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Quando se encontram obras que não conhecemos deste pintou ficamos sempre admirados. Cada quadro tem um mistério que nos perdura dentro durante muito
tempo. Peter Vilhelm Ilsted foi um pintor dinamarquês importante, que depois da
sua irmã ter casado com Vilhelm Hammershøi, Ilsted foi muito influenciado pelo
estilo artístico deste último. Ele é sobretudo conhecido pelos seus interiores belos.
Meus
olhos eram mesmo água,
— te
juro —
mexendo
um brilho vidrado,
verde-claro,
verde-escuro.
Fiz
barquinhos de brinquedo,
— te
juro —
fui
botando todos eles
naquele
rio tão puro.
Veio
vindo a ventania,
— te
juro —
as
águas mudam seu brilho,
quando
o tempo anda inseguro.
Quando
as águas escurecem,
— te
juro —
todos
os barcos se perdem,
entre
o passado e o futuro.
São
dois rios os meus olhos,
— te
juro —
noite
e dia correm, correm,
mas não acho o que procuro.
O poema apresenta uma reflexão lírica sobre o percurso
interior e espiritual do ser humano. A viagem sugerida não é apenas física, mas
simbólica, marcada pela busca de sentido, pela solidão e pela transitoriedade
da vida. Com linguagem musical, delicada e introspetiva, o eu lírico percorre
paisagens que refletem estados da alma. O tempo surge como elemento fluido, e a
existência revela-se efémera.
Grandpa, tell me 'bout the good old
days
Sometimes it feels like this world's
gone crazy
Grandpa, take me back to yesterday
When the line between right and wrong
Didn't seem so hazy.
Did lovers really fall in love to
stay
And stand beside each other, come
what may?
Was a promise really something people
kept
Not just something they would say and
then forget
Did families really bow their heads
to pray?
Did daddies really never go away?
Whoa, whoa, grandpa, tell me 'bout
the good old days.
Grandpa, everything is changing fast
We call it progress, but I just don't
know
And grandpa, let's wander back into
the past
Then paint me the picture
of long ago.
deixa
o tempo fazer o resto
fechar
janelas
aplacar
os barcos
recolher
os víveres
semear
a sorte
acender
o fogo
esperar
a ceia
abre
as portas: lê a luz
a
sombra, a arte do passarinheiro
com
três paus
fazes
uma canoa
com
quatro tens um verso,
deixa
o tempo fazer o resto.
The painting shows us a young ragged girl in a quiet inner moment, delicately holding a doll looking to an unripe apple. What does she hold behind in her right hand? Her contemplative gaze and gentle posture suggest inner conflict between innocence and desire. The painting captures a moment of introspection, blending beauty, symbolism, and restrained emotion within a refined narrative scene.
The present painting records the thirteenth birthday celebration of Larsson's daughter Kersti, who is seated at the right-hand side of the picture. The party took place in Larsson's garden and Karin, the Artist's wife, has dressed Kertsi and all of the other girls in the 'Sundborn' dress, which she had designed specifically for the Children's Day celebrations in the neighbouring town of Falun. The day is recorded in an entry of Carl's diary and in a letter from Karin to her mother which reads, "I am sitting here and sewing as much as I can do to be able to get the girls ready for the parade on 'Children's Day'"
In the painting, there is a sense of the pride that Carl Larsson held for his wife's work and the home that she had created and which also served as a basis for the majority of the artist's work. Larsson's decision to paint his child and her friends, is coupled with his need to communicate his message that, " A home is not a lifeless object, but a living entity and like everything that is alive, it must obey the law of life; it must keep changing from moment to moment"
A lúa vai polo aire, o sol pela carretera
meu cariño polo teu el suspira na noite enteira.
Se vas a Allariz polo Cumial
verás Taboadela no fondo do val
No fondo do val, do val da Rabeda
Que non hai no mundo
que non hai no mundo terriña como ela.
Tres cousas hai en Ourense, que as envidia o mundo enteiro:
rexos homes, ledas mozas e bom viño do Ribeiro.
Na túa porta meniña, meninhã na túa porta
na túa porta meniña calquera carro da a volta.
It captures a lively
tavern scene filled with warmth and earthy humour. A finely dressed gentleman
raises his glass with theatrical flourish, his flushed face and relaxed posture
suggesting cheerful intoxication. Rich browns and golden highlights create an
intimate atmosphere, while carefully rendered fabrics and tankards display
Teniers’ technical finesse. The painting
blends genre realism with subtle satire, celebrating convivial pleasure while
gently mocking excess and fleeting indulgence in seventeenth-century Flemish
society.
Cortei
uma rosa da roseira verde
no
meu rosal
e,
olhando a ausência da rosa, no tronco cheio de espinhos,
entendi
um segredo muito lindo
e
triste.
