…clouds might start to come in and they were gently autumnal; they made the world look quietly soft

By the middle of October, the foliage was beautiful. It seemed that the colors had arrived somewhat late, and because there had been so little rain for so long people thought maybe this was why the trees were shy and would not change their color so vibrantly. But then they did! Then they did.

Here is a secret about the beauty of the physical world. My mother told me this when I was very small —  my real mother, not the nice mother I made up later to be with me — my real mother told me one day that the great landscape painters understood one thing: that everything in nature started from the same color. And I thought of this as I watched the leaves changing. You may think: Don’t be ridiculous! There are vibrant reds and yellows and greens! And there are. Yet, walking along the river, as I did more frequently now, but also walking down our narrow road, I saw this. That in the yellows and the reds and the greens, they were somehow springing from the same color. And it is hard to describe this, but as more leaves fell I saw this more clearly.  Everything seems to start with a kind of brown and it grows from there: The huge slabs of rocks that were on the side of the road were gray and brown, and the oak trees that turned russet were similar in color to the seaweed that I have described as being a coppery color, and the water, whether it is dark green or gray or brown, was of a similar hue.

I also noticed how, in the afternoons, clouds might start to come in and they were gently autumnal; they made the world look quietly soft as though it was already getting ready to tuck itself in for the night. I am only saying what a thing the physical world is!

Elizabeth Strout, Lucy by the Sea: A Novel (Random House, September 20, 2022)


Photo: DK @ Brant Point, Nantucket. October 2, 2022 @ 7:21 am.  See more pictures from Brant point here.

If I held out an arm, eventually one would land on it and petal me into stillness

It was high summer and there were hundreds of butterflies in there. I had stood and watched them gather, like living jewels, around a table of fruits, amazed at the way the tiny croziers of their tongues would uncurl and drink from the nectar of the oranges. The air was thick with them, spiraling as though played by little flurries of wind. If I held out an arm, eventually one would land on it and petal me into stillness. I loved to see how they mimicked the forms of the world on their wings – an ocellus, or the pattern of snake-print, all their gorgeous subterfuge. I had always wanted to be decorated like that, to hold out an arm and to have all the beauty of the world land on it, and make me beautiful, too.

—  Seán Hewitt, All Down Darkness Wide: A Memoir (Penguin Publishing, July 12, 2022)


Photo: DK – Monarch Butterfly. July 31, 2022. Backyard.

this delicate painting will endure

On the shelf in my studio in Bloomsbury are four postcards of paintings that I love: The Blue Rigi, Sunrise by J.M.W. Turner; Stonehenge, a watercolour by John Constable; Self-Portrait by Rembrandt, dated 1658; and The Convalescent by Gwen John.

Just one look at this reproduction of Gwen John’s painting and my breathing becomes easier. The whole composition is a symphony in grey. She must have mixed the colours on her palette first—Payne’s Grey, Prussian Blue, Naples Yellow, Yellow Ochre, Brown Ochre, Rose Madder, Flake White—then all the other colours would be dipped in this combination so that every form is united in grey: the dark blue of the girl’s dress, the thrush-egg blue of the cushion behind her back and the tablecloth, the rose pink of the cup and saucer echoing the delicate pink of her fingernails and lips, the teapot like a shiny chestnut. The wall behind her is flecked with mustard-coloured dots placed randomly and precisely, as marks in nature always are, like the speckles on an egg. The painting is as fragile and robust as an egg—the structure of the composition holds everything in place; this delicate painting will endure.

Gwen John instructs the model to loosen her hair and part it in the middle. She wants the model to resemble her. Before Gwen starts the painting, she positions herself in the wicker chair and tells her model that she must sit in exactly the same pose. Gwen lowers her eyes and holds a small piece of paper in her hands. She is completely still, and her stillness pervades the space around her. The room becomes silent. The model now copies Gwen; she looks down at her hands, and she doesn’t look up until she has heard that Gwen approves.

—  Celia Paul, Letters to Gwen John (New York Review of Books, April 26, 2022)

Sunday Morning


More from this morning @ DK @ Daybreak. 4:50 to 5: 40 am. June 27, 2021.  Cove Island Park, Stamford, CT

Miracle. All of It.

The complex human eye harvests light. It perceives seven to ten million colors through a synaptic flash: one-tenth of a second from retina to brain. Homo sapiens gangs up 70 percent of its sense receptors solely for vision, to anticipate danger and recognize reward, but also — more so — for beauty. We have eyes refined by the evolution of predation. We use a predator’s eyes to marvel at the work of Titian or the Grand Canyon bathed in the copper light of a summer sunset.

