Se saprai starmi vicino, e potremo essere diversi, se il sole illuminerà entrambi senza che le nostre ombre si sovrappongano, se riusciremo ad essere "noi" in mezzo al mondo e insieme al mondo, piangere, ridere, vivere. Se ogni giorno sarà scoprire quello che siamo e non il ricordo di come eravamo, se sapremo darci l'un l'altro senza sapere chi sarà il primo e chi l'ultimo se il tuo corpo canterà con il mio perché insieme è gioia... Allora sarà amore e non sarà stato vano aspettarsi tanto.
Come il mare in perenne movimento srotola nel rtmico fragor dell'onda l'estasi palpitante d'un respiro d'universo cosi il mio amor per te non ha confini.... E non so amarti in nessun altro modo che rannicchiata qui nella mia timida apprensione quando il canto del silenzio prende vita nella notte e innanzi a me si riflette il luccicchio di mille soli... Mentre conto attimi ormai andati via salir sulla soglia degli occhi quasi una scia a sussurar il tuo nome per perdersi poi dietro ai cunicoli del cuore mettendo l'ali con la nascita del sole E sognandoti amor mio or si delizia l'alma mia del tuo profumo perchè tu sei quel mar che accarezza la mia spiaggia con un lento moto circolare al chiar di luna ... -Inizio senza fine aroma unico e diverso del mio giorno finchè avro' appena un fil di fiato- in questo corpo.
William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter. Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects with a heavy emphasis on the female human body. Although he created an idealized world, his almost photo-realistic style was popular with rich art patrons. He was very famous in his time but today his subject matter and technique receive relatively little attention compared to the popularity of the Impressionists.
William-Adolphe Bouguereau was born in La Rochelle, France on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugène, a curate, who taught him classical and biblical subjects, and arranged for Bouguereau to go to high school. Bouguereau showed artistic talent early on and his father was convinced by a client to send him to the École des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves. Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the École des Beaux-Arts. To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome in 1850, with his Zenobia Found by Shepherds on the Banks of the Araxes. His reward was a stay at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces.
Bouguereau, completely in tune with the traditional Academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life.
An early reviewer stated, “M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps…Raphael was inspired by the ancients…and no one accused him of not being original.”
Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing a old-master copy of Raphael’s The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter.
In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850s, he made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons. The Salons annually drew over 300,000 people, thereby providing valuable exposure to exhibited artists. Bouguereau’s fame extended to England by the 1860s and then he bought a large house and studio in Montparnasse with his growing income.
Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects—both pagan and Christian—with a heavy concentration on the female human body. Although he created an idealized world, his almost photo-realistic style brought to life his goddesses, nymphs, bathers, shepherdesses, and madonnas in a way which was very appealing to rich art patrons of his time. Some critics, however, preferred the honesty of Jean-François Millet’s truer-to-life depiction of hard-working farmers and laborers.
Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired. He also used some of the religious and erotic symbolism of the Old Masters, such as the “broken pitcher” which connoted lost innocence.
One of the rewards of staying within the Academic style and doing well in the Salons was receiving commissions to decorate private houses, public buildings, and churches. As was typical of these commissions, sometimes Bouguereau would paint in his own style, and other times he had to conform to an existing group style. Early on, Bouguereau was commissioned in all three venues, which added enormously to his prestige and fame. He also made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example. He was also a successful portrait painter though many of his paintings of wealthy patrons still remain in private hands.
Bouguereau steadily gained the honors of the Academy, reaching Life Member in 1876, and Commander of the Legion of Honor and Grand Medal of Honor in 1885. He began to teach drawing at the Académie Julian in 1875, a co-ed art institution independent of the École des Beaux-Arts, with no entrance exams and with nominal fees.
In 1877, both his wife and infant son died. At a rather advanced age, Bouguereau was married for the second time in 1896, to fellow artist Elizabeth Jane Gardner Bouguereau, one of his pupils. He also used his influence to open many French art institutions to women for the first time, including the Académie française.
Near the end of his life he described his love of his art, "Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come…if I cannot give myself to my dear painting I am miserable". He painted eight hundred and twenty-six paintings.
Bouguereau died in La Rochelle at age 80 from heart disease.
(born St. Germain-en-Laye, 22 August 1862; died Paris, 25 March 1918).
