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Jackson Pollock

I hardly ever stretch the canvas before painting.

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I'm Not One Of Those Peephole Old People

I'm not a portrait painting on a canvas.
Waiting for a visit to exhibit.
I'm not one of those peephole old people...
Peeking out of keyholes all day,
Hey...
I,
Am much...
Alive.

I'm not a portrait painting on a canvas.
Waiting for a visit to exhibit.

I,
Am much...
Alive.

I,
Am much...
Alive.

I'm not one of those peephole old people,
Peeking out of keyholes all day!
I'm not a portrait painting on a canvas.
Waiting for a visit to exhibit.

I,
Am much...
Alive.

I,
Am much...
Alive.

I'm not a portrait painting on a canvas.
Waiting for a visit to exhibit.
I'm not one of those peephole old people...
Peeking out of keyholes all day,
Hey...
I'm not a portrait painting on a canvas.
Waiting for a visit to exhibit.
I'm not one of those peephole old people...
Peeking out of keyholes all day,
Hey...
I,
Am much...
Alive.

I'm not one of those peephole old people.

I,

[...] Read more

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Nazim Hikmet

Gioconda And Si-Ya-U

to the memory of my friend SI-YA-U,
whose head was cut off in Shanghai

A CLAIM

Renowned Leonardo's
world-famous
"La Gioconda"
has disappeared.
And in the space
vacated by the fugitive
a copy has been placed.

The poet inscribing
the present treatise
knows more than a little
about the fate
of the real Gioconda.
She fell in love
with a seductive
graceful youth:
a honey-tongued
almond-eyed Chinese
named SI-YA-U.
Gioconda ran off
after her lover;
Gioconda was burned
in a Chinese city.

I, Nazim Hikmet,
authority
on this matter,
thumbing my nose at friend and foe
five times a day,
undaunted,
claim
I can prove it;
if I can't,
I'll be ruined and banished
forever from the realm of poesy.

1928


Part One
Excerpts from Gioconda's Diary

15 March 1924: Paris, Louvre Museum

At last I am bored with the Louvre Museum.

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Fitration Bags

2.5 gallon shopvac bags
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The Canvas

Oh how she loves her canvas,
The stories that it tells.
Oh how she loves to paint her thoughts,
And etch a perfect spell.

Oh how she loves her canvas,
The memories that it holds.
Oh how she loves to trace the lines,
And tell if new or old.

Oh how she loves her canvas,
Her stability in an unstable world.
Oh how she loves to fret away,
At all of her unfurled.

Oh how she loves her canvas,
A standstill of art and truth.
Oh how she loves the feel of it,
To reminisce her youth.

Oh how she loves her canvas,
A long work of her life.
Oh how she loves the twisted colors,
Splashes of red upon white.

Oh how she loves her canvas,
She crafts each inch with care.
She hides her canvas well away,
Though she often earns a stare.

Do not tell of her canvas,
Keep the secret- she insists.
But perhaps some time take a second glance,
For her canvas is her wrist.

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Stretch Your Wings

Stretch your wings.
You can,
If you want to make it.

Stretch your wings.
You can,
If you want to make it.

Stretch your wings.
You can,
If you want to make it.

Look up to the sky,
And find a place to fly!

Stretch your wings.
You can,
If you want to make it.

Stretch your wings.
You can,
If you want to make it.

Stretch your wings.
You can,
If you want to make it.

Look me in my eyes!
And invite me,
With you to fly!

Stretch your wings.
You can,
If you want to make it.

Look me in my eyes!
And invite me,
With you to fly!

Stretch your wings.
You can,
If you want to make it.

Stretch your wings.
You can,
If you want to make it.

Look up to the sky,
And find a place for you to fly!
Look me in my eyes!

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Healthy Back Bag

animated bag of chips
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Stretch Out And Wait

On the high-rise estate
What's at the back of your mind ?
Oh, a three-day debate
On a high-rise estate
What's at the back of your mind ?
Two icy-cold hands conducting the way
It's the eskimo blood in my veins
Amid concrete and clay
And general decay
Nature must still find a way
So ignore all the codes of the day
Let your juvenile influences sway
This way and that way (this way)
This way and that way (this way)
God, how sex implores you
To let yourself lose yourself
Stretch out and wait
Stretch out and wait
Oh ... let your puny body, lie down, lie down
As we lie, you say
As we lie, you say
Stretch out and ...
Stretch out and wait
Stretch out and wait
Oh ... let your puny body lie down, lie down
As we lie, you say :
Will the world end in the night time ?
(i really don't know)
Or will the world end in the day time ?
(i really don't know)
And is there any point ever having children ?
Oh, i don't know
What i do know is we're here and it's now
So ... stretch out and wait
Stretch out and wait
There is no debate, no debate, no debate
How can you conciously contemplate
When there's no debate, no debate ?
Stretch out and wait
Stretch out and wait
Stretch out and wait
Wait
Wait
Wait
Wait

