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."

Saturday, February 08, 2025

Portrait of Well-endowed Young Man by the First Truly international Artist Albrecht Dürer

 आम्ही मे ११ २०२४ रोजी दमून नॅशनल गॅलरी ऑफ आर्ट, वॉशिंग्टन डीसी मध्ये संध्याकाळी पोचलो पण माझी दमणूक बऱ्याच प्रमाणात रेम्ब्रांड यांनी स्वागत करून कमी केली!

पुढे Albrecht Dürer यांच्या या चित्राने तर ओठावर हसूच आणले... 

 Portrait of a Clergyman (Johann Dorsch?), 1516


Philip Hoare त्यांच्या Dürer’s Lost Masterpiece: Art and Society at the Dawn of a Global World by  Ulinka Rublack पुस्तकाच्या परिक्षणात स्पेक्टेटर , युके ऑगस्ट ५ २०२३ मध्ये म्हणतात :

"...Rublack’s great academic take, her USP on Dürer’s story, is to show that trade and technology – Vorsprung durch Technik: the artist’s home town of Nuremberg boasted 100 printing presses – enabled him to become the man whom the critic Laura Cumming has hailed as ‘the first truly international artist’. It helped to have friends in high places. Dürer’s official patron was the Holy Roman Emperor Maximilian and his best friend, Willibald Pirckheimer, was an influential intellectual and serial womaniser. In Rublack’s telling, the two men are always comparing their sexual conquests, although she only mentions in passing that these ‘might have included homosexual relationships’ – a somewhat prudish note, given that Dürer’s greatest biographer, Erwin Panofsky, noted back in the 1930s Albrecht’s evident predilection (in countless drawings and engravings) for well-endowed young men..."

Posted by at

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)