— Ellen Meloy, The Anthropology of Turquoise: Reflections on Desert, Sea, Stone, and Sky


Notes:

  • Photo: DK @ Daybreak. 5:40 am, June 6, 2021. 69° F. Norwalk, CT
  • Post title Inspired by Albert Einstein’s quote: “There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.
  • Quote via Brain Pickings. Thank you Lori for sharing.

One pair of eyes is simply not enough


Notes:

  • DK. Daybreak. December 9, 2020. 6:16, 6:52 & 7:00 am. 30° F feels like 23° F. Cove Island Park, Stamford CT
  • Post Title: One pair of eyes is simply not enough. Mary Ruefle, from “The Life of a Poet: Mary Ruefle” (Library of Congress, May 15, 2015)

Sunday Morning

Autumn light is the loveliest light there is. Soft, forgiving, it makes all the world an illuminated dream. Dust motes catch fire, and bright specks drift down from the trees and lift up from the stirred soil, floating over lawns and woodland paths and ordinary roofs and parking lots. It’s an unchoreographed aerial dance, a celebration of what happens when light marries earth and sky. Autumn light always makes me think of fiery motes of chalk dust drifting in the expectant hush of an elementary school classroom during story time, just before the bell rings and sets the children free.

— Margaret Renkl, from “Our Days Have Always Been Running Out.” I greet autumn with a stillness I never felt when I was younger and in such a hurry. (NY Times, Sept 20, 2020)

 


Photo: DK. 10/4/20. 6:17 am. Cove Island Park, Stamford, CT.

The day broke around me like a cool dream

The day broke around me like a cool dream. Sea; sand; a sky that melts into the sea — a landscape of misty pastels with a look about it being continuously on the point of melting.

~ Angela Carter, from The Bloody Chamber in “The Bloody Chamber And Other Stories” (Vintage Digital; October 31, 2012)


Notes:

  • Photo: DK – Daybreak. 4:58 & 5:00 am. June 17, 2020. 58° F. Wind: 5 mph. Gusts: 8 mph. Cloud Cover: 19%.  Weed Ave, Stamford, CT.
  • Quote via andrasteiax

Lightly Child, Lightly

Bring down your colors

Break open your box of song

Beauty lifts us up

~ Mirabai Starr, Wild Mercy: Living the Fierce and Tender Wisdom of the Women Mystics


Notes:

  • Quote: Thank you Make Believe Boutique. Photo: Anka Zhuraleva with Summer Now in Saint-Petersburg.
  • Post Title & Inspiration: Aldous Huxley: “It’s dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you’re feeling deeply. Just lightly let things happen and lightly cope with them.”

Saturday Forecast: 55° F / Breezy


The New Yorker Cover: “Blown Away,” by Tomer Hanuka.

“The cover for this year’s Spring Style Issue is the fourth by Tomer Hanuka, an Israeli artist known for his striking use of color.

Q: We like the gestural quality of the woman’s pose. How does body language factor into making an image like this?

“I start with a gesture, just a line, and build a story around it. There are so many rules about drawing anatomy, and sometimes you need to break all of them to make a pose work. An image like this begins with a realistic sketch of a body, but in the end I want the physicality to disappear. I want the reader to be left only with an idea or a feeling.”

Monday Morning Wake-Up Call

He thinks the prices paid for his works sometimes border on madness. “I want to ignore it, mostly,” he says. “I’ve had sufficient money to do what I liked every day for the last 60 years. Even when I didn’t have much money, I’ve always managed. All I’m interested in is working, really. I’m going to go on working. Artists don’t retire.”

~ Lesley M.M. Blume, The World According to David Hockney (wsj.com, Sept 9, 2019)


Other notables from this essay:

  • “I have the vanity of an artist. I want my work to be seen. But I don’t have to be seen.” —David Hockney

  • “[The drawings] seem to exist fully formed. It’s like he bleeds them onto the page.” —Arne Glimcher

  • The drive up to David Hockney’s Los Angeles home in the Hollywood Hills is a narrow, winding route, full of hairpin turns. At the top of a hill, his compound is fortressed away behind an expanse of fence, hidden within a barely tamed jungle of palm trees and bird of paradise plants. Nearly every surface—the walls, the walkways connecting the buildings, the handrails and the roofs—has been painted brilliant colors: bubblegum pink, cerulean, canary yellow, sea green. ~ Lesley M.M. Blume

Painting above by David Hockney: The Road to York through Sledmere1997 – oil on canvas 48×60 in.

 

Miracle. All of it.

