Tuesday, May 3, 2016

Love Letters

"When two soul, which have sought each other for however long in the crowd, have finally found each other, when they have seen that they are matched, are in sympathy and compatible, in a word, that they are alike. there is then established for ever between them a union, strong and pure as they themselves are, a union which begins on earth and continues for ever in heaven. This union is love, true love, such as in truth very few men can conceive, that love which is a religion, which deifies the loved one, whose life comes from devotion and passion and for which the greatest sacrifices are the sweetest delights."

Victor Hugo b. 1802 d. 1885. excerpt Love Letters to Adèle Foucher.



In Love2, 1903. Marcus Stone b.1840 d.1921. oil on canvas. English painter, illustrator, genre painter & history painter. he had his first exhibit at the Royal Academy before he was 18 years, Blackburn Museum and Art Gallery, Lancashire, UK


Fine art discussions by Pieter Bergli

For my readers that love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Sunday, May 1, 2016

War And Peace By Leo Tolstoy On Canvas

The novel 'War and Peace' written by the Russian author Leo Tolstoy b.1828 d. 1910 and first published in in 1869 is often regarded as one of the greatest works of European literary. Born, Count Lev Nikolayevich Tolstoy, the writer himself is born into a world of privilege which quickly becomes consumed within a vast sea of social changes that led to the massive people's revolution of Russia and the rise of Communism shortly after the writer's death. War and Peace is an epic story set in four volumes. It tells the tale of Russian society and the struggle of the nation against the invading French forces under Napoleon Bonaparte. The story becomes a vast philosophical commentary where changes in the Russian world are forced upon people through warfare and how people's lives must change in order to come to terms with the natural necessity of change. It is a story where social order crumbles, where hierarchy comes under scrutiny and where love falls to ruin or embraces the sweeping changes of the times in order to succeed.


Natasha Rostova's first ball - 1893 - Leonid Pasternak

The Rostovs are an aristocratic family from the world of the Tsarist society and who are torn apart and swept aside before the wrath of Napoleon. But through their troubles the events of 1805 to 1812 lead to eventual contentment through the changes.

Volume One begins in St. Petersburgh with a  a soirée given by Anna Pavlovna Scherer who is the maid of honor and confidante of the Russian dowager Empress Maria Feodorovna, mother of the reigning Tsar, Alexander 1. here we meet the affable Prince Andrei Nikolayevich Bolkonsky who becomes disinterested with society as the talks of war rage on and who eventually takes the decision to flee the monotony of St. Petersburgh in the call for arms as he joins the army under Prince Mikhail Ilarionovich Kutuzov as aide-de-camp. The setting moves to Moscow where we meet the Rostov family, Count Ilya Andreyevich Rostov and Countess Natalya Rostova and their children, as Tolstoy portrays the typical confused financials of Russian gentry. The son, twenty-year-old Nikolai Ilyich, speaks of his love for Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, who was an orphan but lived within their family household. Volume One then ends with the story of Austerlitz and the defeat of the Russian and Austrian armies.


The Battle of Austerlitz - 1830 - Gérard, François Pascal Simon

Volume Two begins with Nikolai Rostov returning home on a sojourn form his regiment. The Rostov family are now financially ruined and his mother begs him to find a wealthy girl for marriage. Nikolai refused and pledges his love for the penniless orphan Sonia.  Prince Andrei, terribly wounded, recovers his life, and meets Natasha and proposes marriage but the narriage is opposed by his father our of distaste for the Rostovs. Tolstoy tries to portray life as normal in spite of the defeat on the fields of Austerlitz with Russian society ill-prepared for the French invasion which is about to commence.

In Volume Three we are introduced to the main protagonist of the French, Napoleon. Tolstoy presents a great strategist at the head of some four hundred thousand men who march through the Russian country-side through the summer of 1812 until they reach the city of Smolensk. The battle of Borodino becomes a bloody stand-off with neither side able to claim a victory in the terrible slaughter of men on both sides. The wounded Russian army withdraw the next day and Napoleon decides to march on an undefended Moscow. Prince Andrei once again is among the wounded.


Battle of Borodino 1812 - 1822- Louis-François, Baron Lejeune


On canvas the imagination of the epic story of the French invasion and eventual defeat has been captured and rendered unto the visual by many artists. In Volume Four we come back to the minutae of Russian society and witness the Rostovs abandoning Moscow ahead of the arrival of the French army. The French army burn and occupy Moscow but the Russian winter has already set in and with scarcity of food Napoleon is forces to realize that he must retreat or perish in hunger. In a skirmish with the retreating French army, the young Petya Rostov is killed. Prince Andrei is reunited with Natasha but succumbs to his wounds as the tragedy unfolds and takes it's toll with the human cost of war.


French retreat from Russia in 1812 - c. 1874 - Illarion Pryanishnikov

The final message of Tolstoy is one of hope through conflict; a message that took a further two world wars in Europe before a real chance of social peace and economic prosperity could grow and envelop all aspects of European society. In the Epilogue section to the great story the eldest son Nikolai is forced to face the reality of his family debts and then marries the unattractive Maria Bolkonskaya to save his family from ruin but in the process abandons his true love Sonya who becomes the pathetic subject discarded at the end of the novel although she is mentioned to have moved with the newly-weds and is supported financially. Here Tolstoy brings to force the true realism in a society trying to find a moral ground to stand on after all has crumbled into ruin. The only love left for the Rostovs is that which could stand the test of time through a material love built upon rational finances and which is contrasted to the mismanagement of the estates of the Tsarist Russian gentry as seen through the Rostovs by the critical Tolstoy. On a grander scale Tolstoy portrays how great historical events like Borodino come together through the countless threads of smaller individual characters and their experiences which sum together the final collective will to repulse the French aggressor from Russian soil. In a grand sweep and social commentary Tolstoy collects the conscious aspirations and pain of several individual stories of sufferings to finally relieve the protagonists through the entire experience of war and the eventual retreat of the French form Moscow.

Fine art discussions by Pieter Bergli

For my readers that love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Monday, April 4, 2016

Elegy Written in a Country Churchyard - Thomas Gray - 1751




Thomas Gray English poet b. 1716 d.1771. Classical scholar and professor at Cambridge University. The poem 'Elegy Written in a Country Churchyard' was first published in 1751.



The curfew tolls the knell of parting day,

The lowing herd wind slowly o'er the lea,

The ploughman homeward plods his weary way,

And leaves the world to darkness and to me.



Now fades the glimmering landscape on the sight,

And all the air a solemn stillness holds,

Save where the beetle wheels his droning flight,

And drowsy tinklings lull the distant folds;



Save that from yonder ivy-mantled tower

The moping owl does to the moon complain

Of such, as wandering near her secret bower,

Molest her ancient solitary reign.



Beneath those rugged elms, that yew-tree's shade,

Where heaves the turf in many a mouldering heap,

Each in his narrow cell for ever laid,

The rude forefathers of the hamlet sleep.



The breezy call of incense-breathing morn,

The swallow twittering from the straw-built shed,

The cock's shrill clarion, or the echoing horn,

No more shall rouse them from their lowly bed.



For them no more the blazing hearth shall burn,


Or busy housewife ply her evening care:

No children run to lisp their sire's return,

Or climb his knees the envied kiss to share.



Oft did the harvest to their sickle yield, 

Their furrow oft the stubborn glebe has broke;

How jocund did they drive their team afield!

How bowed the woods beneath their sturdy stroke!



Let not Ambition mock their useful toil,

Their homely joys, and destiny obscure;

Nor Grandeur hear with a disdainful smile,

The short and simple annals of the poor.



The boast of heraldry, the pomp of power,

And all that beauty, all that wealth e'er gave,

Awaits alike the inevitable hour.

The paths of glory lead but to the grave.



Nor you, ye Proud, impute to these the fault,

If Memory o'er their tomb no trophies raise,

Where through the long-drawn aisle and fretted vault

The pealing anthem swells the note of praise.



Can storied urn or animated bust

Back to its mansion call the fleeting breath?

Can Honour's voice provoke the silent dust,

Or Flattery soothe the dull cold ear of Death?



Perhaps in this neglected spot is laid

Some heart once pregnant with celestial fire;

Hands that the rod of empire might have swayed,

Or waked to ecstasy the living lyre.



But Knowledge to their eyes her ample page


Rich with the spoils of time did ne'er unroll;

Chill Penury repressed their noble rage,

And froze the genial current of the soul.



Full many a gem of purest ray serene, 

The dark unfathomed caves of ocean bear:

Full many a flower is born to blush unseen,

And waste its sweetness on the desert air.



Some village-Hampden, that with dauntless breast

The little tyrant of his fields withstood;

Some mute inglorious Milton here may rest,

Some Cromwell guiltless of his country's blood.



The applause of listening senates to command,

The threats of pain and ruin to despise,

To scatter plenty o'er a smiling land,

And read their history in a nation's eyes,



Their lot forbade: nor circumscribed alone

Their growing virtues, but their crimes confined;

Forbade to wade through slaughter to a throne,

And shut the gates of mercy on mankind,



The struggling pangs of conscious truth to hide,

To quench the blushes of ingenuous shame,

Or heap the shrine of Luxury and Pride

With incense kindled at the Muse's flame.



Far from the madding crowd's ignoble strife,

Their sober wishes never learned to stray;

Along the cool sequestered vale of life

They kept the noiseless tenor of their way.



Yet even these bones from insult to protect

Some frail memorial still erected nigh,

With uncouth rhymes and shapeless sculpture decked,

Implores the passing tribute of a sigh.



Their name, their years, spelt by the unlettered muse,

The place of fame and elegy supply:

And many a holy text around she strews,

That teach the rustic moralist to die.



