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Happy Easter!
Joyeuses Pâques!

Happy Easter!

Joyeuses Pâques!

Karl Kraus, Vienna ca 1920 -by Trude Fleischmann

Word and substance — that is the only connection I have ever striven for in my life.
When someone is about to accost me, I hope till the last moment that the fear of being compromised will keep him from doing so. But people are intrepid.
Many desire to kill me, and many wish to spend an hour chatting with me. The law protects me from the former.
One’s need for loneliness is not satisfied if one sits at a table alone. There must be empty chairs as well. If the waiter takes away a chair on which no one is sitting, I feel a void and my sociability is aroused. I can’t live without empty chairs.
I must be with people again. For this summer — among bees and dandelions — my misanthropy really got out of hand.
An aphorism never coincides with the truth: it is either a half-truth or one-and-a-half truths.
— Karl Kraus, in Half-Truths and One-and-a-Half Truths: Selected Aphorisms. transl. Harry Zohn (University of Chicago Press, 1990)

photo from LA

Karl Kraus, Vienna ca 1920 -by Trude Fleischmann

Word and substance — that is the only connection I have ever striven for in my life.

When someone is about to accost me, I hope till the last moment that the fear of being compromised will keep him from doing so. But people are intrepid.

Many desire to kill me, and many wish to spend an hour chatting with me. The law protects me from the former.

One’s need for loneliness is not satisfied if one sits at a table alone. There must be empty chairs as well. If the waiter takes away a chair on which no one is sitting, I feel a void and my sociability is aroused. I can’t live without empty chairs.

I must be with people again. For this summer — among bees and dandelions — my misanthropy really got out of hand.

An aphorism never coincides with the truth: it is either a half-truth or one-and-a-half truths.

— Karl Kraus, in Half-Truths and One-and-a-Half Truths: Selected Aphorisms. transl. Harry Zohn (University of Chicago Press, 1990)

photo from LA

Harald Kreutzburg, 1930s -by Will Burgdorf  [+]
from LA

Harald Kreutzburg, 1930s -by Will Burgdorf  [+]

from LA

Hannah Höch, Berlin 1962 -by Floris Neusüss  [+]
from Muenchner Stadtmuseum

Hannah Höch, Berlin 1962 -by Floris Neusüss  [+]

from Muenchner Stadtmuseum

Chag Pesach Sameach!

Have a happy Passover!

C’est en 1966 que Michel Soutter filme René Char chez lui, à l’Isle-sur-la-Sorgue, dans le Vaucluse.  [+]

© Hermann Landshoff, 1948, Young Richard Avedon, New York
burnedshoes:

© Hermann Landshoff, 1948, Young Richard Avedon, New York
American fashion photographer Richard Avedon, who worked as an assistant for Landshoff, considered himself to have been profoundly inspired by him, even being moved to claim that "I owe everything to Landshoff."
If you’re in Munich at the moment make sure to visit the Hermann Landshoff Retrospective at Münchner Stadtmuseum, open until April 21. More information about the exhibition here.

© Hermann Landshoff, 1948, Young Richard Avedon, New York

burnedshoes:

© Hermann Landshoff, 1948, Young Richard Avedon, New York

American fashion photographer Richard Avedon, who worked as an assistant for Landshoff, considered himself to have been profoundly inspired by him, even being moved to claim that "I owe everything to Landshoff."

If you’re in Munich at the moment make sure to visit the Hermann Landshoff Retrospective at Münchner Stadtmuseum, open until April 21. More information about the exhibition here.

Samuel Beckett, Paris, 1989 -by Francois-Marie Banier
entregulistanybostan:

Samuel Beckett, Paris, 1989, by Francois-Marie Banier
Source The Paris Review

Samuel Beckett, Paris, 1989 -by Francois-Marie Banier

entregulistanybostan:

Samuel Beckett, Paris, 1989, by Francois-Marie Banier

Source The Paris Review

Salvatore Quasimodo, 1962 -by Ugo Mulas

Specchio
Ed ecco sul troncosi rompono le gemme:un verde più nuovo dell’erbache il cuore riposa:il tronco pareva già morto,piegato sul botro.
E tutto mi sa di miracolo;e sono quell’acqua di nubeche oggi rispecchia nei fossipiù azzurro il suo pezzo di cielo,quel verde che spacca la scorzache pure stanotte non c’era.
Mirror
And see, buds breakout of the tree:a newer green in the grasseases the heart:the tree seemed already dead,bowed on the slope.
And all I know of miracle;and I am this watery cloudthat reflected today in the ditches,the more blue, its fragment of heaven,this green that splits the barkthat only last night was not there.
— Salvatore Quasimodo, in ‘Ed è subito sera’, Milano, Mondadori, 1942 (Transl. A. S. Kline, 2012)

photo from LA

Salvatore Quasimodo, 1962 -by Ugo Mulas

Specchio

Ed ecco sul tronco
si rompono le gemme:
un verde più nuovo dell’erba
che il cuore riposa:
il tronco pareva già morto,
piegato sul botro.

E tutto mi sa di miracolo;
e sono quell’acqua di nube
che oggi rispecchia nei fossi
più azzurro il suo pezzo di cielo,
quel verde che spacca la scorza
che pure stanotte non c’era.

Mirror

And see, buds break
out of the tree:
a newer green in the grass
eases the heart:
the tree seemed already dead,
bowed on the slope.

And all I know of miracle;
and I am this watery cloud
that reflected today in the ditches,
the more blue, its fragment of heaven,
this green that splits the bark
that only last night was not there.

— Salvatore Quasimodo, in ‘Ed è subito sera’, Milano, Mondadori, 1942 (Transl. A. S. Kline, 2012)

photo from LA

Happy Easter!
Joyeuses Pâques!

Happy Easter!

Joyeuses Pâques!

Karl Kraus, Vienna ca 1920 -by Trude Fleischmann

Word and substance — that is the only connection I have ever striven for in my life.
When someone is about to accost me, I hope till the last moment that the fear of being compromised will keep him from doing so. But people are intrepid.
Many desire to kill me, and many wish to spend an hour chatting with me. The law protects me from the former.
One’s need for loneliness is not satisfied if one sits at a table alone. There must be empty chairs as well. If the waiter takes away a chair on which no one is sitting, I feel a void and my sociability is aroused. I can’t live without empty chairs.
I must be with people again. For this summer — among bees and dandelions — my misanthropy really got out of hand.
An aphorism never coincides with the truth: it is either a half-truth or one-and-a-half truths.
— Karl Kraus, in Half-Truths and One-and-a-Half Truths: Selected Aphorisms. transl. Harry Zohn (University of Chicago Press, 1990)

photo from LA

Karl Kraus, Vienna ca 1920 -by Trude Fleischmann

Word and substance — that is the only connection I have ever striven for in my life.

When someone is about to accost me, I hope till the last moment that the fear of being compromised will keep him from doing so. But people are intrepid.

Many desire to kill me, and many wish to spend an hour chatting with me. The law protects me from the former.

One’s need for loneliness is not satisfied if one sits at a table alone. There must be empty chairs as well. If the waiter takes away a chair on which no one is sitting, I feel a void and my sociability is aroused. I can’t live without empty chairs.

I must be with people again. For this summer — among bees and dandelions — my misanthropy really got out of hand.

An aphorism never coincides with the truth: it is either a half-truth or one-and-a-half truths.

— Karl Kraus, in Half-Truths and One-and-a-Half Truths: Selected Aphorisms. transl. Harry Zohn (University of Chicago Press, 1990)

photo from LA

Harald Kreutzburg, 1930s -by Will Burgdorf  [+]
from LA

Harald Kreutzburg, 1930s -by Will Burgdorf  [+]

from LA

Hannah Höch, Berlin 1962 -by Floris Neusüss  [+]
from Muenchner Stadtmuseum

Hannah Höch, Berlin 1962 -by Floris Neusüss  [+]

from Muenchner Stadtmuseum

Chag Pesach Sameach!

