![]() All I want is boundless love.Įven trees understand me! Good heavens, I lie under them, too, don't I? I'm just like a pile of leaves. ![]() Why should I share you? Why don't you get rid of someone else for a change? Which is not going to go wasted on me which is why I’m telling you about itĪm I to become profligate as if I were a blonde? Or religious as if I were French?Įach time my heart is broken it makes me feel more adventurous (and how the same names keep recurring on that interminable list!), but one of these days there'll be nothing left with which to venture forth. It seems they were all cheated of some marvelous experience Or for that matter Marino Marini when he didn’t pick the rider as carefully When they never got the right person to stand near the tree when the sun sank Just as at home I never think of the Nude Descending a Staircase orĪt a rehearsal a single drawing of Leonardo or Michelangelo that used to wow meĪnd what good does all the research of the Impressionists do them Which thank heavens you haven’t gone to yet so we can go together for the first timeĪnd the fact that you move so beautifully more or less takes care of Futurism You suddenly wonder why in the world anyone ever did themĪt you and I would rather look at you than all the portraits in the worldĮxcept possibly for the Polish Rider occasionally and anyway it’s in the Frick In the warm New York 4 o’clock light we are drifting back and forthīetween each other like a tree breathing through its spectaclesĪnd the portrait show seems to have no faces in it at all, just paint It is hard to believe when I’m with you that there can be anything as stillĪs solemn as unpleasantly definitive as statuary when right in front of it Partly because of the secrecy our smiles take on before people and statuary Partly because of the fluorescent orange tulips around the birches Partly because of my love for you, partly because of your love for yoghurt Partly because in your orange shirt you look like a better happier St. Or being sick to my stomach on the Travesera de Gracia in Barcelona The small treasures that make up the exhibition are not usually in sight in the Frick, so the exhibition revealed an unknown aspect of this large New York collection.Is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne ![]() While the landscapes of Ticiano, Claude, Constable and Corot present a brief overview of the traditions of this genre, the public also enjoy curious examples of inventive imagination through the drawings of Goya, Fuseli and Liotard. This interesting group of objects, each unique in its own right, shows a variety of schools, periods, techniques and subjects. Also, a drawing by Claudio de Lorena illustrating one of his classic 17th-century landscapes is also present in the exhibition the meticulous oil cloud studies of the 18th-century British painter, John Constable, and a watercolor with annotations by Eugenie Delacroix illustrating his journey to Morocco in 1832. The selection includes an engraving, a watercolor, four drawings and four oil sketches, spanning four centuries of artistic production, from Melancolia I of 1514, one of Alberto Durero’s most intriguing engravings, to Jean-Baptiste-Camille Corot’s 1843 oil sketch, entitled The Arch of Constantine and the Roman Forum. The Frick Collection’s Small Treasures exhibition presents an intimate sample of ten works, mostly on paper, from the Frick Collection in New York.
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