El Profeta, de Yibrán Jalil Yibrán

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El Amor
El amor no da nada sino sí mismo y no toma nada sino de sí mismo.
El amor no posee, tampoco es poseído;
Porque el amor basta al amor.
Cuando tienes el amor no debes decir que «Dios está en mi corazón» sino mejor, «yo estoy en el corazón de Dios».

Y no pienses que puedes dirigir el rumbo del amor, porque el amor, si te cree digno, dirige tu rumbo.
El amor no tiene ningún deseo sino realizarse.
Pero si amas y tienes que tener deseos, que estos sean tus deseos:
Derretirse y ser como un arroyo corriente que le canta su melodía a la noche.
Saber el dolor de demasiada ternura.
Ser herido por su propio entendimiento del amor;
Y sangrar de buena gana y alegremente.
Despertar al alba con un corazón alado y dar las gracias por otro día de amar;
Descansar al mediodía y meditar sobre el éxtasis del amor;
Volver a casa por la tarde con agradecimiento;
Y entonces dormir con un rezo para el amado en tu corazón y una canción de alabanza en los labios.

Anúncios

Pierre-Auguste Renoir

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Two Sisters (On the Terrace)

As banhistas RenoirThe Bathers

jovens-meninas-ao-piano-jeunes-filles-au-piano-1892-de-pierre-auguste-renoir-1343936567277_956x500Girls at the Piano
renoir - o almoço dos remadoresLuncheon of the Boating Party

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Dance at Le Moulin de la Galette 

Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, the child of a working-class family. As a boy, he worked in a porcelain factory where his drawing talents led to his being chosen to paint designs on fine china. He also painted hangings for overseas missionaries and decorations on fans before he enrolled in art school.During those early years, he often visited the Louvre to study the French master painters.
The Theater Box, 1874 by Pierre-Auguste Renoir, Courtauld Institute Galleries, London
In 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet.[4] At times during the 1860s, he did not have enough money to buy paint. Although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition did not come for another ten years, due, in part, to the turmoil of the Franco-Prussian War.
During the Paris Commune in 1871, while Renoir painted on the banks of the Seine River, some Communards thought he was a spy, and were about to throw him into the river when a leader of the Commune, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion.
In 1874, a ten-year friendship with Jules Le Cœur and his family ended, and Renoir lost not only the valuable support gained by the association, but also a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects.

Birth Name: Pierre – Auguste Renoir

Born: 25 February 1841

Field: Painting

Movement: Impressionism

 

CATHERINE KEHOE

CATHERINE KEHOE

 

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Catherine Kehoe was born in Hartford, Connecticut.
She received her BFA in painting from Massachusetts College of Art and Design in 1989 and her MFA in painting from the School of Visual Arts, Boston University, in 1992.

Kehoe has received the following awards: Lillian Orlowsky and William Freed Foundation Grant; Pollock-Krasner Foundation Grant; Berkshire Taconic Artist’s Resource Trust Grant; Massachusetts Cultural Council Finalist Grant; Blanche E. Colman Award; St. Botolph Club Foundation Grant, and the Sam and Adele Golden Foundation for the Arts Award.

Kehoe is represented by Miller-Yezerski Gallery, Boston, where she has had several solo shows.

 

Kehoe has been a visting artist at Rhode Island College, Colby College, University of Arkansas at Fort Smith, Indiana University, Boston University School of Visual Arts, and the School of the Museum of Fine Arts, Boston.

She teaches painting at Massachusetts College of Art and Design, and has taught drawing at Boston University School of Visual Arts. Kehoe has also taught painting workshops at Art New England (a summer workshop program of Massachusetts College of Art and Design at Bennington College), The Fine Arts Work Center in Provincetown, the Washington Art Association, Cullowhee Mountain Arts, and at JSS in Italy, Civita Castellana, a program of the Jerusalem Studio School.

Visit:

http://catherinekehoe.com/

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
Visite:

 

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

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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