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."

Sunday, September 05, 2021

And Adélaïde Labille-Guiard Became a Teacher in 18th Century...Teacher's Day

 The post is largely courtesy The Metropolitan Museum of Art, New York








 This magisterial work is a self-portrait of the 35-year-old artist Adélaïde Labille-Guiard (1749–1803) alongside two of her pupils.

Labille-Guiard shows herself in her studio, at work on a large canvas. The artist pauses, paintbrush poised over her palette, and gazes outward. On her lap she balances a mahlstick, used to steady a painter’s working hand. She announces her authorship with a prominent signature on the easel’s shelf.

At the same time, she forms an intimate trio with two of her students—Marie Marguerite Carreaux de Rosemond (left) and Marie-Gabrielle Capet (right)—asserting her role as a teacher of aspiring women artists.

The work is virtually unprecedented in the history of European painting. Before Labille-Guiard, few women in France had been admitted into the privileged ranks of the Academy, and she was one of only a small number to oversee a teaching studio in the 18th century. 

Labille-Guiard showcases her command of this style in her masterful rendering of a range of materials. Notice the plumage of her straw hat, captured in delicate, feathery brushstrokes …the shimmering silk folds of her fashionable robe à l’anglaise …and the reflective sheen of the parquet wood floor.

The Neoclassical style was associated with masculinity, and critics responded in kind. They praised Labille-Guiard’s portrait for the “vigor” and “force” of its handling.  At least one reviewer assumed it was painted by a man.

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