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Stretch Out & Wait

On the high-rise estate
Whats at the back of your mind ?
Oh, a three-day debate
On a high-rise estate
Whats at the back of your mind ?
Two icy-cold hands conducting the way
Its the eskimo blood in my veins
Amid concrete and clay
And general decay
Nature must still find a way
So ignore all the codes of the day
Let your juvenile influences sway
This way and that way (this way)
This way and that way (this way)
God, how sex implores you
To let yourself lose yourself
Stretch out and wait
Stretch out and wait
Oh ... let your puny body, lie down, lie down
As we lie, you say
As we lie, you say
Stretch out and ...
Stretch out and wait
Stretch out and wait
Oh ... let your puny body lie down, lie down
As we lie, you say :
Will the world end in the night time ?
(I really dont know)
Or will the world end in the day time ?
(I really dont know)
And is there any point ever having children ?
Oh, I dont know
What I do know is were here and its now
So ... stretch out and wait
Stretch out and wait
There is no debate, no debate, no debate
How can you conciously contemplate
When theres no debate, no debate ?
Stretch out and wait
Stretch out and wait
Stretch out and wait
Wait
Wait
Wait
Wait

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Painting The Walls

painting the walls,
rolling over handprints,
cobwebs, and smoke stains....

over splashes of color,
over peels of time.
painting over the sounds

of voices whispering, laughing....
painting over tears hidden
from the world, from each other.

painting over running, and working,
working all day and half the night.
painting over children, and dreams,

folded like old clothes, and put away.
painting over notes from God,
that were often barely noticed...

painting over the nail that held
up the clock, hands moving slowly,
turning the seasons of living....

painting over the final words,
the last breath held in the hands,
of lives written in the grain....

the testimony of each feeling....
painting the walls,
and brushing the corners,

as if we never lived!

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The Four Seasons : Summer

From brightening fields of ether fair disclosed,
Child of the Sun, refulgent Summer comes,
In pride of youth, and felt through Nature's depth:
He comes attended by the sultry Hours,
And ever fanning breezes, on his way;
While, from his ardent look, the turning Spring
Averts her blushful face; and earth, and skies,
All-smiling, to his hot dominion leaves.
Hence, let me haste into the mid-wood shade,
Where scarce a sunbeam wanders through the gloom;
And on the dark-green grass, beside the brink
Of haunted stream, that by the roots of oak
Rolls o'er the rocky channel, lie at large,
And sing the glories of the circling year.
Come, Inspiration! from thy hermit-seat,
By mortal seldom found: may Fancy dare,
From thy fix'd serious eye, and raptured glance
Shot on surrounding Heaven, to steal one look
Creative of the Poet, every power
Exalting to an ecstasy of soul.
And thou, my youthful Muse's early friend,
In whom the human graces all unite:
Pure light of mind, and tenderness of heart;
Genius, and wisdom; the gay social sense,
By decency chastised; goodness and wit,
In seldom-meeting harmony combined;
Unblemish'd honour, and an active zeal
For Britain's glory, liberty, and Man:
O Dodington! attend my rural song,
Stoop to my theme, inspirit every line,
And teach me to deserve thy just applause.
With what an awful world-revolving power
Were first the unwieldy planets launch'd along
The illimitable void! thus to remain,
Amid the flux of many thousand years,
That oft has swept the toiling race of men,
And all their labour'd monuments away,
Firm, unremitting, matchless, in their course;
To the kind-temper'd change of night and day,
And of the seasons ever stealing round,
Minutely faithful: such the All-perfect hand!
That poised, impels, and rules the steady whole.
When now no more the alternate Twins are fired,
And Cancer reddens with the solar blaze,
Short is the doubtful empire of the night;
And soon, observant of approaching day,
The meek'd-eyed Morn appears, mother of dews,
At first faint-gleaming in the dappled east:
Till far o'er ether spreads the widening glow;
And, from before the lustre of her face,

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John Dryden

Annus Mirabilis, The Year Of Wonders, 1666

1
In thriving arts long time had Holland grown,
Crouching at home and cruel when abroad:
Scarce leaving us the means to claim our own;
Our King they courted, and our merchants awed.

