I have heard of your paintings too, well enough; God has given you one face, and you make yourselves another.
Look at paintings and fightings from a distance.
The eye, which is called the window of the soul, is the principal means by which the brain can most abundantly and splendidly contemplate the infinite works of nature; and the ear is the next in order, which is ennobled by hearing the recital of the things seen by the eye. If you, historians and poets, or mathematicians, had not seen things with the eyes, you could not report of them in writing. If thou, O poet, dost tell a story with thy painting pen, the painter will more easily give satisfaction in telling it with his brush and in a manner less tedious and more easily understood. And if thou callest painting mute poetry, the painter can call poetry blind painting. Now consider which is the greater loss, to be blind or dumb? Though the poet is as free as the painter in his creations and compositions, they are not so satisfactory to men as paintings, because if poetry is able to describe forms, actions and places in words, the painter deals with the very {65} semblance of forms in order to represent them. Now consider which is nearer to man, the name of man or the image of man? The name of man varies in diverse countries, but death alone changes his form. If thou wast to say that painting is more lasting, I answer that the works of a coppersmith, which time preserves longer than thine or ours, are more eternal still. Nevertheless there is but little invention in it, and painting on copper with colours of enamel is far more lasting.
We may build more splendid habitations, / Fill our rooms with paintings and with sculptures,/ But we cannot / Buy with gold the old associations!
Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity.
You own this picture?” the man asked. “I painted that picture.” “I don’t believe it,” he scoffed. “You are a woman.” Libby whirled around to look at him, but he was utterly serious. “I have been painting since I was six years old. My hand and my eyes are as good as any man’s.” If she’d said a donkey had painted the picture, he could not have looked more surprised. It was comical, actually, but a smile spread across the man’s wide face. “My family and I have admired the paintings we have found in this house. Never would I have imagined they were done by a woman. This seems very strange to me.
The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
I am getting into abstract painting. Real abstract -- no brush, no canvas, I just think about it. I just went to an art museum where all of the art was done by children. All the paintings were hung on refrigerators. -- Steven Wright
I turned my air conditioner the other way around, and it got cold out. The weatherman said "I don't understand it. I was supposed to be 80 degrees today," and I said "Oops." In my house on the ceilings I have paintings of the rooms above... so I never have to go upstairs. I just bought a microwave fireplace... You can spend an evening in front of it in only eight minutes. -- Steven Wright
The natural aptitude of the French for seizing the picturesqueness of things seems to be peculiarly evinced in what paintings and engravings they have of their whaling scenes. With not one tenth of England's experience in the fishery, and not the thousandth part of that of the Americans, they have nevertheless furnished both nations with the only finished sketches at all capable of conveying the real spirit of the whale hunt. For the most part, the English and American whale draughtsmen seem entirely content with presenting the mechanical outline of things, such as the vacant profile of the whale; which, so far as picturesqueness of effect is concerned, is about tantamount to sketching the profile of a pyramid. Even Scoresby, the justly renowned Right whaleman, after giving us a stiff full length of the Greenland whale, and three or four delicate miniatures of narwhales and porpoises, treats us to a series of classical engravings of boat hooks, chopping knives, and grapnels; and with the microscopic diligence of a Leuwenhoeck submits to the inspection of a shivering world ninety-six fac-similes of magnified Arctic snow crystals. I mean no disparagement to the excellent voyager (I honour him for a veteran), but in so important a matter it was certainly an oversight not to have procured for every crystal a sworn affidavit taken before a Greenland Justice of the Peace.
Who Garnery the painter is, or was, I know not. But my life for it he was either practically conversant with his subject, or else marvellously tutored by some experienced whaleman. The French are the lads for painting action. Go and gaze upon all the paintings of Europe, and where will you find such a gallery of living and breathing commotion on canvas, as in that triumphal hall at Versailles; where the beholder fights his way, pell-mell, through the consecutive great battles of France; where every sword seems a flash of the Northern Lights, and the successive armed kings and Emperors dash by, like a charge of crowned centaurs? Not wholly unworthy of a place in that gallery, are these sea battle-pieces of Garnery.
