Claude Monet (French painter and founder of impressionist painting, 1840–1926),
The Red Cape (Portrait of Madame Monet, Camille Doncieux), c. 1868-73,
Cleveland Museum of Art.
The Red Cape (Portrait of Madame Monet, Camille Doncieux), c. 1868-73,
Cleveland Museum of Art.
[This painting depicts Monet's first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green.
In its early stages, this composition contained two figures seated inside the room on either side of the window. Monet radically altered the composition by painting over the figures. They were replaced by an image of the artist's favorite model – his wife Camille, who passes outside the window in a red cape. Intense light – reflected from the snow-covered landscape – floods the room, obliterating details along the walls and floor. The off-center window frame and the blurriness achieved through sketchy brushstrokes suggest the scanning movement of the artist's eye as he viewed this scene. Contrasted with cold blues and silver whites, Camille's red cape draws the viewer's attention through the glass and into a swift exchange of glances, registering a brief moment in time. This painting evidently held special meaning for Monet, for he kept it with him until his death in 1926]. (daqui)
In its early stages, this composition contained two figures seated inside the room on either side of the window. Monet radically altered the composition by painting over the figures. They were replaced by an image of the artist's favorite model – his wife Camille, who passes outside the window in a red cape. Intense light – reflected from the snow-covered landscape – floods the room, obliterating details along the walls and floor. The off-center window frame and the blurriness achieved through sketchy brushstrokes suggest the scanning movement of the artist's eye as he viewed this scene. Contrasted with cold blues and silver whites, Camille's red cape draws the viewer's attention through the glass and into a swift exchange of glances, registering a brief moment in time. This painting evidently held special meaning for Monet, for he kept it with him until his death in 1926]. (daqui)
As pequenas gavetas do amor
Se for preciso, irei buscar um sol
para falar de nós:
ao ponto mais longínquo
do verso mais remoto que te fiz
Devagar, meu amor, se for preciso,
cobrirei este chão
de estrelas mais brilhantes
que a mais constelação,
para que as mãos depois sejam tão
brandas
como as desta tarde
Na memória mais funda guardarei
em pequenas gavetas
palavras e olhares, se for preciso:
tão minúsculos centros
de cheiros e sabores
Só não trarei o resto
da ternura em resto desta tarde,
que nem nos foi preciso:
no fundo do amor, tenho-a comigo:
quando a quiseres -
para falar de nós:
ao ponto mais longínquo
do verso mais remoto que te fiz
Devagar, meu amor, se for preciso,
cobrirei este chão
de estrelas mais brilhantes
que a mais constelação,
para que as mãos depois sejam tão
brandas
como as desta tarde
Na memória mais funda guardarei
em pequenas gavetas
palavras e olhares, se for preciso:
tão minúsculos centros
de cheiros e sabores
Só não trarei o resto
da ternura em resto desta tarde,
que nem nos foi preciso:
no fundo do amor, tenho-a comigo:
quando a quiseres -
Ana Luísa Amaral (1956– 2022),
in Imagias, Gótica, 2002, pág. 21
[Imagias, o sétimo livro de Ana Luísa Amaral (Lisboa: Gótica, 2002), reúne poemas sobre “coisas exatas”, como anuncia o poema inaugural que serve de portal ao livro e se intitula “O exato curso do rio”. Cuidadosamente organizados em quatro partes, estes novos poemas de Ana Luísa Amaral retomam ou reinventam algumas das formas e temas mais recorrentes desta poeta portuguesa contemporânea: o modo vocativo, os versos de orações elípticas, as repetições com diferença, a sintaxe equívoca, as assonâncias, as aliterações, o uso do raciocínio lógico, o humor; e o tempo, a memória, a infância, a poesia, a perda, a dor, o amor. Sobretudo o amor, e sobretudo amor/eros, por vezes com saudade de amor/agapé.
Neste livro escreve Ana Luísa Amaral os seus poemas como se a poesia lírica fosse o rigor de ser no caótico estar que é a nossa vida. Por isso, absurdamente, Imagias, o título exato do inexato certeiro que desafiadoramente é a poesia na poética de Ana Luísa Amaral.] (daqui)
Carolus-Duran (French painter, 1837–1917), Portrait of Madame Alice Hoschedé,
second wife of Claude Monet and mother of Blanche Hoschedé Monet, 1878.
second wife of Claude Monet and mother of Blanche Hoschedé Monet, 1878.
[This painting, of Madame Hoschedé, was dedicated to the artist'’s friend Ernest Hoschedé, by all accounts, an eccentric character. Hoschedé was the director of a Parisian department store, an occasional art critic and avid collector. He frequented the Café Guerbois, where he kept the company of painters. Although his fortunes fluctuated, he compulsively bought paintings by Pissaro, Sisley, Degas and Monet, among others. Sisley, Manet and Monet were all guest for a time of the Hoschedé household and spent months painting at the Hoschedé mansion. It was during one of these stays, in the spring of 1878, that, it is suggested, Alice Hoschedé and Monet began a love affair. After Ernest Hoschedé was forced, due to utter financial ruin, to sell his extensive art collection (Monet bought back several paintings for significantly less than Hoschedé himself had originally paid Monet), his wife left him, and with complete disregard for social propriety, moving-in with Monet, nursing for a time his dying wife Susanne. Alice married the artist in 1891 upon her husband Earnest’s death.] (daqui)
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