) sits beside an almost dried-up shrub: only the twigs around her face are leafing out. With her right hand she points either at the abyss or at the flowers bordering it. In contrast to the men, who gaze either at the abyss or into the distance, she communicates with the other figures - whether she feels threatened by the abyss or compelled by the natural beauty is unclear. The colors of the figure's clothes are also symbolic. The middle figure is blue, the color of faith; the left figure is red, that of love; and the right figure is green, that of hope. Thus they can be interpreted as embodiments of the three Christian theological virtues: faith, hope and love (source: artsdot)


The use of the Rückenfigur is common in Friedrich's works: a person (it could be also an object, for instance an unleafy tree, or a ruin) seen from behind stays in the foreground, contemplating with us together the view from the background, focusing us, his neck forcing us to view through his eyes, unseen by us, communicating us his emotion, making it our own. It's our mediator, and even if obviously silent, he is speaking for us and to us, our priest, our Sprecher, our Vorleser.

Well, here in the Chalk Cliffs on Rügen we have not one, but three Sprechers: one man contemplating the infinite of life, the other aghast of the abyss of death, while the lady is mediating between the two opposites, graciously putting them in balance.


(Caspar David Friedrich)

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Sunday, September 22, 2019

George Barker, Morning in Norfolk


Misty Norfolk Morning
turning to burning Turner this aqueous water colour idyll
(@ Bruce Cairns Photography)
no copyright infringement intended



As it has for so long
come wind and all weather
the house glimmers among
the mists of a little
river that splinters, it
seems, a landscape of
winter dreams. In the far
fields stand a few
bare trees decorating
those mists like the fanned
patterns of Georgian
skylights. The home land
of any heart persists
there, suffused with
memories and mists not
quite concealing the
identities and lost
lives of those loved once
but loved most. They haunt it
still. To the watermeadows
that lie by the heart they
return as do flocks of swallows
to the fields they have known
and flickered and flown so
often and so unforgettably over.
What fish
play in the bright wishing
wells of your painted
stretches, O secret
untainted little Bure,
I could easily tell,
for would they not be
those flashing dashers
the sometimes glittering
presentiments, images
and idealizations
of what had to be?
The dawn has brightened the
shallows and shadows and
the Bure sidles and idles
through weed isles and fallen
willows, and under
Itteringham Mill, and
there is a kind of rain-
drenched flittering in the
air, the night swan still
sleeps in her wings and over it all
the dawn heaps up the hanging
fire of the day.
Fowell's tractor blusters
out of its shed and drags
a day's work, like a piled sled
behind it. The crimson
December morning brims over
Norfolk, turning
to burning Turner
this aqueous water colour
idyll that earlier gleamed
so green that it seemed
drowned. What further
sanction, what blessing
can the man of heart intercede for
than the supreme remission
of dawn? For then the mind
looking backward upon its
too sullied yesterday,
the rotting stack of
resolution and refuse,
reads in the rainbowed sky
a greater covenant,
the tremendous pronouncement:
the day forgives.

Holy the heart in
its proper occupation
praising and appraising this
godsend, the dawn.
Will you lift up your eyes
my blind spirit and see
such evidence of
forgiveness in the heavens
morning after golden
morning than even
the blind can see?
(source: Poem Hunter)


I have searched and searched in this poem, line by line, for a misplaced word, an awkward phrase, anything that is not earthly perfection (Susan Williams)



(George Barker)

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Tuesday, September 17, 2019

George Barker, At Thurgarton Church

All Saints Church, Thurgarton
a small thatched flint church seen from the south
showing the nave and a smaller chancel
photo by Andrew Lowe Watson
(image source: wiki)
no copyright infringement intended


To the memory of my father

At Thurgarton Church the sun
burns the winter clouds over
the gaunt Danish stone
and thatched reeds that cover
the barest chapel I know.

I could compare it with
the Norse longboats that bore
burning the body forth
in honour from the shore
of great fjords long ago.

The sky is red and cold
overhead, and three small
sturdy trees keep a hold
on the world and the stone wall
that encloses the dead below.

I enter and find I stand
in a great barn, bleak and bare.
Like ice the winter ghosts and
the white walls gleam and flare
and flame as the sun drops low.

And I see, then, that slowly
the December day has gone.
I stand in the silence, not wholly
believing I am alone.
Somehow I cannot go.

Then a small wind rose, and the trees
began to crackle and stir
and I watched the moon by degrees
ascend in the window till her
light cut a wing in the shadow.

I thought: the House of the Dead.
The dead moon inherits it.
And I seem in a sense to have died
as I rise from where I sit
and out into darkness go.

I know as I leave I shall pass
where Thurgarton’s dead lie
at those old stones in the grass
under the cold moon’s eye.
I see the old bones glow.

No, they do not sleep here
in the long holy night of
the serene soul, but keep here
a dark tenancy and the right of
rising up to go.