2
Trade, which, like blood, should circularly flow,
Stopp'd in their channels, found its freedom lost:
Thither the wealth of all the world did go,
And seem'd but shipwreck'd on so base a coast.

3
For them alone the heavens had kindly heat;
In eastern quarries ripening precious dew:
For them the Idumaean balm did sweat,
And in hot Ceylon spicy forests grew.

4
The sun but seem'd the labourer of the year;
Each waxing moon supplied her watery store,
To swell those tides, which from the line did bear
Their brimful vessels to the Belgian shore.

5
Thus mighty in her ships, stood Carthage long,
And swept the riches of the world from far;
Yet stoop'd to Rome, less wealthy, but more strong:
And this may prove our second Punic war.

6
What peace can be, where both to one pretend?
(But they more diligent, and we more strong)
Or if a peace, it soon must have an end;
For they would grow too powerful, were it long.

7
Behold two nations, then, engaged so far
That each seven years the fit must shake each land:
Where France will side to weaken us by war,
Who only can his vast designs withstand.

8
See how he feeds the Iberian with delays,
To render us his timely friendship vain:
And while his secret soul on Flanders preys,
He rocks the cradle of the babe of Spain.

9
Such deep designs of empire does he lay

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Why Is Repin Painting Monet?

why is repin
painting monet
why is not repin
painting repin
or why is not monet
painting monet
or they're just
making a team
in this day
very sunny day
in the south
south of beauty
oh beauty
beauty named france
france of that field
the sunflower field
oh making
making for a painting
a painting for price
a price for bread
bread for respect
respect for van gogh
van gogh for a day
a day for painting
painting for words
words for us
and us for them
and them are only
only and just
just se7en words
'we all are brothers
brothers
in love'

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Vision Of Columbus - Book 1

Long had the Sage, the first who dared to brave
The unknown dangers of the western wave,
Who taught mankind where future empires lay
In these fair confines of descending day,
With cares o'erwhelm'd, in life's distressing gloom,
Wish'd from a thankless world a peaceful tomb;
While kings and nations, envious of his name,
Enjoy'd his toils and triumph'd o'er his fame,
And gave the chief, from promised empire hurl'd,
Chains for a crown, a prison for a world.
Now night and silence held their lonely reign,
The half-orb'd moon declining to the main;
Descending clouds, o'er varying ether driven,
Obscured the stars and shut the eye from heaven;
Cold mists through opening grates the cell invade,
And deathlike terrors haunt the midnight shade;
When from a visionary, short repose,
That raised new cares and temper'd keener woes,
Columbus woke, and to the walls address'd
The deep-felt sorrows of his manly breast.

Here lies the purchase, here the wretched spoil,
Of painful years and persevering toil:
For these dread walks, this hideous haunt of pain,
I traced new regions o'er the pathless main,
Dared all the dangers of the dreary wave,
Hung o'er its clefts and topp'd the surging grave,
Saw billowy seas, in swelling mountains roll,
And bursting thunders rock the reddening pole,
Death rear his front in every dreadful form,
Gape from beneath and blacken in the storm;
Till, tost far onward to the skirts of day,
Where milder suns dispens'd a smiling ray,
Through brighter skies my happier sails descry'd
The golden banks that bound the western tide,
And gave the admiring world that bounteous shore
Their wealth to nations and to kings their power

Oh land of transport! dear, delusive coast,
To these fond, aged eyes forever lost!
No more thy gladdening vales I travel o'er,
For me thy mountains rear the head no more,
For me thy rocks no sparkling gems unfold,
Or streams luxuriant wear their paths in gold;
From realms of promised peace forever borne,
I hail dread anguish, and in secret mourn

But dangers past, fair climes explored in vain,
And foes triumphant shew but half my pain
Dissembling friends, each earlier joy who gave,

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A Wonderful Painting

A Wonderful Painting
by Alex Lewis

I remember before my mother's art
When I was but an egg.
The painting took color in every part.
One shade is but a leg.

The lavish blues spread across the page like a waving, smiling sea.
The canvas was plain and bare, except the blues, happily set free.
With the blue, I went to play as childish as I may.
The one clam and I sat with ourselves on the whaling bay.

This is me, like a leaf, on my first day at green.
So, all the others spoke; I found that none were mean.
There were dark greens, light ones, and one stuck in the middle.
After math, my friend and I learnt to play the fiddle.

