Visualizzazione post con etichetta Art Quotes - Literature. Mostra tutti i post
Visualizzazione post con etichetta Art Quotes - Literature. Mostra tutti i post
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Christine de Pizan | The first professional woman writer

Christine de Pizan or Pisan, born Cristina da Pizzano (1364 - c. 1430), was a poet and author at the court of King Charles VI of France and several French dukes.
Venetian by birth, Christine served as a court writer in medieval France after the death of her husband. Christine's patrons included dukes Louis I of Orleans, Philip the Bold of Burgundy, and his son John the Fearless.
Her best known works include The Book of the City of Ladies and The Treasure of the City of Ladies, both written when she worked for John the Fearless of Burgundy. Her books of advice to princesses, princes, and knights remained in print until the 16th century.

Christine de Pizan - Bibliothèque nationale de France, Département des manuscrits, Français

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William Shakespeare | Guardati allo specchio e di’ al volto che vedi..

Look in thy glass, and tell the face thou viewest | Sonnet III

Look in thy glass, and tell the face thou viewest
Now is the time that face should form another;
Whose fresh repair if now thou not renewest,
Thou dost beguile the world, unbless some mother.

For where is she so fair whose unear'd womb
Disdains the tillage of thy husbandry?

John William Waterhouse | Mariana in the South, 1897

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Nel cortile dell'amore di Giulietta e Romeo

Giulietta: - "Oh! Come entrasti tu qui? Ed a qual fine? I muri che circondano questo giardino sono ardui, e pressoché inaccessibili; ed il luogo in cui stai ti sarà tomba, se alcuno de' miei ti sorprende".

Romeo: - "Coll'ali dell'Amore valicai l'altezza di que' muri, ché barriera non v'ha al prepotente Amore: tutto che Amor può tentare, Amor l'osa; onde a' tuoi non ebbi riguardo allorché qui venni"…

William Shakespeare: Giulietta e Romeo, Atto II° scena II°


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Wislawa Szymborska | Because it was only love / Perché era amore solamente

Cademmo nell’abbraccio,
ci separammo dal mondo,
non sapevamo se eravamo due corpi
o due anime
o un corpo e un’anima
o se semplicemente
non eravamo

Jeff Rowland

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William Shakespeare | Quando quaranta inverni assedieranno la tua fronte..

When forty winters shall beseige thy brow | Sonnet II

When forty winters shall beseige thy brow,
And dig deep trenches in thy beauty's field,
Thy youth's proud livery, so gazed on now,
Will be a tatter'd weed, of small worth held:
Then being ask'd where all thy beauty lies,
Where all the treasure of thy lusty days,
To say, within thine own deep-sunken eyes,
Were an all-eating shame and thriftless praise.

Frank Benson | Eleanor and Benny, 1916

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William Shakespeare | Alle meraviglie del creato noi chiediam progenie

From fairest creatures we desire increase | Sonnet I

From fairest creatures we desire increase,
That thereby beauty's rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory:
But thou, contracted to thine own bright eyes,
Feed'st thy light'st flame with self-substantial fuel,

Antonio Frilli | Romeo and Juliet (detail)

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Othello and Desdemona

Othello (The Tragedy of Othello, the Moor of Venice) (ca. 1603) by William Shakespeare is a concentrated, tightly constructed domestic tragedy, with almost no subplot for relief, centered on five or six central characters.
Othello is commonly considered one of Shakespeare's great tragedies and one of his finest works.

Act I

In following him, I follow but myself.
• Iago, scene I

Heaven is my judge, not I for love and duty,
But seeming so, for my peculiar end:
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, 'tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.
Iago, scene I

Lord Frederic Leighton (1830-1896) | Desdemona (Othello) 1888

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Henri Matisse | Notes of a Painter, 1908

Quotes from: 'Notes d'un Peintre' (Notes of a Painter), Henri Matisse, in 'La Grande Revue', Paris, 25 December 1908; as quoted in Artists on Art - from the 14th - 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London


"What I am after, above all, is expression. Sometimes it has been conceded that I have a certain technical ability but that, my ambition being limited, I am unable to proceed beyond a purely visual satisfaction such as can be procured from the mere sight of a picture.
But the purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete (I do not mean complicated) the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it".