Queres
que to conte, minha Irmã?
in,
O Livro da Tila
chegas de novo a casa
e guardas do tempo a fuga
marcas outra vez os dias
para abrir feridas
como se viesse dos pássaros a acusação
de não saberes medir esquecimentos
respiras até à dor para não sentires mais nada.
Poema retirado do
livro Exercícios para endurecimento de lágrimas, que nos descreve a inabilidade
humana de lidar com a solidão.
A
partir de agora, todo o poema que fale de amor, fora.
Todo
o poema que não revolucione, fora.
Todo
o poema que não ensine, fora.
Todo
o poema que não salve vidas, fora.
Todo
o poema que não se sobreviva, fora.
Vou
deixar um anúncio no jornal:
Procura-se
poeta. Trespasso-me.
in, Criatura 4, da autora do blogue Pátio
Alfacinha
"Maria durch ein Dornwald ging" is an old advent song. It was first published in Germany in 1850, but its origins go back much further, maybe even to the 16th century - although there's no definite source. It was originally a pilgrimage song which later in the beginning on the 20th century became an advent song. In Finland, it is usually sung at Christmastime.
The song has for long been one of our favourites due to its beautiful melody, which sounds archaic and mysterious. That mood fits the words, which describe the pregnant Virgin Mary walking through barren thorns that, with her passing, burst into bloom.
in, YouTube notes
Her husband is at sea, his father too.
She is tired but is waiting. The fire proves her intention. Love comes softly and
a moment like this in painting can also be a "joy forever".
É um
bem que me roubem e explorem;
um
bem que saibam quanto valho (nada);
um
bem que espreitem, que circulem
incólumes,
que amedrontem e persigam;
um
bem que me desprezem e destruam
e um
bem maior ainda que me ignorem,
porque
é preciso pagar, e caro, a vida.
Versos do tempo da ditadura em Porugal, o tempo do Estado Novo. Cada um descreve de modo irónico a vida nesse tempo. A pintura é de Jose Antonio Pantoja Hernandez.
Se
nós pudéssemos
acender
a palavra
torná-la
fulgor
labareda
abrasando-nos
os nomes
e os sinos
conquistaríamos
juntos
esta
densa trama feita de tempo
rasgando
o futuro e a sua espessura.
In October 2013, in an interview with Terry Gross on NPR’s Fresh Air, Nash elaborated:
"Well, it’s an ordinary moment. What happened is that Joni [Mitchell] and I – I don’t know whether you know anything about Los Angeles, but on Ventura Boulevard in the Valley, there’s a very famous deli called Art’s Deli. And we’d been to breakfast there. We’re going to get into Joan’s car, and we pass an antique store. And we’re looking in the window, and she saw a very beautiful vase that she wanted to buy … I persuaded her to buy this vase. It wasn’t very expensive, and we took it home. It was a very grey, kind of sleety, drizzly L.A. morning. And we got to the house in Laurel Canyon, and I said – got through the front door and I said, you know what? I’ll light a fire. Why don’t you put some flowers in that vase that you just bought? Well, she was in the garden getting flowers. That meant she was not at her piano, but I was … And an hour later ‘Our House’ was born, out of an incredibly ordinary moment that many, many people have experienced."
I'll light the fire
You place the flowers in the vase
That you bought today
Staring at the fire
For hours and hours while I listen to
you
Play your love songs all night long
For me, only for me
Come to me now
And rest your head for just five
minutes
Everything is done
Such a cozy room
The windows are illuminated by the
evening
Sunshine through them, fiery gems
For you, only for you
Our house is a very, very, very fine
house
With two cats in the yard
Life used to be so hard
Now everything is easy cause of you
And our...
[Interlude]
La-la,
la-la-la la la...
Our house is a very, very, very fine
house (fine house)
With two cats in the yard
Life used to be so hard
Now everything is easy cause of you
And our...
I'll light the fire
While you place the flowers in the
vase
That you bought today.
A pintura explora o contraste simbólico entre velhice e
beleza jovem por meio de uma cena intimista e emocionalmente contida. A delicadeza
das rosas opõe-se aos espinhos, sugerindo a dualidade da experiência humana:
prazer, dor, inocência e desilusão. A composição equilibrada e a iluminação
suave intensificam o clima contemplativo, convidando o observador à reflexão
moral e emocional, e sugere silêncio, empatia, tempo e fragilidade interior.
Quando
os nómadas chegam descendo o monte
nos
camelos de palha
o
anjo da alegria rasteja pelo imenso corredor
e os
vegetais frescos na carroça abandonada
desabrocham
em chamas azuis
velhos
junto à fonte erguem-se
e
dizem-se adeus
o
brilho do sol é enxaguado na tinta mais negra
cobras
dormem deitadas de costas
à
volta do relógio de sol dourado
a
noite enorme esconde-se nas pupilas do contador de histórias
e o
vento é dividido
por
uma agulha bem colocada
quando
os nómadas chegam descendo o monte
com a sua linguagem invisível.