My friend and I continued to play our little tune.
We soon fell in pink to which neither one was immune.
Our pink grew and grew as each day had passed.
Green had ended blue; only pink would last.

We took our pink and ran right through to angry, waiting brown.
Brown was angry for making him wait with a black-white frown.
We explained that blue made us wait for an azure set of eighteen.
He forgave us. My friend, brown, pink, and I live for only one team.

We decided to get the canvas and add a dash of white.
Pink was overwhelmed as white carried on through the love-filled night.
We can add white to family before blue decides to return again.
Red will also join the painting party-Another eighteen before men!

It took a lot of work to make my dear reds come.
I enjoyed the work, but my reds were way more fun.
One red stayed with us, but the other ran away rather young.
Maybe brown kidnapped him early, but strange words travel by tongue.

We turned grey as brown dimmed down, but we swear we've never seen pink more bright!
Brown had completely gone, like both of our reds, but pink still made things light.
I then feared and cried as my pink's grey burned out like a setting sun.
My grey began to fade too, but I was ready. My life was done.

My mother handed me the canvas and the frame,
But I had to add all the colors (none I showed for shame) .
Blue, green, pink, brown, red, grey-my portrait is made of those colors,
But I am just one piece in a gallery, and all of you are the others.

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When is a Painting Finished?

I paint.
On my easel
pictures in oil and acrylic grow
like stalagmites in limestone caves.

I think that painting is a magical act
that transforms invisible thoughts
and feelings into visible colors
and forms.

But I never can tell
when is the work finished.
After all it is always possible
to change a line, a hue, or a color
or even the whole composition.

Painters have different opinions
about this.

Some say that when the artist
successfully planted
all the details onto the canvas
the image expresses itself
as a severed autonomous entity,
which frees the painter from
the task of continuing to paint.
From then on the painting gains
an independent inner life of its own.

However, abandoning a work of art
involves a moral decision
ripened by the stiffening tension
between skill, creativity and integrity.
At what point does the polished image
meet the artist’s expectations?

And then, even if it does,
no single image can express
all that an artist wants to show,
and consequently his muses
compel him to carry on with his work
and create more paintings.

Hence the oeuvre of the artist
evolves as a set of different images
of the same single thrust and grind.

Many years ago I was wandering
through the countryside
of southern France in Provence.

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Empty Canvas

the canvas is juxtaposition
images colour movement time
time shifts in thought shifts

empty mind space canvas
is whatever artist declares
canvas is painted to be

empty canvas is whatever
canvas is painted to be
endless pigment possibilities


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Hilaire Belloc

Ballade Of Modest Confession

My reading is extremely deep and wide;
And as our modern education goes—
Unique I think, and skilfully applied
To Art and Industry and Autres Choses
Through many years of scholarly repose.
But there is one thing where I disappoint
My numerous admirers (and my foes).
Painting on Vellum is my weakest point.

I ride superbly. When I say I 'ride'
The word's too feeble. I am one of those
That dominate a horse. It is my pride
To tame the fiercest with tremendous blows
Of heel and knee. The while my handling shows
Such lightness as a lady's. But Aroint
Thee! Human frailty with thy secret woes!
Painting on Vellum is my weakest point.

Painting on Vellum: not on silk or hide
Or ordinary Canvas: I suppose
No painter of the present day has tried
So many mediums with success, or knows
As well as I do how the subject grows
Beneath the hands of genius, that anoint
With balm. But I have something to disclose—
Painting on Vellum is my weakest point.


Envoi
Prince! do not let your Nose, your royal Nose,
Your large imperial Nose get out of Joint.
For though you cannot touch my golden Prose,
Painting on Vellum is my weakest point.

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~Painting Poetry~

Poetry in thought
words tumble
from my mind
onto the page and screen
like paint dripping
from sable silk brushes
creating new visions
of new realities
in the virtual space
of my Soul
painting a perfect picture
words drip down the canvas
in deep brilliant hues
of purples and reds
and vibrant blues
to soft indigo of
twinkling velvet starlight
yellow tones as warm as sunrize
and golden oranges
of fleeting sunsets
blanket the page and screen
as verse, lyric and rhyme converge
splattering from my tongue
giving form to my dreams
and shape to my fantasies
trailing across
the smooth texture
and terrain of
flesh and muscle
brushes whisper
across the canvas
dance across bodies
images of two entwined
captured boldly
in Nubian hues
of mahogany and mocha
limbs and torsos
move and connect
in a vision of words spoken
caught in the kinetic frenzy
of bodies joined
and poetry painted
across the canvas
of this night’s loving
a masterpiece to behold
for generations to come
culminating in the joining of
pen and brush
words and colors
page and canvas

