Thursday, August 18, 2016

Irsa Ruçi writes

 In the traces of time

We create history through the fairytales

In ancient tales kept alive from inherited passions

Like children’s awe.

We grew with events, playing we discovered the world

To others we learned words how to knit legends

Closed our eyes and opened our hearts

There was life,

We were in that corner of earth were the sun

Shines always hope…

Memory is like a mirror

Looks at itself with the soul and breathes it into wishes;

You were created to give light

Behind you stands the shadow in west

Ahead it is you with infinity…

Out of time, beyond reason,

In complete lostness

Kneeled in humbleness

To those who sculpted 

A letter more in our fate

Gave us the future, the tongue to knit love

We vomited hatred, violated the word till mental wrecked

As much as today we speak any language besides ours.

History is a lesson, we obedient students

Raised in knowledge

Let’s leave some pride to the generations to come!

Pablo Picasso -- Girl Before a Mirror [X-ray of original]


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  2. “There is no abstract art. You must always start with something.” --Pablo Picasso

    "Girl Before a Mirror" is one of many paintings that Picasso did of his mistress Marie-Thérèse Walter. The X-ray reveals that her body had originally been depicted much more naturalistically, less geometrically, with curved hips; her back was toward the viewer, instead of presenting simultaneous back and side views. In the final work, her serene, white-haloed profile, rendered in a smooth lavender pink, merges with a more roughly painted frontal view. It is a lunar crescent bur intensely yellow like the sun. Her night-self coexists with her day-self, her tranquility and innocence with her vitality and sexuality. But the mirror image relies on traditional, "historical," motifs: the transformation of Vanity into a reflection on Mortality in the form of a death's head, the round, hollow eyes, the contorted torso. The diamond-patterned wallpaper resembles the costume of the subservient stock Harlequin character from the 15th-century itinerant comedy troupes, the “commedia dell'arte,” which Picasso had frequently used as an alter-ego in his 1901-1905 paintings and then, by 1915 and beyond, as a Cubist distortion of that prior self as well as a signal of the closure of his realistic “Rose Period.” In 1932, when Picasso painted his mistress, he inserted this abstract version of himself as part of the background. The artist and the model may have met as early as 1925, when she was 15, but their sexual relationship probably began early in 1927, when the painter was 45 and married to a Russian ballerina, who (even though after 1930 Marie was housed across the street from Picasso’s own home) remained unaware of the association until 1935, when she learned of Marie’s pregnancy. Though his wife immediately left him, and they lived separately until her death in 1955, they were never divorced because Picasso did not want to provide her with half his wealth as dictated by French law. In the meantime, Picasso himself also moved on to a new mistress/model, a surrealist photographer (though he continued to support Marie and their daughter financially). One of his “choicest memories," as he described it, was when the two mistresses demanded that he choose between them and he told them they would have to fight it out themselves, at which point they began to wrestle. Four years after his death in 1973, Marie hanged herself in her garage.

  3. "the tongue to knit love"...This should become a global slogan! J'dore!


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