“What can we expect from an empty shell
Where many hearts of pearl once beat to dwell
Waves fail to break hard layer’s bond of love
Wailing shore sends memoir to the sky above”
― Munia Khan
“…I don’t just wish you rain, Beloved – I wish you the beauty of storms…”
― John Geddes, A Familiar Rain
“The dragon-form roof tile is comprised of four sections with high relief details. On either side of the tile there is a larger, green glazed dragon; a smaller, amber dragon; curly clouds filling up the space between the dragons; and a miniature figure under the head of the amber dragon. The larger dragon is biting the roof ridge with wide-open jaws and its winding tail turns upward. The smaller dragon writhes amidst clouds in the opposite direction of the larger one. The intertwined dragons form a shape similar to a half moon.
Comprised of four sections well modeled in high, crisp relief as two ferocious dragons writhing admist clouds, the larger green-glazed dragon descending with jaws wide open as the smaller amber-glazed dragon with supple, slithering body ascends as it reachs for the flaming pearl tightly grasped in the other’s extended rear claw, with the small figure of a bearded immortal standing admist the clouds just below the amber dragon’s head, the reverse modeled with the body of the green dragon only, all in green, amber, cream and black.” — Nelson-Atkins Museum of Art
Earth would die
If the sun stopped kissing her.”
Khwāja Šams ud-Dīn Muhammad Hāfez-e Šīrāzī
Interior with a Book, 1959
“Richard Diebenkorn worked in two styles-gestural realism, as in Interior with a Book, and complete abstraction, as in the Ocean Park Series.
In Interior with a Book, Diebenkorn integrates flat areas of color with more realistic passages suggesting three-dimensional space. The right two-thirds of the canvas present a landscape, sky and interior space in terms of an abstract pattern of horizontal bands of color. Perspective, or the illusion of receding space, is achieved through the intersection of these horizontals with the diagonal lines of the window frame. The careful placement of a chair, book and trees enhances this illusion of depth.
The empty chair and open book suggest the absence or eventual presence of a solitary figure, creating a mood of quiet anticipation.”
Still Life with Brushes, Shell and Star Fish, 1972
Roy Lichtenstein was one of the leading painters of the Pop Art movement. During the 1960s he translated banal advertisements and adventure comic strips into large-scale paintings, using bright, flat colors and hard-edge, precise drawing. Benday dots, integral to the photo-mechanical printing process, are exaggerated to the point of becoming design elements in the art.
Still Life with Brushes, Shell and Star Fish belongs to a series of paintings by Lichtenstein that investigates the styles and subjects of art history. In this painting, Lichtenstein defies our expectations for the still life by rendering it in the visual language of the comic strip. He reminds us that the process of mechanical reproduction reduces all works of art to simple arrangements of dots. …
"What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward — neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself."