Milos Burkhardt - De la série ” Z nitra “
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Léon Bonnat, An Egyptian Peasant Woman and her Child, 1869-70
From the Metropolitan Museum of Art:
When it was exhibited in the Salon of 1870, this painting was recognized as a departure from the historical and mythological works that Bonnat had shown previously. The artist is said to have based its subject on a woman and child he had seen in Egypt the prior year, during the opening ceremony of the Suez Canal. First celebrated in Paris, the painting continued to garner praise after John Wolfe acquired it and brought it to New York. It was reproduced on the cover of the art review The Aldine in August 1875 and was included in the Centennial Loan Exhibition, held at the New York Historical Society in 1876. Bought by Catharine Lorillard Wolfe at the auction of her cousin’s collection in 1882 and bequeathed to the Metropolitan five years later, upon its debut at the Museum it was deemed “a true and vital portrait of two clearly realized individuals [with] a wonderful dignity, sobriety, strength, and beauty.”](http://25.media.tumblr.com/4c75e277b722baaef00c9a4423cc125f/tumblr_mkyoummCzh1qghk7bo1_500.jpg)
Léon Bonnat, An Egyptian Peasant Woman and her Child, 1869-70
From the Metropolitan Museum of Art:
When it was exhibited in the Salon of 1870, this painting was recognized as a departure from the historical and mythological works that Bonnat had shown previously. The artist is said to have based its subject on a woman and child he had seen in Egypt the prior year, during the opening ceremony of the Suez Canal.
First celebrated in Paris, the painting continued to garner praise after John Wolfe acquired it and brought it to New York. It was reproduced on the cover of the art review The Aldine in August 1875 and was included in the Centennial Loan Exhibition, held at the New York Historical Society in 1876. Bought by Catharine Lorillard Wolfe at the auction of her cousin’s collection in 1882 and bequeathed to the Metropolitan five years later, upon its debut at the Museum it was deemed “a true and vital portrait of two clearly realized individuals [with] a wonderful dignity, sobriety, strength, and beauty.”
Marilyn Monroe photographed by Bert Stern, 1962
(Source: renlysbaratheon)
(via Vintage Girlie Mags: Cavalier Vol. 13, No. 116 (February 1963))
Léon Bonnat, The Barber of Suez, 1876
Everything becomes vivified in me when I think of her.
It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan’t make you love me any the more by giving myself away like this —But oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defences. And I don’t really resent it.
Vita Sackville West, to Virginia Woolf.
I pretty much dislike everyone and hold the world at a distance…and yet, I can’t help but be enveloped by your goodness, your pure joy for life. I have never met a person that laughed at nothing the way you do, that could light up a room with a single smile, that could fill my heart with such overwhelming happiness that I’m afraid it will burst straight out of my chest. I am better because of you.
(via objectivitylost)
It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan’t make you love me any more by giving myself away like this — But oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defenses. And I don’t really resent it.
Vita Sackville-West (1892-1962) photographed by Leonard Woolf in 1928. This picture, among others, would later adorn the pages of Virginia Woolf’s Orlando, with it’s gender-bending central character being based on Vita.
A eighteen year old Vita Sackville-West in 1910.
I just miss you, in a quite simple desperate human way. Oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly.You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defences. And I don’t really resent it.
