People start smelling funky when it rains. Did you sense that?
Kind of like wet dogs.
Author Archives: triptophren
All the pretty things
I like pretty little things most people find useless or just dust gatherers. Maybe i should consider adding them to my fascinating things you don’t need list. :D
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Check out more cuties here.
Geez, did I just say cute and pretty in the same post? :|
Frumosul
“Frumosul in arta este adevarul scaldat in impresia pe care am primit-o in fata naturii.”, Jean Baptiste Camille Corot (1855)
translation: Beauty in art is truth bathed in an impression received from nature.
After a fierce discussion about art and beauty this saying by Corot seems to have much more importance. I suppose that it seems to be a vain search, that of beauty and truth, but each of us gets caught in it at some point.
I want to add the context for Corot i may miss the next time i read this. He was part of the Barbizon School, liked to paint “en plein air” and was the predecessor of impressionism.
Karol Neher by Rudolf Schlichter
She looks so modern. :) Rudolf Schlichter is briliant.
See this other painting of his, I also find remarcable.
Two frogs
When i was just about to exist a small shop a saw these two frogs and i thought they where just perfect. Perfect for grass growing. Yeee. Couldn’t help taking a photo of a frog next to my breakfast. :)) So pretty. Check out the dirty frog. :))
Azi
In autobuz. Avea ca semn de carte o cartela de metrou pe care scria cont 0.
…o sticla de plastic rastogolita de vant…
Les Intouchables
As part of my french audition 
i saw last night Les Intouchables. Since i am writing about it, you know what it means. I’ve made some print screens as a teaser.
Van der Rohe
I have discovered Mies today, thanks to google. Mies vand der Rohe, the architect that so boldly dropped the ornaments, and gave us free flowing open spaces, all glass walls that make you feel like you are in the middle of the nature and also, and not without regret i say it, the glass skyscrapers. I can imagine how it must have felt back than to see one of these colossus shining in the sun, how it opened the entire building, i understand, but now i feel a bit suffocated with all the glass and steel buildings. I do wish some day, after having read more about it, to see their beauty also.
Knowing where it came from and how it developed makes so much difference, it breaks the barriers of common now- thinking. Cause it is so easy to just go with the flow, take for granted, not strive for change. He did it.
mies van der rohe in his apartment on
east pearson street, chicago, 1964
© werner blaser
Did you know that the poang chair is inspired by one of Mies’s Brno chair?
mies 1955
mies van der rohe sketching, 1960s
© hedrich-blessing
mies over model of crown hall
cortesy the illinois institute of technology
Just imagine this house after the War. Context, damn it. It must have been really striking. People have named it a temple hovering between heaven and earth.
Farnsworth House
Images: first four, fifth.
Theme hate
I hate my new theme and don’t have time to browse through 100 of them to find an adjustable one. Can’t we have some freeeeeeeeeeeee options here?
Why pay 30 bucks for what blogger gives for free?
AAaand now my header is not even click-able. WordPress sucks.
back to the old one. elegant grunge if i ever do this again.
Childhood Is the Kingdom Where Nobody Dies
Childhood is not from birth to a certain age and at a certain age
The child is grown, and puts away childish things.
Childhood is the kingdom where nobody dies.
Nobody that matters, that is. Distant relatives of course
Die, whom one never has seen or has seen for an hour,
And they gave one candy in a pink-and-green stripéd bag, or a
jack-knife,
And went away, and cannot really be said to have lived at all.
And cats die. They lie on the floor and lash their tails,
And their reticent fur is suddenly all in motion
With fleas that one never knew were there,
Polished and brown, knowing all there is to know,
Trekking off into the living world.
You fetch a shoe-box, but it’s much too small, because she won’t
curl up now:
So you find a bigger box, and bury her in the yard, and weep.
But you do not wake up a month from then, two months
A year from then, two years, in the middle of the night
And weep, with your knuckles in your mouth, and say Oh, God!
Oh, God!
Childhood is the kingdom where nobody dies that matters,
—mothers and fathers don’t die.
And if you have said, “For heaven’s sake, must you always be
kissing a person?”
Or, “I do wish to gracious you’d stop tapping on the window with
your thimble!”
Tomorrow, or even the day after tomorrow if you’re busy having
fun,
Is plenty of time to say, “I’m sorry, mother.”
To be grown up is to sit at the table with people who have died,
who neither listen nor speak;
Who do not drink their tea, though they always said
Tea was such a comfort.
Run down into the cellar and bring up the last jar of raspberries;
they are not tempted.
Flatter them, ask them what was it they said exactly
That time, to the bishop, or to the overseer, or to Mrs. Mason;
They are not taken in.
Shout at them, get red in the face, rise,
Drag them up out of their chairs by their stiff shoulders and shake
them and yell at them;
They are not startled, they are not even embarrassed; they slide
back into their chairs.
Your tea is cold now.
You drink it standing up,
And leave the house.
Edna St. Vincent Millay (1937)
Renato D’Agostin: “Metropolis” & “Tokyo Untitled”
This post is taken entirely from Art Slope.
Posted on 17 June 2010 by admin
Renato D’Agostin‘s photographs are deeply rooted in the classic elements that make up his medium. Light and shadow are fused by extreme angles and the compression of space and timelessness. The young Italian photographer’s images are painterly abstracts, sketches of a place that are sometimes unrecognizable, recontexturealized as shape, form and an interaction, a push and pull between negative and positive spaces. Quite often, D’Agostin’s contemporary images can even call to mind the fluidity and cinematic style of William Klein’s iconic 1950′s homage to Rome. See below for two of D’Agostin’s city tributes: “Metropolis” and “Tokyo Untitled.”
D’Agostin is represented by the Randall Scott Gallery in Brooklyn, NY.
Tokyo Untitled…
*above: Tokyo Untitled no. 8, 2008; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 10; 30×40″ edition of 5
*above: Tokyo Untitled no. 2, 2008; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 10; 30×40″ edition of 5
above: Tokyo Untitled no. 14, 2008; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 10; 30×40″ edition of 5
*above: Tokyo Untitled no. 15, 2008; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 10; 30×40″ edition of 5
*above: Tokyo Untitled no. 16, 2008; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 10; 30×40″ edition of 5
Metropolis…
*above: Metropolis no. 5, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 14, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 15, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 8, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 9, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 11, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
*above: Metropolis no. 18, 2007; Silver Gelatin Print; 12×16″ edition of 25; 16×20″ edition of 25; 30×40″ edition of 5
