Miscelánea.

Procrastinare humanus est!

[angelmadrid7]

Retrato de Ludovico Capponi - Bronzino

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Descendimiento de Cristo 1540-45. Bronzino

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Lorenzo de Medici - Agnolo Bronzino

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Lorenzo de Medici - Agnolo Bronzino

[angelmadrid7]

Un artículo me descubre a Vivian Maier, la niñera que hacía fotos a escondidas, cuyas fotos se encontraron por azar en una caja, en una subasta .
“I am a sort of a spy” le decía a alguien que le preguntó de qué vivía.
Es extraño que con estas fotos geniales no buscara su merecida fama. 
En otro artículo nos cuentan que la gente que nunca la había visto sin una cámara alrededor del cuello no entendía que estaban cerca de un genio (“She was a nanny, for God’s sakes.”).
https://elpais.com/ccaa/2018/01/24/madrid/1516822777_179561.amp.html
https://www.newyorker.com/culture/culture-desk/vivian-maier-and-the-problem-of-difficult-women

[communedesign]

Jean Cocteau’s frescoes

In 1949, the poet Jean Cocteau met Francine Weisweiller who invited him a year later to spend a week’s holiday in her house in St Jean Cap Ferrat which overlooked the bay of Villefranche.

A few days after his arrival, Jean Cocteau would say: “I’m tired of idleness, I wither here…” He asked Francine whether he could draw the head of Apollo above the fireplace in the living room. Matisse had told him: “When you decorate a wall, you decorate the others”, so Cocteau kept on painting. Inch by inch, he covered all the walls of the house with frescoes inspired by the Greek mythology and the French Riviera.

All summer in 1950, Jean Cocteau worked on ladders without any preliminary model. After drawing in charcoal, the poet enhanced his drawings with coloured powders diluted in raw milk, otherwise known as frescoes in tempera. Cocteau would write: “I didn’t have to dress the walls; I had to paint on their skin […] Santo Sospir is a tattooed villa”.

Two years after completing the walls of the villa, Jean Cocteau tackled the ceilings. Finding them too white, he coloured them with pastels in very soft tones. He also composed mosaics for the entrance patio and a tapestry for the dining room. The art-covered walls even inspired a film, the 1952 La Villa Santo-Sospir, a filmed tour of the home given by Cocteau himself. 

For many years, Jean Cocteau spend long periods in the villa and wrote about the place: “When I was working at Santo Sospir, I became myself a wall and these walls spoke for me”.

[siochembio]

La belle et la bête, 1946, Jean Cocteau

[angelmadrid7]

Fotos de Ryan McGinley

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Ren Hang

[keitonoe]

[photography-cnl]

Spellbinding Photographs of the Faroe Island by Merlin Kafka 

Keep reading

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(via https://open.spotify.com/track/3j3503NICwvAaS4H090aq9)

[angelmadrid7]

Bronzino, Cristo deposto, 1543-1545 circa, Besançon, Musée des Beaux-Arts et d’Archéologie

[angelmadrid7]

The Blessed Virgin Chastising the Infant Jesus before Three Witnesses: André Breton, Paul Éluard and the Artist, 1926

[architecture-drawings]

“The drive-in with the arches” - McDonald’s and its postmodern architectural perception.

[angelmadrid7]

Agnus Dei de Zurbarán - o la completa indefensión. 

[angelmadrid7]

(via https://www.youtube.com/watch?v=p0v4hOMcZ5Q)

La serie Feud me ha descubierto a Joan Crawford. Esa cara y esas hombreras y esos ojos... En plena edad del Jazz, Scott Fitzgerald ya alcoholizado y reconvertido en guionista de Hollywood, escribió de ella:   "[She] is doubtless the best example of the flapper, the girl you see in smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly bitter expression, dancing deliciously, laughing a great deal, with wide, hurt eyes. Young things with a talent for living."

“Young things with a talent for living” - Fitzgerald era único. 

El video es uno de esos repelentes videos montados y remontados, pero le hace justicia a las mil caras de Joan. De fondo, Lana canta will you still love me when I am no longer young and beautiful?