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Pharsalia - Book IX: Cato

Yet in those ashes on the Pharian shore,
In that small heap of dust, was not confined
So great a shade; but from the limbs half burnt
And narrow cell sprang forth and sought the sky
Where dwells the Thunderer. Black the space of air
Upreaching to the poles that bear on high
The constellations in their nightly round;
There 'twixt the orbit of the moon and earth
Abide those lofty spirits, half divine,
Who by their blameless lives and fire of soul
Are fit to tolerate the pure expanse
That bounds the lower ether: there shall dwell,
Where nor the monument encased in gold,
Nor richest incense, shall suffice to bring
The buried dead, in union with the spheres,
Pompeius' spirit. When with heavenly light
His soul was filled, first on the wandering stars
And fixed orbs he bent his wondering gaze;
Then saw what darkness veils our earthly day
And scorned the insults heaped upon his corse.
Next o'er Emathian plains he winged his flight,
And ruthless Caesar's standards, and the fleet
Tossed on the deep: in Brutus' blameless breast
Tarried awhile, and roused his angered soul
To reap the vengeance; last possessed the mind
Of haughty Cato.

He while yet the scales
Were poised and balanced, nor the war had given
The world its master, hating both the chiefs,
Had followed Magnus for the Senate's cause
And for his country: since Pharsalia's field
Ran red with carnage, now was all his heart
Bound to Pompeius. Rome in him received
Her guardian; a people's trembling limbs
He cherished with new hope and weapons gave
Back to the craven hands that cast them forth.
Nor yet for empire did he wage the war
Nor fearing slavery: nor in arms achieved
Aught for himself: freedom, since Magnus fell,
The aim of all his host. And lest the foe
In rapid course triumphant should collect
His scattered bands, he sought Corcyra's gulfs
Concealed, and thence in ships unnumbered bore
The fragments of the ruin wrought in Thrace.
Who in such mighty armament had thought
A routed army sailed upon the main
Thronging the sea with keels? Round Malea's cape
And Taenarus open to the shades below
And fair Cythera's isle, th' advancing fleet

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Fra Lippo Lippi

I am poor brother Lippo, by your leave!
You need not clap your torches to my face.
Zooks, what's to blame? you think you see a monk!
What, 'tis past midnight, and you go the rounds,
And here you catch me at an alley's end
Where sportive ladies leave their doors ajar?
The Carmine's my cloister: hunt it up,
Do—harry out, if you must show your zeal,
Whatever rat, there, haps on his wrong hole,
And nip each softling of a wee white mouse,
Weke, weke, that's crept to keep him company!
Aha, you know your betters! Then, you'll take
Your hand away that's fiddling on my throat,
And please to know me likewise. Who am I?
Why, one, sir, who is lodging with a friend
Three streets off—he's a certain...how d'ye call?
Master—a...Cosimo of the Medici,
I' the house that caps the corner. Boh! you were best!
Remember and tell me, the day you're hanged,
How you affected such a gullet's gripe!
But you, sir, it concerns you that your knaves
Pick up a manner nor discredit you:
Zooks, are we pilchards, that they sweep the streets
And count fair prize what comes into this net?
He's Judas to a tittle, that man is!
Just such a face! Why, sir, you make amends.
Lord, I'm not angry! Bid your hangdogs go
Drink out this quarter-florin to the health
Of the munificent House that harbors me
(And many more beside, lads! more beside!)
And all's come square again. I'd like his face—
His, elbowing on his comrade in the door
With the pike and lantern—for the slave that holds
John Baptist's head a-dangle by the hair
With one hand ("Look you, now," as who should say)
And his weapon in the other, yet unwiped!
It's not your chance to have a bit of chalk,
A wood-coal or the like? or you should see!
Yes, I'm the painter, since you style me so.
What, brother Lippo's doings, up and down,
You know them and they take you? like enough!
I saw the proper twinkle in your eye—
'Tell you, I liked your looks at very first.
Let's sit and set things straight now, hip to haunch.
Here's spring come, and the nights one makes up bands
To roam the town and sing out carnival,
And I've been three weeks shut within my mew,
A-painting for the great man, saints and saints
And saints again. I could not paint all night—
Ouf! I leaned out of window for fresh air.

[...] Read more

poem by from Men and Women (1855)Report problemRelated quotes
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