Jules Morot – Poesia Francesa Contemporânea

Mozart

MOZART

 

 

 

 

 

 

Leem-se os gregos

 

suecos, alemães

 

ou a doce língua

 

de não sei quantos

 

de não sei que imóvel pedaço de página

 

claves de sol

 

talvez o latim o alano o islandês

 

e é sempre a mesma música

 

sempre como um veio numa flor grossa obscena

 

Diz um   um alfinete   diz outro

 

um parafuso

 

pois sim

 

uma fina difusa coisinha semimorta

 

semi-deitada

 

semi-cerrada

 

uma inteligente coisa muda

 

maior que um tiro na orelha

 

pois não

 

uma espécie de porta

 

de dor discreta.

 

 

Meu bom senhor

 

olhai

 

nos prados nas tabernas

 

nos ermitérios

 

nos armários

 

um rasto de cão

 

 

Nos óculos do primeiro violino

 

tudo desaparece.

 

 

Tendes vós sono, desejo

 

de novas estações? Tendes florins?

 

Tendes, acaso, em dias

 

já passados

 

mãos musicais, sinais

 

de outras mortes?

 

 

 

 

 

in “Le mardi-gras” (Honfleur – 2003/8)

 

Trad. Nicolau Saião
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Paul Gauguin

Eugène Henri Paul Gauguin (7 June 1848 – 8 May 1903) was a leading Post-Impressionist painter. His bold experimentation with coloring led directly to the Synthetist style of modern art while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential exponent of wood engraving and woodcuts as art forms.

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Paul Gauguin was born in Paris, France to journalist Clovis Gauguin and half-Peruvian Aline Maria Chazal, the daughter of proto-socialist leader Flora Tristan. In 1851 the family left Paris for Peru, motivated by the political climate of the period. Clovis died on the voyage, leaving three-year old Paul, his mother and his sister to fend for themselves. They lived for four years in Lima, Peru with Paul’s uncle and his family. The imagery of Peru would later influence Paul in his art. 

Visit!
http://www.paul-gauguin.net/

Hilda Hilst

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I smile when I wonder
Where in your room
You keep my verse.
Away from your
Political books?
In the first drawer
Close to the window?
Do you smile when you read
Or are you tired of seeing
Such abandon
Amorous spark
On my ripened face?
Do I seem beautiful
Or am I to you
Too much of a poet, perhaps,
And not serious enough?
What does the man think
Of the poet? That there’s no truth
In my drunkenness
And that you prefer
A friend more peaceful
And less adventurous?
That you simply cannot
Keep in your room
Worldly traces
Of my passionate words?
Do you see me as mad?
Do you see me as pure?
Do you see me as young?

 

Or is it real
That you never knew me?

Hilda Hilst
http://escamandro.wordpress.com/2013/05/24/beatriz-bastos-5-poemas-de-hilda-hilst-em-traducao-inglesa/

 

 

Georges Braque

braque1

NATUREZA-MORTA, 1911
ÓLEO S/ TELA; 54.1 x 65.2 cm
DOAÇÃO YOLANDA PENTEADO E FRANCISCO MATARAZZO SOBRINHO
Natureza Morta de Braque não se compõe apenas de vegetais, objetos ou animais, como comumente ocorre com as naturezas-mortas. Com características do Cubismo Sintético, a pintura insere-se na linguagem inicial dos pappiers collés. Ao pintar letras que depois serão coladas, que remetem a caracteres jornalísticos, junto a elementos naturais tradicionais, sua natureza morta ganha um outro, comum ao cotidiano do homem moderno: o jornal – que traz, na velocidade da era industrial, os últimos acontecimentos. Por outro lado, não deixa de conter em si o orgânico – a celulose -, que faz com que se incorpore ao quadro sem entrar em conflito com os outros itens, mas como um dado novo que a eles se soma. O preto, o acinzentado, os marrons, ocres, os tons amarelados remetem, desse modo, à terra: o vaso provém da cerâmica – o barro -, assim como o papel da madeira – a árvore – e, assim, os frutos e folhas. Todos se mesclam: as linhas se interseccionam levando à fusão dos elementos. O que se vê são dados, sugestões do que eles são. Ao se fundirem, confundem-se, lembrando sua mesma origem. São corpos independentes que, em sua coesão, revelam-se como sendo um só. E por serem independentes, ao mesmo tempo em que se interseccionam, esses elementos aparecem como fragmento, recorte do real, peças de um mosaico no qual o que se vê são também sugestões do que são, agora sob uma outra óptica.

 Braque2
Braque4
Braque 5
http://www.mac.usp.br/mac/templates/projetos/seculoxx/modulo1/construtivismo/cubismo/braque/obras.html

Caravaggio

Judith-and-Holofernes,-1599

Caravaggio was born in Milan, where his father, Fermo Merisi, was a household administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a propertied family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan. Caravaggio’s father died there in 1577 and his mother in 1584. It is assumed that the artist grew up in Caravaggio, but his family kept up connections with the Sforza and with the powerful Colonna family, who were allied by marriage with the Sforzas, and destined to play a major role later in Caravaggio’s life.

In 1584 he was apprenticed for four years to the Lombard painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Caravaggio appears to have stayed in the Milan-Caravaggio area after his apprenticeship ended, but it is possible that he visited Venice and saw the works of Giorgione, whom Federico Zuccaro later accused him of imitating, and Titian. He would also have become familiar with the art treasures of Milan, including Leonardo da Vinci’s Last Supper, and with the regional Lombard art, a style which valued simplicity and attention to naturalistic detail and was closer to the naturalism of Germany than to the stylised formality and grandeur of Roman Mannerism.

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http://www.caravaggio-foundation.org/biography.html