D----, Dec. 16, 18--. MY GOOD MADAM: Not a day passes without our speaking of you. It is our established custom; but there is another reason besides. Just imagine, while washing and dusting the ceilings and walls, Madam Magloire has made some discoveries; now our two chambers hung with antique paper whitewashed over, would not discredit a chateau in the style of yours. Madam Magloire has pulled off all the paper. There were things beneath. My drawing-room, which contains no furniture, and which we use for spreading out the linen after washing, is fifteen feet in height, eighteen square, with a ceiling which was formerly painted and gilded, and with beams, as in yours. This was covered with a cloth while this was the hospital. And the woodwork was of the era of our grandmothers. But my room is the one you ought to see. Madam Magloire has discovered, under at least ten thicknesses of paper pasted on top, some paintings, which without being good are very tolerable. The subject is Telemachus being knighted by Minerva in some gardens, the name of which escapes me. In short, where the Roman ladies repaired on one single night. What shall I say to you? I have Romans, and Roman ladies [here occurs an illegible word], and the whole train. Madam Magloire has cleaned it all off; this summer she is going to have some small injuries repaired, and the whole revarnished, and my chamber will be a regular museum. She has also found in a corner of the attic two wooden pier-tables of ancient fashion. They asked us two crowns of six francs each to regild them, but it is much better to give the money to the poor; and they are very ugly besides, and I should much prefer a round table of mahogany.
"With your tastes, and means of gratifying them," continued Danglars, "you will exhibit a splendor that must effectually put us poor miserable millionaires quite in the shade. If I mistake not you are an admirer of paintings, at least I judged so from the attention you appeared to be bestowing on mine when I entered the room. If you will permit me, I shall be happy to show you my picture gallery, composed entirely of works by the ancient masters--warranted as such. Not a modern picture among them. I cannot endure the modern school of painting."
"I am not aware of it," said Albert, smiling sorrowfully. Beauchamp turned to look at some paintings. "But," continued Monte Cristo, "you are not in your usual spirits?"
But, taken for all in all, by far the finest, though in some details not the most correct, presentations of whales and whaling scenes to be anywhere found, are two large French engravings, well executed, and taken from paintings by one Garnery. Respectively, they represent attacks on the Sperm and Right Whale. In the first engraving a noble Sperm Whale is depicted in full majesty of might, just risen beneath the boat from the profundities of the ocean, and bearing high in the air upon his back the terrific wreck of the stoven planks. The prow of the boat is partially unbroken, and is drawn just balancing upon the monster's spine; and standing in that prow, for that one single incomputable flash of time, you behold an oarsman, half shrouded by the incensed boiling spout of the whale, and in the act of leaping, as if from a precipice. The action of the whole thing is wonderfully good and true. The half-emptied line-tub floats on the whitened sea; the wooden poles of the spilled harpoons obliquely bob in it; the heads of the swimming crew are scattered about the whale in contrasting expressions of affright; while in the black stormy distance the ship is bearing down upon the scene. Serious fault might be found with the anatomical details of this whale, but let that pass; since, for the life of me, I could not draw so good a one.
Although the Hermitage and other picture galleries had been evacuated to Moscow, there were weekly exhibitions of paintings. Hordes of the female _intelligentzia_ went to hear lectures on Art, Literature and the Easy Philosophies. It was a particularly active season for Theosophists. And the Salvation Army, admitted to Russia for the first time in history, plastered the walls with announcements of gospel meetings, which amused and astounded Russian audiences....
The water came up to his arm-pits; he felt that he was sinking; it was only with difficulty that he could move in the depth of ooze which he had now reached. The density, which was his support, was also an obstacle. He still held Marius on high, and with an unheard-of expenditure of force, he advanced still; but he was sinking. He had only his head above the water now and his two arms holding up Marius. In the old paintings of the deluge there is a mother holding her child thus.