He studied with Guiraud and others at the Paris Conservatoire (1872-84) and as prizewinner went to Rome (1885-7), though more important Impressions came from his visits to Bayreuth (1888, 1889) and from hearing Javanese music in Paris (1889). Wagner's influence is evident in the cantata La damoiselle élue (1888) and the Cinq poèmes de Baudelaire (1889) but other songs of the period, notably the settings of Verlaine (Ariettes oubliées, Trois mélodies, Fêtes galantes, set 1) are in a more capricious style, as are parts of the still somewhat Franckian g Minor String Quartet (1893); in that work he used not only the Phrygian mode but also less standard modes, notably the whole-tone mode, to create the floating harmony he discovered through the work of contemporary writers: Mallarmé in the orchestral Prélude à 'L'après-midi d'un faune' (1894) and Maeterlinck in the opera Pelléas et Mélisande, dating in large part from 1893-5 but not completed until 1902. These works also brought forward a fluidity of rhythm and colour quite new to Western music.
Pelléas, with its rule of understatement and deceptively simple declamation, also brought an entirely new tone to opera - but an unrepeatable one. Debussy worked on other opera projects and left substantial sketches for two pieces after tales by Poe (Le diable dans le beffroi and La chûte de la maison Usher), but nothing was completed. Instead the main works were orchestral pieces, piano sets and songs.
The orchestral works include the three Nocturnes (1899), characteristic studies of veiled harmony and texture ('Nuages'), exuberant cross-cutting ('Fêtes') and seductive whole-tone drift ('Sirènes'). La mer (1905) essays a more symphonic form, with a finale that works themes from the first movement, though the centrepiece ('Jeux de vagues') proceeds much less directly and with more variety of colour. The three Images (1912) are more loosely linked, and the biggest, 'Ibéria', is itself a triptych, a medley of Spanish allusions. Finally the ballet Jeux (1913) contains some of Debussy's strangest harmony and texture in a form that moves freely over its own field of motivic connection. Other late stage works, including the ballets Khamma (1912) and La boîte à joujoux (1913) and the mystery play Le martyre de St. Sébastien (1911), were not completely orchestrated by Debussy, though St. Sébastien is remarkable in sustaining an antique modal atmosphere that otherwise was touched only in relatively short piano pieces (e.g.'La cathédrale engloutie').
The important piano music begins with works which, Verlaine fashion, look back at rococo decorousness with a modern cynicism and puzzlement (Suite bergamasque, 1890; Pour le piano, 1901). But then, as in the orchestral pieces, Debussy began to associate his music with visual impressions of the East, Spain, landscapes etc, in a sequence of sets of short pieces. His last volume of Etudes (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme as well as others influenced by the young Stravinsky (a presence too in the suite En blanc et noir for two pianos, 1915). The rarefaction of these works is a feature of the last set of songs, the Trois poèmes de Mallarmé (1913), and of the Sonata for flute, viola and harp (1915), though the sonata and its companions also recapture the inquisitive Verlainian classicism. The planned set of six sonatas was cut short by the composer's death from rectal cancer.
L´assenza nobilita il silenzio nelle parole cola il blu da una vena aperta sull'eternità si trasformano in uccelli messaggeri d'amore i vespri prima del prego veloci pensieri ancor tra le fiamme esplodono cercando nell'iride il riflesso tu che dai a tutto questo un senso sembri una stella senza sorte col cuore desideroso di specchiare sul volto della Luna il suo scarlatto pallore.
Mi cade addosso il peso del cosmo, tutta la volta celeste gremita di fiamme, ho la spalla dei sogni rotta e dolorante, le braccia sconfitte dalla torre d'astri, solo gli occhi restan illesi in questo tramonto d'anime protetti dal corpo che brama l'inchiostro nel deserto di un foglio gelido come la morte come le lande di un regno senza imperatore...
Mi manca il verbo le labbra sbriciolano sul vuoto suoni vaghi articolo visioni magiche di noi due insieme tra lenzuola madide di acque in stanze prigioniere del buio, mi manca l'aria al respiro tagliato l'iride confessa una lacrima salata che si rompe sulla guancia del pavimento che senza le tue impronte care diventa schiavo delle ombre.
L'assenza pietrifica il rumore, notturna ed alba van a braccetto nel mio capo, forse sono malato di immensità come un Dio del suo universo non sento il passaggio mortale del tempo, ma solo il tuo fiato, al di la del'orizzonte, su una riva bagnata solo dal oceano dei miei sogni, senza fondali che tu potresti attraversare volendo colpito dal mio occhio separando le sabbie dalle acque con un bacio.
Vibeke Knudsen (1978) by Ricardo Asensio 
