Remedios Varo, Tres destinos, 1956
The Magic Lantern
Tagged
the moon
[Flash 9 is required to listen to audio.]
Franz Schubert / Rosamunde, D. 797: Romance, Der vollmond strahlt (The Full Moon Shines)
sung by Elisabeth Schwarzkopf
*Recorded at a performance in Carnegie Hail, New York on November 25th, 1956.
[Flash 9 is required to listen to audio.]
Franz Schubert / An den Mond (“Was schauest du so hell…?”), song for voice & piano, D. 468
performed by Lucia Popp (soprano) & Graham Johnson (piano)
Meanwhile, in the expansiveness of her joy, the Moon filled all of the room like a phosphoric atmosphere, like a luminous poison; and all of that living light thought and said: “You will be eternally subject to the influence of my kiss. You will be beautiful in my manner. You will love what I love and who loves me: water, the clouds, silence, and the night; the immense, green sea; formless and multiform water; the place where you will not be; the lover you will not know; monstrous flowers; perfumes that make you delirious; cats who swoon on pianos, and who moan like women, with a hoarse, gentle voice!
theredshoes:darksilenceinsuburbia:yama-bato:
Albert Aublet (1851 - 1938)
New Moon
Master Paintings of the World
Edited by Dupont Vicars
The White City Art Co., Chicago, 1902
Thank You Yama-Bato!
Umberto Brunelleschi (1879-1949), Empyrean Love
sherrymonocle:libraryland:dreaminginthedeepsouth:
Kay Nielsen—East of the Sun West of the Moon—The Moon Escapes (by finsbry)
The caption reads: “She could not help setting the door a little ajar, just to peep in, when—Pop! Out flew the moon.”
From the Story: The Lassie and her Godmother.
From the book: East of the Sun West of the Moon.
Totes meer (Dead sea) by Paul Nash
It was painted in 1941 following the painter’s appointment as an Official War Artist and was inspired by the sight of twisted wreckage from German fighter planes at an aircraft dump in Cowley.
The archives of the Imperial War Museum contain a letter from Nash to the Secretary of the War Artists Advisory Committee, about the genesis of his bleak memento mori:
“The thing looked to me, suddenly, like a great inundating sea. You might feel under certain circumstances – a moonlight night for instance – this is a vast tide moving across the fields, the breakers rearing up and crashing on the plain. And then, no; nothing moves, it is not water or even ice, it is something static and dead. It is metal piled up, wreckage. It is hundreds and hundreds of flying creatures which invaded these shores (how many Nazi planes have been shot down or otherwise wrecked in this country since they first invaded?). Well, here they are, or some of them. By moonlight, the waning moon, one could swear they began to move and twist and turn as they did in the air. A sort of rigor mortis? No, they are quite dead and still. The only moving creature is the white owl flying low over the bodies of the other predatory creatures, raking the shadows for rats and voles…” (via)
Paul Nash - Pillar and Moon, 1932-42
Time: the night of Thursday 14 May 1936 Place: Ascott Park, Stadhampton
Paul Nash’s Pillar and Moon, held by the Tate Gallery, was painted between 1932 and 1942. It is inspired by Ascott Park, Stadhampton, a few miles south east of Oxford. This picture was based around ‘the mystical association of two objects which inhabit different elements and have no apparent relation in life… The pale stone sphere on top of a ruined pillar faces its counterpart the moon, cold and pale and solid as stone.’ Though not explicitly about mourning, the deep, unpopulated space and ghostly lighting gives the scene a melancholy air. Rather than depict a real landscape, Nash said that his intention had been ‘to call up memories and stir emotions in the spectator’.
(via)
Sainte Geneviève veillant sur Paris (fresque du Panthéon, 1898) by Pierre Puvis de Chavannes