Have a happy Passover!

C’est en 1966 que Michel Soutter filme René Char chez lui, à l’Isle-sur-la-Sorgue, dans le Vaucluse.  [+]

© Hermann Landshoff, 1948, Young Richard Avedon, New York
burnedshoes:

© Hermann Landshoff, 1948, Young Richard Avedon, New York
American fashion photographer Richard Avedon, who worked as an assistant for Landshoff, considered himself to have been profoundly inspired by him, even being moved to claim that "I owe everything to Landshoff."
If you’re in Munich at the moment make sure to visit the Hermann Landshoff Retrospective at Münchner Stadtmuseum, open until April 21. More information about the exhibition here.

© Hermann Landshoff, 1948, Young Richard Avedon, New York

burnedshoes:

© Hermann Landshoff, 1948, Young Richard Avedon, New York

American fashion photographer Richard Avedon, who worked as an assistant for Landshoff, considered himself to have been profoundly inspired by him, even being moved to claim that "I owe everything to Landshoff."

If you’re in Munich at the moment make sure to visit the Hermann Landshoff Retrospective at Münchner Stadtmuseum, open until April 21. More information about the exhibition here.

Samuel Beckett, Paris, 1989 -by Francois-Marie Banier
entregulistanybostan:

Samuel Beckett, Paris, 1989, by Francois-Marie Banier
Source The Paris Review

Samuel Beckett, Paris, 1989 -by Francois-Marie Banier

entregulistanybostan:

Samuel Beckett, Paris, 1989, by Francois-Marie Banier

Source The Paris Review

Salvatore Quasimodo, 1962 -by Ugo Mulas

Specchio
Ed ecco sul troncosi rompono le gemme:un verde più nuovo dell’erbache il cuore riposa:il tronco pareva già morto,piegato sul botro.
E tutto mi sa di miracolo;e sono quell’acqua di nubeche oggi rispecchia nei fossipiù azzurro il suo pezzo di cielo,quel verde che spacca la scorzache pure stanotte non c’era.
Mirror
And see, buds breakout of the tree:a newer green in the grasseases the heart:the tree seemed already dead,bowed on the slope.
And all I know of miracle;and I am this watery cloudthat reflected today in the ditches,the more blue, its fragment of heaven,this green that splits the barkthat only last night was not there.
— Salvatore Quasimodo, in ‘Ed è subito sera’, Milano, Mondadori, 1942 (Transl. A. S. Kline, 2012)

photo from LA

Salvatore Quasimodo, 1962 -by Ugo Mulas

Specchio

Ed ecco sul tronco
si rompono le gemme:
un verde più nuovo dell’erba
che il cuore riposa:
il tronco pareva già morto,
piegato sul botro.

E tutto mi sa di miracolo;
e sono quell’acqua di nube
che oggi rispecchia nei fossi
più azzurro il suo pezzo di cielo,
quel verde che spacca la scorza
che pure stanotte non c’era.

Mirror

And see, buds break
out of the tree:
a newer green in the grass
eases the heart:
the tree seemed already dead,
bowed on the slope.

And all I know of miracle;
and I am this watery cloud
that reflected today in the ditches,
the more blue, its fragment of heaven,
this green that splits the bark
that only last night was not there.

— Salvatore Quasimodo, in ‘Ed è subito sera’, Milano, Mondadori, 1942 (Transl. A. S. Kline, 2012)

photo from LA

Chag Pesach Sameach!

About:

a little of this, a little of that...
Mostly photography, litterature, cinema...

The main point here is Photographic Portrait

You can reach me through the Question? box. Since I don't accept the Anonymous messages anymore, those who are not registered with tumblr. can leave a message to:
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