For who to dumb Forgetfulness a prey,

This pleasing anxious being e'er resigned,

Left the warm precincts of the cheerful day,

Nor cast one longing lingering look behind?



On some fond breast the parting soul relies,

Some pious drops the closing eye requires;

Ev'n from the tomb the voice of nature cries,

Ev'n in our ashes live their wonted fires.



For thee, who mindful of the unhonoured dead

Dost in these lines their artless tale relate;

If chance, by lonely Contemplation led,

Some kindred spirit shall inquire thy fate,



Haply some hoary-headed swain may say,

'Oft have we seen him at the peep of dawn

'Brushing with hasty steps the dews away

'To meet the sun upon the upland lawn.



'There at the foot of yonder nodding beech

'That wreathes its old fantastic roots so high,

'His listless length at noontide would he stretch,

'And pore upon the brook that babbles by.



'Hard by yon wood, now smiling as in scorn,

'Muttering his wayward fancies he would rove,

'Now drooping, woeful wan, like one forlorn,

'Or crazed with care, or crossed in hopeless love.



'One morn I missed him on the customed hill,

'Along the heath and near his favourite tree;

'Another came; nor yet beside the rill,

'Nor up the lawn, nor at the wood was he;



'The next with dirges due in sad array

'Slow through the church-way path we saw him borne.

'Approach and read (for thou can'st read) the lay,

'Graved on the stone beneath yon aged thorn.'



The Epitaph



Here rests his head upon the lap of earth

A youth to fortune and to fame unknown.

Fair Science frowned not on his humble birth,

And Melancholy marked him for her own.



Large was his bounty, and his soul sincere,

Heaven did a recompense as largely send:

He gave to Misery all he had, a tear,

He gained from Heaven ('twas all he wished) a friend.



No farther seek his merits to disclose,

Or draw his frailties from their dread abode,

(There they alike in trembling hope repose)

The bosom of his Father and his God.



Discussions on art and literature by Pieter Bergli

For my readers that just love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you

Tuesday, March 1, 2016

Dutch Masters - Landscapes of Aelbert Cuyp

The Dutch Golden Age of the 17th century brought great wealth to the Netherlands with trade and commerce from the orient to the west. Formerly a client state of the Holy Roman Empire the new Dutch state shook off its yoke in 1590 and embarked upon an ambitious global trading policy that eventually saw Dutch maritime supremacy by the 17th century. With the coffee trade and tea, to spices and condiments Dutch traders scoured the globe to make markets back home in Europe and monopolize the supply of such commodities throughout Western Europe. merchants became successful and the citizens flourished as artisans throughout the land received commissions for new works of fine art. One such artist of renown for his serene and gentle Dutch landscapes is Aelbert Cuyp who portrayed the success of his nation by demonstrating the peaceful contentment of rural life allowed to grow in this new age of national wealth. For Aelbert Cuyp b.1620 d.1691, rural life is not overwhelmed with abject poverty but rather an idyllic vision that only economic success can bring as money and wealth brings hopes for greater visions and new achievements. The idyllic visions are tinged with hope and confidence that the newly born nation can rise above turmoils associated with other great political births in history. Aelbert Cuyp can just as well carry this theme through his images of animals, landscapes, social gentry or even maritime subjects. His paintings speak of a quiet inner strength of his nation as the Golden Age permeates all walks of life.



Landscape with a Timber Yard near Dordrecht c.1639
Oil on panel, The Kremer Collection.



Portrait of a Twenty-year-old Duck Sijctghen c.1647
Oil on panel, Dordrechts Museum, Dordrecht.



River Landscape with Seven Cows c. 1648
Oil on panel, The Kremer Collection.



The Avenue at Meerdervoort c. 1650
Oil on wood, Wallace Collection London.



Landscape with a Hunt c. 1650
Oil on canvas, Private collection.



The Valkhof at Nijmegen 1652
Oil on wood, Museum of Art Indianapolis.



View of Dordrecht c. 1655
Oil on canvas, Kenwood House, London.

From the quiet pastorals to the unassuming display of Dutch naval mercantilism, Aelbert Cuyp demonstrated the growing confidence of his nation in a period known as the Dutch Golden Age in the 17th century. Also known as the 'Dutch Miracle' his paintings remind us of the economic growth reflected through the placidity of his images of rural life sans squalor sans poverty but beaming with contentment over every plot of land that is home to the Netherlands.


Fine art discussions by Pieter Bergli

For my readers that just love a decent cup of the world's most popular beverage with something to read then please turn to my other blog -

http://thegenteelworldofcoffee.blogspot.com/

and of course for lovers of art

https://www.pinterest.com/myartmusings/


and then for readings in history please turn to my first writings on the histories of the Napoleonic military campaigns describing the three most famous battles of the French commander's military career.

http://austerlitz-borodino-waterloo.blogspot.com/ 

Thank you