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Posts sobre arte

Como artistas representavam fogos de artif[ício através do tempo

Adorei esse ensaio de Simon Werrett para a The Public Domain Review sobre os desafios e as formas com que artistas capturavam e representavam pirotecnias no passado, seja na poesia, na ilustração e na pintura.

Achei muito boa a relação que Werrett faz entre a representação do tempo e o efeito dos fogos de artifício, que precisam “quebrar” a regra para serem representados:

To capture smoke might imply the representation of a moment in time in a display, and fireworks images dealt variously with the issue of representing time visually. Most commonly, artists and engravers created a single image capturing a significant moment in a pyrotechnic performance. An image of fireworks on the Seine in front of the Louvre in 1628 by Morel, celebrating the siege of La Rochelle, showed the moment when Perseus (Louis XIII) attacked a Sea Monster (representing Protestantism) to save Andromeda (Catholicism) tied to a rock (La Rochelle).

publicdomainreview.org

Poesia é o evento

Ilya Kaminsky em entrevista com Garth Greenwell na edição de março/abril da revista Poets & Writers Magazine (2019):

“Poetry is not about an event. It is the event. Art is the resistance of complacency: It always stands in opposition to numbness. That is why it just doesn’t die, poetry—despite so many death notices. It is always there, waking us up when we get numb, poking us in the eye.”

Via @poetsandwriters.

Berger gardait un troupeau

Jean-François Millet (meados de 1860, óleo sobre tela)

Brooklyn Museum:

The monumental, solitary figure of a cloaked shepherd, sunlight framing his head like a halo, stands watch over his flock of sheep in the French countryside. Jean-Francois Millet’s dignified yet unglorified depictions of the rural laborers near his home were popular in France and the United States, where urban audiences perceived them as peaceful, spiritual, and nostalgic. 

Other viewers saw in their realism unadorned visions of contemporary poverty. A few years after the Civil War, one American writer described Millet’s paintings as portraying “the patient, hopeless weariness of the overtasked workman… .we saw the unpaid slave of our country, the pauper workman of France and England.”