Original:
When The Nomads Come Over the Hill
When the nomads come over the hill
on the wheatstraw camels
the angel of joy crawls down a long
hallway
and the green vegetables in the
abandoned cart
pour into blue flames
old men by the fountain rise
and bid one another adieu
the bright sun is rinsed in blackest
ink
snakes sleep on their backs
around the golden sundial
giant night hides in the
storyteller’s pupils
and the wind is divided
by a well-placed needle
when the nomads come over the hill
with their invisible language.
The poem presents an
ordinary domestic scene disrupted by the surreal arrival of nomads, blending humour
with quiet dread. The nomads function as a metaphor for uncontrollable
forces—death, time, strangers, or change—that invade personal life without
warning. Tate’s plain, conversational tone contrasts with the absurd situation,
heightening unease. The speaker’s compliance and politeness reveal human
vulnerability and social conditioning, suggesting how people accommodate
intrusion rather than resist it, exposing the fragility beneath everyday
normalcy and modern emotional defences.
Le duo Casa Lontana vous présente sa version de Bella Ci
Dormi, chanson traditionnelle du Salento (Pouilles, Italie du Sud).
Bella
ci dormi sui cuscini
Ea
ieu qua fore, ea ieu qua fore
Bella
ci dormi sui cuscini
Ea
ieu qua fore, minu suspiri.
Minu
suspiri fino a murire
Alzate
bella e famme trasire
Minu
suspiri e fino a murire
Alzate
bella e famme trasire.
Bella
ci dormi sulla mammace
Ea
ieu qua fore, ca ieu qua fore
Bella
ci dormi sulla mammace
Ca
ieu qua fore nu me do pace
Nu
me do pace fino a murire
Alzate
bella e famme trasire
Nu
me do pace fino a murire
Alzate
bella e famme trasire
Bella
ci dormi retu a ste mura
Ea
ieu qua fore, ca ieu qua fore
Bella
ci dormi retu a ste mura
Ca
ieu qua fore mo senza paura.
Senza
paura fino a murire
Alzate
bella e famme trasire
Senza
paura fino a murire
Alzate
bella e famme trasire.
'Bella ci dormi' was
traditionally sung by musicians under the balconies of women who were being
proposed to, but the tradition of the serenade and the custom of paying a
musician to sing as a gesture of love has all but disappeared. Even if the
concept of the serenade could do with a little C21st tweaking, I can’t help
thinking that making a mixtape or a digital playlist for someone doesn’t have
quite the same romantic quality as being sung to under a balcony in the light
of the full moon, but I may be wrong!
It presents a quiet rural scene bathed in soft, diffused light. Two women lay calmly through an open springtime landscape. One reads, the other listens to. The colour and restrained detail emphasize mood over precision, suggesting warmth and everyday rural labour.
,%20Jeune%20fille%20allong%C3%A9e%20sous%20un%20pommier%20en%20fleur,%20huile%20sur%20toile.jpg)
Do
sol se chega
ao
nada
tão
vibrante a luz
que
se estilhaça
e
fere e por momentos
quedam
os olhos cegos,
vazio
o pensamento.
É como foi o ver-te.
A tela é de Marie Bracquemond.
This painting describes
the rural England at gentle dusk, where farm workers gather golden sheaves
across a softly rolling field. Warm autumn light washes the scene, turning
straw, earth, and sky into mellow harmonies of gold and brown. The painter focuses
on everyday labour rather than drama: figures pause, bend, and converse
naturally, embedded in the landscape. Distant cottages and trees anchor the
composition, suggesting community and continuity.
Uma
formiga carrega com esforço
uma
folha.
A folha é enorme
e
multiplica o seu tamanho. Trata-se
de
um dever inevitável, de uma
obediência
atávica.
Atrás dela
formigas
idênticas carregam folhas
idênticas.
Amanhã repetirão o ritual,
a
sua razão de ser que ignoro.
Em
breve cumprirei cinquenta anos.
Penso
na formiga.
Na
sua dança cega até à morte.
Projet
de Fleur Perneel et Noémie Deumié. "Objet Trouvé - Cirque" est une
vidéo de performance artistique de Fleur Perneel, publiée sur YouTube il y a 5
ans, cumulant plus de 2,2 millions de vues. Cette œuvre, mettant en scène des éléments
circassiens, s'inscrit dans une série "Objet Trouvé" explorant la
manipulation d'objets, souvent en collaboration avec Mickael Kochalski.
in, YouTube
Circense é um adjetivo que significa algo relativo,
pertencente ou próprio do circo e das suas atividades. Derivado do latim circensis,
o termo também pode ser usado figurativamente para descrever algo extravagante
ou espalhafatoso. É o caso. O que pretenderão comunicar estas duas jovens?
O
gato espreita o ensejo de almoçar, uma vez que a criança adormeceu. Um momento
de tensão para quem olha.