मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Wednesday, September 09, 2020

ऑगस्ट स्ट्रिंडबर्ग , व्हिनसेंट वॅन गो आणि जीए ...एका माळेचे मणी...Aching Nerve, The Bedroom

 जीएंचे ऑगस्ट स्ट्रिंडबर्ग यांच्या वरचे प्रेम आपल्याला माहित आहे- 'पिंगळावेळ'चा एपिग्राफ -
 

"Shallow people demand variety – but I have been writing the same story throughout my life, every time trying to cut nearer the aching nerve"

जीएंचे तेवढेच प्रेम व्हिनसेंट वॅन गो वर होते, आता वॅन गो यांची सवय पहा 

"Van Gogh painted three versions of The bedroom. He often made copies of his own works when he was satisfied with them. He usually planned to sell the new version or give it away.

 In late 1888, Van Gogh was admitted to the hospital because he had injured his ear after an argument with Gauguin. By early 1889 he was back in the ‘Yellow House’ and wrote to Theo, ‘When I saw my canvases again after my illness, what seemed to me the best was the bedroom.’

 When a nearby river flooded, water seeped into Van Gogh’s studio and damaged the painting. Van Gogh sent it to Theo, asking if he could line it with a new canvas. Theo sent it back to Vincent so that he could make a copy first. Vincent did so, in the Saint-Rémy asylum in September 1889. That same month, he made a smaller copy for his mother and his sister Wil.

 Small changes

 Van Gogh changed small details in the copies. In the earliest version, we see two portraits over his bed (as well as one landscape and two drawings or prints). The portraits in the later versions are different. If you look closely, you will find other small differences.

 The paintings over the bed have been identified. They are portraits of the poet Eugène Boch (at left) and Lieutenant Milliet (at right).

 The poet, portrait of Eugène Boch, 1888 Musée d’Orsay, Paris

 The lover (portrait of Lieutenant Milliet), 1888 Collectie Kröller-Müller Museum, Otterlo, the Netherlands" (Van Gogh Museum, Amsterdam)

म्हणजे एकजण दुखऱ्या नसेजवळ जायच्या प्रयत्नात एकच गोष्ट लिहतोय तर दुसरा एक चित्र चांगले उतरलय म्हणून त्याच्या अनेक प्रती काढतोय.... 

पण हे माझे म्हणणे तितकेसे बरोबर नाही कारण वॅन गो प्रत्येकवेळी थोडा थोडा बदल चित्रात करत होते (वरील 'small changes' वाचा) म्हणजे तेही दुखऱ्या नसेजवळ जायच्या प्रयत्नात असायचे! हे सगळे एका माळेचे मणी...

 

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