Here the owl and soul shriek with
the voice of the dead as they turn
on the polar spit and burn
without hope and seek with
out hope the holy home below.

Yet to them the mole and
mouse bring a wreath and a breath
of the flowering leaves of the soul, and
it is from the Tree of Death
the leaves of life grow.

The rain, the sometime summer
rain on a memory of roses
will fall lightly and come a-
mong them as it erases
summers so long ago.

And the voices of those
once so much loved will flitter
over the nettled rows
of graves, and the holly tree twitter
like friends they used to know.

And not far away the
icy and paralysed stream
has found it also, that day the
flesh became glass and a dream
with no where to go.

Haunting the December
fields their bitter lives
entreat us to remember
the lost spirit that grieves
over these fields like a scarecrow.

That grieves over all it ever
did and all, all not
done, that grieves over
its crosspurposed lot:
to know and not to know.

The masterless dog sits
outside the church door
with dereliction haunting its
heart that hankers for
the hand that loved it so.

Not in a small grave
outside the stone wall
will the love that it gave
ever be returned, not for all
time or tracks in the snow.

More mourned the death of the dog
than our bones ever shall
receive from the hand of god
this bone again, or all
that high hand could bestow.

As I stand by the porch
I believe that no one has heard
here in Thurgarton Church
a single veritable word
save the unspoken No.

The godfathered negative
that responds to our mistaken
incredulous and heartbroken
desire above all to live
as though things were not so.

Desire to live as though the
two-footed clay stood up
proud never to know the
tempests that rage in the cup
under a rainbow.

Desire above all to live
as though the soul was stone,
believing we cannot give
or love since we are alone
and always will be so.

That heartbroken desire
to live as though no light
ever set the seas on fire
and no sun burned at night
or Mercy walked to and fro.

The proud flesh cries: I am not
caught up in the great cloud
of my unknowing. But that
proud flesh had endowed
us with the cloud we know.

To this the unspoken No
of the dead god responds
and then the whirlwinds blow
over all the things and beyond
and the dead mop and mow.

And there in the livid dust
and bones of death we search
until we find as we must
outside Thurgarton Church
only wild grasses blow.

I hear the old bone in me cry
and the dying spirit call:
I have forfeited all
and once and for all must die
and this is all that I know.

For now in a wild way we
know that justice is served
and that we die in the clay we
dread, desired, and deserved,
awaiting no Judgement Day.
(source: Poem Hunter)



(George Barker)

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Sunday, September 15, 2019

George Barker

George Barker
1913-1991
(image source: Poem Hunter)
no copyright infringement intended


A British poet who spent quite a number of years over the pond, in NYC's SoHo (and that after another sejour, in Japan), a guy who fathered fifteen children (by four women, wow!), catholic and bohemian (honi soit qui mal y pense), frank and elusive (according to Robert Fraser), tender and boisterous (according to the same), largely forgotten nowadays (as it happens), considered a genius in his time (T. S. Eliot dixit); that was (just in a few words) George BarkerPeter Wilby wrote about Barker (in an article published by The Guardian in 2008) that his work was passionate, intellectually challenging and higly original, his language incantatory and often hypnotic, with echoes of Blake, Housman and Verlaine; to frame Barker's opus a little more, let's add that he was associated with the New Apocalyptics  (whatever it means; actually a literary confrery of the forties cultivating the mythical and the surreal as a reaction against realism); here is one of his poems (I promise to come with some more):

O Who Will Speak From A Womb Or A Cloud?

Not less light shall the gold and the green lie
On the cyclonic curl and diamonded eye, than
Love lay yesterday on the breast like a beast.
Not less light shall God tread my maze of nerve
Than that great dread of tomorrow drove over
My maze of days. Not less terrible that tread
Stomping upon your grave than I shall tread there.
Who is a god to haunt the tomb but Love?

Therefore I shall be there at morning and midnight,
Not with a straw in my hair and a tear as Ophelia
Floating along my sorrow, but I shall come with
The cabala of things, the cipher of nature, so that
With the mere flounce of a bird's feather crest
I shall speak to you where you sit in all trees,
Where you conspire with all things that are dead.
Who is so far that Love cannot speak to him?

So that no corner can hide you, no autumn of leaves
So deeply close over you that I shall not find you,
To stretch down my hand and sting you with life
Like poison that resurrects. O remember
How once the Lyrae dazzled and how the Novembers
Smoked, so that blood burned, flashed its mica,
And that was life. Now if I dip my hand in your grave
Shall I find it bloody with autumn and bright with stars?
Who is to answer if you will not answer me?

But you are the not yet dead, so cannot answer.
Hung by a hair's breadth to the breath of a lung,
Nothing you know of the hole over which you hang
But that it's dark and deep as tomorrow midnight.
I ask, but you cannot answer except with words
Which show me the mere interior of your fear,
The reverse face of the world. But this,
This is not death, the standing on the head
So that a sky is seen. O who
Who but the not yet born can tell me of my bourne?

