Posts Tagged ‘ painting ’

Cy Twombly’s Extravagant Synesthesia


Cy Twombly, “Untitled (Gaeta)” (1989), acrylic and tempera on paper mounted on wooden panel, 80 × 58 5/8 inches, Private Collection, © Cy Twombly Foundation. Courtesy Gagosian

Source: Cy Twombly’s Extravagant Synesthesia


Joan Baez on Her Next Chapter: ‘I Don’t Make History, I Am History’ – The New York Times







“Jorge Costa’s intricate, miniature cultural icons executed with the draftsman-like quality of a Dürer, stud and embed  the overall painting with their graphite presence, conjuring alarm, delight, surprise, and shock, individually, and as composites within the larger pictures, living in the western world. A depiction of the Lincoln Memorial sports a satellite dish and Mickey Mouse ears; a gas mask or the Pope, might save us from oil fumes, chemical spillages and pollution, but from ourselves? What could enliven us to what western culture’s swill of vacant images, consumerism, and earth’s degradation did and does to each of us, to this artist,  in our daily lives? Costa’s work enlivens. It helps us look at the road ahead, the one we’re on, get back on the tightrope and inch ourselves eventually upright until we can see the bigger picture, the wreckage we cause. Oil is a major player in some of these pieces, that’s clear. But Costa paints and draws fragility into these slow motion spoofs of a world in collapse.”

Donna Fleischer

John Berger on Rembrandt

WALTON FORD with Jason Rosenfeld


Walton Ford, Grifo de California, 2017, Watercolor, gouache and ink on paper, 60 1/4 × 83 3/4 inches 153 × 212.7 cm (unframed) © Walton Ford. Photography by Christopher Burke. Courtesy Gagosian.

Walton Ford – The Brooklyn Rail

Robert D. Wilson’s Painting – Haiku Commentary

not now, crow …
the wind’s painting
canyon walls

© Robert D. Wilson
Under the Basho 2016


Source: Robert D. Wilson’s Painting – Haiku Commentary

First Known When Lost

George Reid (1841-1913), “Evening” (1873)

“In old-fashioned novels, we often have the situation of a man or a woman who realizes only at the end of the book, and usually when it is too late, who it was that he or she had loved for many years without knowing it.  So a great many haiku tell us something that we have seen but not seen.  They do not give us a satori, an enlightenment;  they show us that we have had an enlightenment, had it often, — and not recognized it.”

R. H. Blyth, Haiku, Volume 3: Summer-Autumn (Hokuseido Press 1952), page 322.

Although Blyth’s observation relates to haiku in particular, I would suggest that it is applicable to all forms of poetry, in all ages and in all places.

Source: First Known When Lost