[barcarole]

Fyodor Dostoyevsky in 1861. Photos by M. B. Tulinov.

[barcarole]

Tarkovsky’s house in Myasnoy Bor, Novgorod.

from Andrey Tarkovsky. A Cinema Prayer, dir. Andrei Tarkovsky Jr., 2019.

[nostalgiaforinfinity]

Well done, Earth | Beachy Head, Eastbourne, England | July, 2015

[shihlun]

Chantal Akerman.

Photo by Jean-Michel Vlaeminckx.

[mesogeios]

[INTERVIEWER:] To what degree were you thinking about the many movies that have been made about a male artist and the woman who inspired him?

[SCIAMMA:] I didn’t have to think much about that because basically we know by heart the story as it has been told so far, so I didn’t have to craft my answer to that. I wanted to tell another story, not didactically, but in very emotional, sentimental, political ways. At the center of the film is this idea that there is no muse, or that it’s a beautiful word for hiding the reality of how women have been collaborating with artists. I wanted to portray the intellectual dialogue and not to forget that there are several brains in the room. We see how art history reduces the collaboration between artists and their companions: before, a muse was this fetishized, silent, beautiful woman sitting in the room, whereas we now know that Dora Maar, the “muse” of Picasso, was this great Surrealist photographer. And Gabrièle Buffet-Picabia, the companion of Francis Picabia, was intensely involved in his evolution. I wanted to portray the reality of that […]

Interview: Céline Sciamma

[witchinghour]

Portrait of a Lady on Fire (2019) dir. Céline Sciamma

[english-idylls]

From Aurora Leigh by Elizabeth Barrett Browning (1856).

[marianhalcombes]

Jeremy Brett as Count Dracula in the 1978 adaptation of Dracula, designed by Edward Gorey

[nonalimmen]

© Nona Limmen Webshop / Instagram

[nonalimmen]

© Nona Limmen Webshop / Instagram

[design-is-fine]

Edouard Manet, Design for the poster and cover for “The Raven” by Edgar Allan Poe, 1875. Transfer lithograph on simili-parchment. Via metmuseum

[design-is-fine]

Gerhard Emmoser, Celestial globe with clockwork, 1579. Partially gilded silver, gilded brass (case); brass, steel (movement). Germany.

Exhibition: Making Marvels: Science and Splendor at the Courts of Europe. The Metropolitan Museum of Art, New York, November 25, 2019–March 1, 2020

Between 1550 and 1750, nearly every royal family in Europe assembled vast collections of exquisite and entertaining objects. Public spending and the display of precious metals were expressions of power, and possessing artistic and technological innovations conveyed status. In fact, advancements in art, science, and technology were often prominently showcased in elaborate court entertainments that were characteristic of the period. 

[awesomepeoplereading]

Woolf reads.

[objetpetita]

November 10 Struck by the abstract nature of absence; yet it’s so painful, lacerating. Which allows me to understand abstraction somewhat better: it is absence and pain, the pain of absence—perhaps therefore love?

Roland Barthes, Mourning Diary (via objetpetita)

[blue-stocking]

[gnossienne]

i) anne carson, “why i wrote two plays about phaidra” (2008) ii) portrait de la jeune fille en feu (sciamma, 2019)

[darkmuseum]

In Male Gothic the gaze is another aspect of those omnipresent boundary violations that lead, eventually, to punishment–looks may literally “kill.” In the context of Female Gothic, however, to gaze becomes a creative rather than a destructive act. In “realizing” things or persons other than herself the heroine literally “makes them real.” Her perception enlarges her world, opens up the possibility of discovering good, and of finding what she seeks.

Anne Williams, Art of Darkness: A Poetics of Gothic. Williams cites the myth of Psyche and Echo as the prototypical Female Gothic plot, with Charlotte Brontë’s Jane Eyre as one of its most recognizable manifestations.