Lie you there, lie you there, my never, never,
Never to be delivered daughter, so wise in ways
Where you perch like a bird beyond the horizon,
Seeing but not being seen, above our being?
Then tell me, shall the meeting ever be,
When the corpse dives back through the womb
To clasp his child before it ever was?
Who but the dead can kiss the not yet born?

Sad is space between a start and a finish,
Like the rough roads of stars, fiery and mad.
I go between birth and the urn, a bright ash
Soon blazed to blank, like a fire-ball. But
Nothing I bring from the before, no message,
No clue, no key, no answer. I hear no echo,
Only the sheep's blood dripping from the gun,
The serpent's tear like fire along the branch.
O who will speak from a womb or a cloud?
(text source: Poem Hunter)

Quite difficult, almost impossible to read, but the effort should be rewarding, believe me. Try to read it aloud, without haste, don't care about some words that seem senseless. And you will discover that line after line you've entered  something like a holy (or demonic?) space, keeping you seducted by something like an incantantion, a piece of ancient divination, of wizardry, a mantra.






(A Life in Books)

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Wednesday, September 11, 2019

Maas and Menken

Marie Menken
source: Joseph J. Menkevich (Bigjoe5216)
no copyright infringement intended


Marie Menken, and her 16 mm Bolex camera. The photo is part of Menken's family archive and it was uploaded on the web by her nephew, Joseph J. Menkevich - a family originary from Lithuania, the parents (Petras Menkevicius and Mary Kicis) were born around 1875 and immigrated to US some time before 1900.

Menken started her career as an artist painter, soon being irresistibly attracted by filmmaking, or more precisely by experimenting in filmmaking. Later she would try to explain her ways:

There is no why for my making films. I just liked the twitters of the machine, and since it was an extension of painting for me, I tried it and loved it. In painting I never liked the staid and static, always looked for what would change the source of light and stance, using glitters, glass beads, luminous paint, so the camera was a natural for me to try – but how expensive! (wiki)

Marie Menken and her husband Willard Maas - a couple of great innovative artists at the middle of  the twentieth century in New York, experimenting new ways in cinematography, mentoring younger filmmakers, and enjoying a great bohemian life style. Their friend Andy Warhol described the two guys as the last of the great bohemians, writing and filming and drinking, involved with all the modern poets — ‘scholarly drunks’ (wiki). And perhaps the most moving hommage came from another friend of them, Edward Albee, with his Who's afraid of Virginia Woolf? - the adorable George and Martha in the play were actually modeled after Maas and Menken.

Warhol, and Albee, and Maas, and Menken - all friends, the same great generation of the middle of the twentieth century.





(By Brakhage)

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Thursday, September 05, 2019

Jeep pe Titulescu



Primesc dela un bun prieten (Florin R Făgărășeanu) acest mesaj: Jeep-ul Samurai pozat de tine e al unui amic, unul dintre cei mai titrați și pasionați off-roaders din Ro. Ca oricărui cizmar, i s-a stricat incălțămintea (mașina) de oraș și a purtat cizmele de vânătoare!






(Bucureşti)

Wednesday, September 04, 2019

ATV-ul de pe Strada Frumoasă











(Bucureşti)

Sunday, September 01, 2019

Strada Frumoasă



Cred că este una din cele mai frumoase străzi bucureştene, îşi merită din plin numele. Unele case au o alură pariziană, altele sunt tihnite, aşa cum erau Bucureştii acum vreo sută - o sută cinzeci de ani. Există câteva vile moderne, apărute în ultimii ani, există şi câteva curţi superbe.













La numărul 51 au locuit mulţi ani profesorii Alfred Rusescu şi Adrian Davidoviciu. Primul a fost unul din pediatrii eminenţi ai României, al doilea a fost printre fruntaşii elitei care a construit industria informatică românească. Mult din ceea ce ştiu am învăţat dela el.





Dar să vă povestesc despe casa dela numărul 8.  Aici locuiau odată de mult oameni cu care eram înrudit. Îi vizitam des şi mă simțeam întotdeauna foarte bine la ei. Anii au trecut, oamenii aceştia au plecat din România şi fiecare din ei şi-a urmat viaţa lui. Copiii lor, un băiat şi o fată, sunt mari acum. Am păstrat legătura cu ei, fata a fost naşa nepoatei mele mai mari, iar băiatul este naşul nepoatei mele a doua. Au mai trecut nişte ani dela cele două botezuri, mulți ani, şi nepoatele mele se apropie şi ele de 20 de ani.
Mă întrebam ce s-a mai întâmplat cu vechea lor casă, de pe Strada Frumoasă no.8. Nu mai există, noii proprietari au construit altceva în schimb.



Aproape se află acum Spitalul Sanador.









(Bucureşti)