Thus relieved of a grievous load, I from that hour set to work afresh, resolved to pioneer my way through every difficulty: I toiled hard, and my success was proportionate to my efforts; my memory, not naturally tenacious, improved with practice; exercise sharpened my wits; in a few weeks I was promoted to a higher class; in less than two months I was allowed to commence French and drawing. I learned the first two tenses of the verb _Etre_, and sketched my first cottage (whose walls, by-the- bye, outrivalled in slope those of the leaning tower of Pisa), on the same day. That night, on going to bed, I forgot to prepare in imagination the Barmecide supper of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings: I feasted instead on the spectacle of ideal drawings, which I saw in the dark; all the work of my own hands: freely pencilled houses and trees, picturesque rocks and ruins, Cuyp-like groups of cattle, sweet paintings of butterflies hovering over unblown roses, of birds picking at ripe cherries, of wren's nests enclosing pearl-like eggs, wreathed about with young ivy sprays. I examined, too, in thought, the possibility of my ever being able to translate currently a certain little French story which Madame Pierrot had that day shown me; nor was that problem solved to my satisfaction ere I fell sweetly asleep.
The domestic bowed respectfully, and invited them to enter. They passed through two rooms, furnished in a luxurious manner they had not expected to see under the roof of Signor Pastrini, and were shown into an elegantly fitted-up drawing-room. The richest Turkey carpets covered the floor, and the softest and most inviting couches, easy-chairs, and sofas, offered their high-piled and yielding cushions to such as desired repose or refreshment. Splendid paintings by the first masters were ranged against the walls, intermingled with magnificent trophies of war, while heavy curtains of costly tapestry were suspended before the different doors of the room. "If your excellencies will please to be seated," said the man, "I will let the count know that you are here."
The most important art treasures of the Palace--paintings, statues, tapestries, rare porcelains and armorie,--had been transferred to Moscow during the month of September; and they were still in good order in the basement of the Imperial Palace there ten days after the capture of the Kremlin by Bolshevik troops. I can personally testify to this....
"Sir," said Monte Cristo to him, "I do not recommend my pictures to you, who possess such splendid paintings; but, nevertheless, here are two by Hobbema, a Paul Potter, a Mieris, two by Gerard Douw, a Raphael, a Vandyke, a Zurbaran, and two or three by Murillo, worth looking at."
Thursday, November 8th. Day broke on a city in the wildest excitement and confusion, a whole nation having up in long hissing swells of storm. Superficially all was quiet; hundreds of thousands of people retired at a prudent hour, got up early, and went to work. In Petrograd the street-cars were running, the stores and restaurants open, theatres going, an exhibition of paintings advertised.... All the complex routine of common life--humdrum even in war-time--proceeded as usual. Nothing is so astounding as the vitality of the social organism--how it persists, feeding itself, clothing itself, amusing itself, in the face of the worst calamities....
In the meanwhile unrebuked we walked into the Palace. There was still a great deal of coming and going, of exploring new-found apartments in the vast edifice, of searching for hidden garrisons of _yunkers_ which did not exist. We went upstairs and wandered through room after room. This part of the Palace had been entered also by other detachments from the side of the Neva. The paintings, statues, tapestries and rugs of the great state apartments were unharmed; in the offices, however, every desk and cabinet had been ransacked, the papers scattered over the floor, and in the living rooms beds had been stripped of their coverings and ward-robes wrenched open. The most highly prized loot was clothing, which the working people needed. In a room where furniture was stored we came upon two soldiers ripping the elaborate Spanish leather upholstery from chairs. They explained it was to make boots with....