Spring has finally arrived, and it makes me smile every time I step outside. New green leaves are pushing themselves into the sunlight as plants build the solar panels that will fuel them throughout the year. The first spring flowers are already in bloom, and a bright showcase of cheerful rainbow color is rapidly replacing the gray-brown palette of late winter.

I love the constant small surprises as new flowers appear. But each new sighting makes me wish for a superpower: the sort of expanded vision that could show me all the colors these flowers have to offer. Human beings can see some of them, and birds and bees can see a little more. But the potential range of invisible colors is mind-boggling, and science is only just starting to get a grip on it.

Our color vision is neatly summed up in our perception of a rainbow, sweeping from red, the longest wavelength of light that our eyes can detect, to violet, the shortest. But we can’t detect each shade individually; in order to make sense of this continuous spectrum of colors, we use a clever shortcut. Our eyes have three types of cone cell that respond to different colors—red, green and blue. Our brain figures out how much of the light that we see falls into each category, and it recombines that information to construct the myriad colors that we register. It is both beautifully efficient and frustratingly crude…

~Helen Czerski, from Colors That Only Bees and Birds Can See


Notes:

  • Photo: Spring Flowers by Paul.
  • Related Posts: Miracle. All of it.
  • Inspiration: Inspired by Albert Einstein’s quote: “There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.”

T.G.I.F.


A dancer from the Southern Highlands of Papua New Guinea n the city of Port Moresby. (David Gray, Reuters, wsj.com November 15, 2018)

Slice (of life)

ben-orange

Slice“, Benito Martin (Photographer, Sydney Australia)

Saturday Morning

There is a wind blowing from the east, in from the sea, and it is laden with rain, pattering against the roof. It is as if a wall were standing open: the long, beautiful summer has ended, and everything rushes towards autumn. The leaves drop from the trees, the colours drift from green towards yellow and brown, the air smells of soil.

It feels good.

~ Karl Ove Knausgaard, from “Lime” in “Autumn


Photo: jerianie with foggy autumn mornings

A Letter to Mother that She Will Never Read

That time, at forty-six, when you had a sudden desire to color. Let’s go to Walmart, you said one morning. I need coloring books. For months, you filled the space between your arms with all the shades you couldn’t pronounce. Magenta, vermillion, marigold, pewter, juniper, cinnamon. Each day, for hours, you slumped over landscapes of farms, pastures, Paris, two horses on a windswept plain, the face of a girl with black hair and skin you left blank, left white. You hung them all over the house, which started to look like an elementary-school classroom. When I asked you, Why coloring, why now?, you put down the sapphire pencil and stared, dreamlike, at a half-finished garden. I just go away in it for a while, you said, but I feel everything, like I’m still here, in this room.

Ocean Vuong, excerpt from A Letter to Mother that She Will Never Read


Notes:

  • Don’t miss Ocean Vuong’s full essay in the May 13, 2017th edition of The New Yorker here.
  • Photo: Thank you Dan @ Your Eyes Blaze Out

It’s Beginning To Look A Lot Like…

LOANHEAD, SCOTLAND - NOVEMBER 18: Edite Galite from Latvia, holds up a Poinsettia plants ready to be dispatched for the Christmas season at the Pentland Plants garden centre on November 18,2016 in Loanhead, Scotland. The garden centre grows around 100,000 poinsettias, a traditional Christmas house plant. The Midlothian business supplies a host of garden centres and supermarkets across Scotland and the north of England in time for the festive season. (Photo by Jeff J Mitchell/Getty Images)


100,000 poinsettias are ready to be dispatched for the Christmas season in a Loanhead, Scotland garden center.  (November 18, 2016. Photo by Jeff J Mitchell/Getty Images)

Don’t other fantastic shots here: Prepping the Poinsettias for Christmas

T.G.I.F.

color


Source: Mennyfox55

Only the light moves

sun-sunrise

We went down into the silent garden.
Dawn is the time when nothing breathes,
the hour of silence.
Everything is transfixed,
only the light moves.

— Leonora Carrington, The House of Fear.


Notes: Image – Colorful Gradients. Quote: The Vale of Soul-Making

 

Monday Morning Wake-Up Call

drip

Two years from now I can hear people saying: Your play is extraordinary. And my answer: It took me ten years to perfect my craftsmanship. I am wrestling with giants here. Every morning I wake up in a sweat, ready for the struggle. The impact is great, but I am never defeated. It is the rehearsals I miss, to attend them and see the progress the actors make. My being there is an absolute necessity. My eye and ear criticize every move and every intonation. I listen to the “commas” of the play as if they were drops falling from a fountain. Dis moi comment vont tout tes affaires. I am alone.

~ James Salter, Light Years


Notes:

%d bloggers like this: