Tag Archive: nature

Turner at the Tate

Turner, Moonlight, a Study at Millbank, exhibited 1797.

A penny for the old guy. The original London Eye wasn’t a Ferris wheel on the Thames but J.M.W. Turner, whose visual genius and all-encompassing vision engulfed everything in its path. Until the electroshock treatment applied by Francis Bacon, generations of British painters were subsumed by him. Paying obeisance to the great man is both a duty and a delight when visiting Tate Britain, and now the Turner galleries have been completely rehung for the first time since the mid-Nineties.

Some Paris Parks (English Version)

Les arbres rectilignes, mid-February. Photo © 2012 Alan Miller.

Writing about parks is more fun than writing about buildings. Parks are unpredictable, not so harnessed to the auteur system as buildings. The designer of a park is never so powerful as nature, who always has her say at the drawing board. Many building are most beautiful on the day they are finished but a brand new park, as Ronald Reagan said of the USA, has its best days ahead of it. Depending on how well they are built, buildings deteriorate or age while parks grow like living creatures from one day to the next and across the seasons. I would bet that many city-dwellers’ happiest memories take place in parks. They seem to be the most, and perhaps the last, mirthful places left in today’s cities. Rather than the ritualized coffee-drinking and passeggiate of the piazza, parks encourage an amplitude of movement and feeling. Down at the park a runner might push himself to exhaustion, a picnicker might scrub time watching an ant abscond with a crumb. Beyond their ecological benefits, parks are essential to our own well-being, our dignity even. In a park, as in a library, everyone is rich.

Quelques parcs parisiens (version française)

Les arbres rectilignes, mid-February. Photo © 2012 Alan Miller.

Les parcs m’intéressent plus que les bâtiments. Les parcs sont imprévisibles, ils évitent la politique des auteurs qui entravent l’architecture. L’auteur d’un parc n’est jamais plus puissant que la nature qui a toujours son mot à dire à travers les ans et les saisons. Les parcs viellissent un peu comme les êtres vivants. Un bâtiment est souvent plus beau le jour de son achèvement alors que un parc flambant neuf a ses meilleures années à venir, comme Ronald Reagan a dit à propos des États-Unis. Je ne seriais pas surpris si la plupart des meilleurs souvenirs des citoyens se passent dans les parcs. Ils semblent quelquefois les plus joyeux endroits de nos villes—et peut-être les derniers. Les parcs encouragent une ampleur de sentiment qu’on ne retrouve que rarement dans les rues. Dans le parc un coureur peut pousser son corps au maximum lorsque un pique-niqueur passe la journée en regardant les fourmis volant les miettes de pain. Dans le parc, tout le monde est riche.

Elena Xanthoudakis Sings Rare Romantic Lieder with Jason Xanthoudakis, Clarinet and Clemens Leske, Piano

With an impressive list of singing competition wins and opera roles, not least her brilliant Eurydice and Sibyl in the Pinchgut Opera’s production of Haydn’s opera of the Orpheus myth L’anima del Filosofo in 2010, Elena Xanthoudakis is now directing her energies toward researching and rediscovering Romantic Lieder written for trio, here soprano, clarinet, and piano, and she is doing done so in style with a definite passion for the genre, which is fitting to the original spirit of the music. The trio have recorded a CD called “The Shepherd and the Mermaid” of some of their finds (which I haven’t yet heard) and here perform the songs on it, including parts of Franz Lachner’s version of von Chamisso’s Frauenliebe und -leben cycle better known perhaps in the Schumann version and perhaps even the Loewe version. They are also publishing these pieces in print under the Kroma Editions name so all can have the opportunity to play them, obviously many of these are not on the usual free sheet music sites on the ‘net, having had to be dug out of libraries in London and Vienna, and some (according to Xanthoudakis) have never been recorded.

Photography and Place at the Art Gallery of NSW

The Australian landscape seems to require photography. The question of who, how, where, how often and why thankfully remains open, at least among the eighteen photographers included in Photography and Place at the Art Gallery of New South Wales. Australia, so conflicted about cities, is one of the most urbanized societies on earth, a situation which makes the looming question of the landscape all the more urgent. Wilderness will aways dominate the continent, never allowing settlements to be interspersed as they are in the United States or Europe. The land provokes sentimentality, poetry and bitterness. In the heart of the cities which cling to the coastal fringe, it can seem another universe until a dust storm, fire, flood or the daily violence of the sunlight reminds us of nature’s nonnegotiable and indifferent presence.

Da Corot a Monet: La Sinfonia della Natura, Complesso del Vittoriano (Rome) until June 29th.

Impressionism is often described as an obsession with light. Indeed it was. Monet was on a frantic quest to record each and every glimmer of light that happened to strike his eye. Yet light was not the only inspiration for him and his friends. As this exhibition shows, the inspiration of nature was ever-present in their work even though its meaning for their artistry is ever-elusive. One thing everyone agrees upon is that nature was more than a ready excuse to paint en plein air. Consensus continues to grow about the parallels between the innovative artistic language of the Impressionists and their distinctive view of nature as a dynamic equilibrium composed of countless elements held together in a tenuous harmony.

Henry David Thoreau meets Raymond Chandler, Two American Eccentrics, Pt. I Introduction and review of Searching for Thoreau: On the Trails and Shores of Wild New England, by Tom Slayton

As full of detail as his book is, Slayton never loses track of his purpose and his theme. He does indeed find Thoreau in the places, plants, and animals he studied. His kind of participation is not of Thoreau’s intense, totally absorbed kind, since he is basically a rationalist, but I think no one could argue with his basic tenet about Thoreau, that he was a seeker of the wild: “He was a good Romantic…but he was also a naturalist and came to understand that wildness did not have to be found only in wilderness…For him it was a pervasive quality—close to what the ancient Chinese called the Tao, the mysterious, all-encompassing force that winds the mainspring of the universe. He searched for it everywhere.” ( p. 3) Slayton constantly returns to this theme as he visits and revisits Thoreau’s haunts. whether in obvious places like the Maine woods or in heavily developed places like Cape Cod or Walden Pond. He puts it in the forefront of his conclusion, quoting Thoreau: “In Wildness is the Preservation of the World. Every tree sends its fibres forth in search of the Wild…I believe in the forest, and in the meadows, and in the night in which the corn grows.” Or as Walt Whitman said in a quotation that follows hard upon it: “I believe a leaf of grass is no less than the journey-work of the stars.” While some may see these statements, both confessions of belief, as pure Goethe, it is enough to ponder them in themselves.

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