The room they were now sitting in was a large one, lofty but dark, well furnished, principally with writing-tables and desks covered with papers and books. A wide sofa covered with red morocco evidently served Rogojin for a bed. On the table beside which the prince had been invited to seat himself lay some books; one containing a marker where the reader had left off, was a volume of Solovieff's History. Some oil-paintings in worn gilded frames hung on the walls, but it was impossible to make out what subjects they represented, so blackened were they by smoke and age. One, a life-sized portrait, attracted the prince's attention. It showed a man of about fifty, wearing a long riding-coat of German cut. He had two medals on his breast; his beard was white, short and thin; his face yellow and wrinkled, with a sly, suspicious expression in the eyes.
Let not the modern paintings of this scene mislead us; for though the creature encountered by that valiant whaleman of old is vaguely represented of a griffin-like shape, and though the battle is depicted on land and the saint on horseback, yet considering the great ignorance of those times, when the true form of the whale was unknown to artists; and considering that as in Perseus' case, St. George's whale might have crawled up out of the sea on the beach; and considering that the animal ridden by St. George might have been only a large seal, or sea-horse; bearing all this in mind, it will not appear altogether incompatible with the sacred legend and the ancientest draughts of the scene, to hold this so-called dragon no other than the great Leviathan himself. In fact, placed before the strict and piercing truth, this whole story will fare like that fish, flesh, and fowl idol of the Philistines, Dagon by name; who being planted before the ark of Israel, his horse's head and both the palms of his hands fell off from him, and only the stump or fishy part of him remained. Thus, then, one of our own noble stamp, even a whaleman, is the tutelary guardian of England; and by good rights, we harpooneers of Nantucket should be enrolled in the most noble order of St. George. And therefore, let not the knights of that honourable company (none of whom, I venture to say, have ever had to do with a whale like their great patron), let them never eye a Nantucketer with disdain, since even in our woollen frocks and tarred trowsers we are much better entitled to St. George's decoration than they.
However, in their latter years, Madame Magloire discovered beneath the paper which had been washed over, paintings, ornamenting the apartment of Mademoiselle Baptistine, as we shall see further on. Before becoming a hospital, this house had been the ancient parliament house of the Bourgeois. Hence this decoration. The chambers were paved in red bricks, which were washed every week, with straw mats in front of all the beds. Altogether, this dwelling, which was attended to by the two women, was exquisitely clean from top to bottom. This was the sole luxury which the Bishop permitted. He said, "That takes nothing from the poor."
As we were looking at the pictures an alcoholic breath assailed me from the region of my left ear, and a voice said in thick but fluent French, “I see, by the way you admire the paintings, that you are foreigners.” He was a short, puffy man with a baldish head as he removed his cap.
He rose, went to the wall at the foot of which stood the panel which we have already mentioned, and turned it round, still leaving it supported against the wall. It really was something which resembled a picture, and which the candle illuminated, somewhat. Marius could make nothing out of it, as Jondrette stood between the picture and him; he only saw a coarse daub, and a sort of principal personage colored with the harsh crudity of foreign canvasses and screen paintings.
Again I reflected: I scarcely knew what school was: Bessie sometimes spoke of it as a place where young ladies sat in the stocks, wore backboards, and were expected to be exceedingly genteel and precise: John Reed hated his school, and abused his master; but John Reed's tastes were no rule for mine, and if Bessie's accounts of school-discipline (gathered from the young ladies of a family where she had lived before coming to Gateshead) were somewhat appalling, her details of certain accomplishments attained by these same young ladies were, I thought, equally attractive. She boasted of beautiful paintings of landscapes and flowers by them executed; of songs they could sing and pieces they could play, of purses they could net, of French books they could translate; till my spirit was moved to emulation as I listened. Besides, school would be a complete change: it implied a long journey, an entire separation from Gateshead, an entrance into a new life.
"That is one of my paintings over the chimney-piece." It was a landscape in water colours, of which I had made a present to the superintendent, in acknowledgment of her obliging mediation with the committee on my behalf, and which she had framed and glazed.
