I like spring, but it is too young. I like summer, but it is too proud. So I like best of all autumn, because its leaves are a little yellow, its tone mellower, its colours richer, and it is tinged a little with sorrow and a premonition of death. Its golden richness speaks not of the innocence of spring, nor of the power of summer, but of the mellowness and kindly wisdom of approaching age. It knows the limitations of life and is content. From a knowledge of those limitations and its richness of experience emerges a symphony of colours, richer than all, its green speaking of life and strength, its orange speaking of golden content and its purple of resignation and death. ~ Lin Yutang
"In this lithograph, Raphael Soyer represented himself at work on a portrait of a model, while his subject dresses in the foreground. The artist’s face is turned, and his portrait is characterized not by his features but by the vigor with which he works. The print captures the isolation that pervades the urban scenes Soyer painted in the 1940s. Even as the artist delights in the form of his model’s body on his canvas, he is entirely separated from her physical presence in his studio."
“Where are you hiding my love?
Each day without you will never come again.
Even today you missed a sunset on the ocean,
A silver shadow on yellow rocks I saved for you,
A squirrel that ran across the road,
A duck diving for dinner.
My God! There may be nothing left to show you
Save wounds and weariness
And hopes grown dead,
And wilted flowers I picked for you a lifetime ago,
Or feeble steps that cannot run to hold you,
Arms too tired to offer you to a roaring wind,
A face too wrinkled to feel the ocean’s spray.”
― James Kavanaugh, There Are Men Too Gentle to Live Among Wolves