Avrupa tarihinin en acıklı sahnelerinden biri, insanlığın hiçbir zaman unutamayacağı çöküş anının son sahnesi.. Ölümü bekleyen halk Kyrie Elesion duasına katılmak üzere gerek Ortodokslar gerek Katolikler tarafından yazgısına terk edilen Ayasofya’da toplanıyor. Patrik güçlü sesini, birlik ve beraberlik çağrısı için yükseltiyor, koro kendisine şarkılarla yanıt veriyor. Doğu Roma İmparatorluğunun bu son ayini, ölüler ayini, işte böyle başlıyor. ( Stefan Zweig, Bizansın Fethi, Sf 50 bır nevi özet)
The First Cloud, c1887 by Scottish painter Sir William Quiller Orchardson
The setting, as with so many of Orchardson’s costume dramas, is an elegant Victorian drawing room. The wife retires from the room through a pillared arch, her graceful form silhouetted against the dark opening in the curtains. Although she turns her back to us (and to her husband) her face is vaguely reflected in a mirror in the dark room beyond. This figure was modeled by a Mrs Hope, one of a family of very beautiful sisters. For the husband Orchardson used a close friend, the artist Tom Graham. He stands by the mantelpiece, looking extremely disgruntled, and possibly rather drunk, his hands thrust in his pockets. The psychological rift that has grown between the couple is emphasized physically by the empty expanse of parquet flooring that separates them. The colours are typically muted: cool creams, pastel pinks and blues, alongside Orchardson’s favorite colour combination of yellow and brown, which the French critic Ernest Chesneau described as ‘harmonious as the wrong side of a tapestry.’ (Wood 1999, p.257)
A Musical Story by Chopin Andrew Carrick Gow (British, 1848–1920)
Oil on canvas, 69.8 x 90.2 cm, 1879. Tate.
Handel’in yasama donusunu Stewan Zweig’den okuduktan sonra alamiyorum bu parcadan kendimi.. Halbuki bu degil biliyorum tanriya tesekkur bestesi ama ben bunda caresizligini duyumsar hissediyorum kendimi.. Baskasinin caresizliginde kendi huzursuzlugumu arindirir gibi degil, gercekten hissederek..
Originally titled The Musician, this painting is the first of several works by Dewing that suggest a connection among music, reverie, and aesthetic attention. It depicts the model Minnie Clark seated before a piano in an otherwise empty room. Her brunette hair, black dress, and massive dark piano contrast sharply with the opalescent green of the interior. Thinly painted areas in various tones of green balance the visual weight of the piano and the female figure on the right. The skewed perspective is tilted in the manner of the Japanese prints that Dewing admired and collected.