The picture-gallery, and two or three of the principal bedrooms, were all that remained to be shown. In the former were many good paintings; but Elizabeth knew nothing of the art; and from such as had been already visible below, she had willingly turned to look at some drawings of Miss Darcy's, in crayons, whose subjects were usually more interesting, and also more intelligible.
In the East the maniple in its Western form is known only to the Armenians, where it is peculiar to subdeacons. This vestment is not derived from the Roman rite, but is properly a stole, which the subdeacons used to carry in the left hand. It is now laid over the subdeacon's left arm at ordination. The true equivalent of the maniple (in the Greek and Armenian rites only) is not, as has been assumed, the _epimanikion_, a sort of loose, embroidered cuff (see VESTMENTS), but the _epigonation_. This is a square of silk, stiffened with cardboard, surrounded by an embroidered border, and usually decorated in the middle with a cross or a sword (the "sword of the Spirit," which it is supposed to symbolize); sometimes, however, the space within the border is embroidered with pictures. It is worn only by bishops and the higher clergy, and derives its name from the fact that it hangs down over the knee ([Greek: gony]). It is worn on the right side, under the _phelonion_, but when the _sakkos_ is worn instead of the _phelonion_, by metropolitans, &c., it is attached to this. The _epigonation_, like the maniple, was originally a cloth held in the hand; a fact sufficiently proved by the ancient name [Greek: egcheirion] ([Greek: cheir], hand), which it retained until the 12th century. For convenience' sake this cloth came to be suspended from the girdle on the right side, and is thus represented in the earliest extant paintings (see Braun, p. 552). The name _epigonation_, which appears in the latter half of the 12th century, probably marks the date of the complete conventionalizing of the original cloth into the present stiff embroidered square; but the earliest representations of the vestment in its actual form date from the 14th century, e.g. the mosaic of St Athanasius in the chapel of St Zeno in St Mark's at Venice. Entry: MANIPLE
By 1731 Hogarth must have completed the earliest of the series of moral works which first gave him his position as a great and original genius. This was "A Harlot's Progress," the paintings for which, if we may trust the date in the last of the pictures, were finished in that year. Almost immediately afterwards he must have begun to engrave them--a task he had at first intended to leave to others. From an advertisement in the _Country Journal; or, the Craftsman_, 29th of January 1732, the pictures were then being engraved, and from later announcements it seems clear that they were delivered to the subscribers early in the following April, on the 21st of which month an unauthorized prose description of them was published. We have no record of the particular train of thought which prompted these story-pictures; but it may perhaps be fairly assumed that the necessity for creating some link of interest between the personages of the little "conversation pieces" above referred to, led to the further idea of connecting several groups or scenes so as to form a sequent narrative. "I wished," says Hogarth, "to compose pictures on canvas, similar to representations on the stage." "I have endeavoured," he says again, "to treat my subject as a dramatic writer; my picture is my stage, and men and women my players, who by means of certain actions and gestures are to exhibit _a dumb show_." There was never a more eloquent dumb show than this of the "Harlot's Progress." In six scenes the miserable career of a woman of the town is traced out remorselessly from its first facile beginning to its shameful and degraded end. Nothing of the detail is softened or abated; the whole is acted out _coram populo_, with the hard, uncompassionate morality of the age the painter lived in, while the introduction here and there of one or two well-known characters such as Colonel Charteris and Justice Gonson give a vivid reality to the satire. It had an immediate success. To say nothing of the fact that the talent of the paintings completely reconciled Sir James Thornhill to the son-in-law he had hitherto refused to acknowledge, more than twelve hundred names of subscribers to the engravings were entered in the artist's book. On the appearance of plate iii. the lords of the treasury trooped to the print shop for Sir John Gonson's portrait which it contained. The story was made into a pantomime by Theophilus Cibber, and by some one else into a ballad opera; and it gave rise to numerous pamphlets and poems. It was painted on fan-mounts and transferred to cups and saucers. Lastly, it was freely pirated. There could be no surer testimony to its popularity. Entry: HOGARTH