View of winter trees
before
one tree

in the foreground
where
by fresh-fallen

snow
lie 6 woodchunks ready
for the fire

William Carlos Wiliams

For more on the poem in relation to the painting, click here.

Jersey Lyric -Henry Niese

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Man Reading by Lamplight -Kersting

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The Musicians

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The Ancient of Days

Isaac Newton

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The heroic version by David

Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1811 and 1815. Initially commissioned by the king of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800.

Read more about David’s five versions of the painting via Napoleon Crossing the Alps – Wikipedia, the free encyclopedia.

The more realistic version by Delaroche

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 A Danish ‘realist’ painter with a taste for the melancholy and the infinite that the visible world seems to suggest to the receptive mind

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da Messina: St Jerome in his Study (15th century)

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Adolph Fassbender The Sentinels, 1937

Caspar David Friedrich (1774–1840)

Moonlit Landscape

(watercolor; with moon cut out and inserted on a separate piece of paper)

via Crashingly Beautiful.

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In Valences of the Dialectic Fred Jameson comments on the dialectical character of Mondrian’s art. It made me think of this.(CH)

“A Mondrian does not consist of blue rectangles and red rectangles and yellow rectangles and white rectangles. It is conceived – as is abundantly clear from the unfinished canvases – in terms of lines – lines that can move with the force of a thunderclap or the delicacy of a cat.

“Mondrian wanted the infinite, and shape is finite. A straight line is infinitely extendable, and the open-ended space between two parallel straight lines is infinitely extendable. A Mondrian abstract is the most compact imaginable pictorial harmony, the most self-sufficient of painted surfaces (besides being as intimate as a Dutch interior). At the same time it stretches far beyond its borders so that it seems a fragment of a larger cosmos or so that, getting a kind of feedback from the space which it rules beyond its boundaries, it acquires a second, illusory, scale by which the distances between points on the canvas seem measurable in miles.

” ‘The positive and the negative are the causes of all action … The positive and the negative break up oneness, they are the cause of all unhappiness. The union of the positive and the negative is happiness.’ The palpable oneness of the solitary flower or tower, being subject to time and change, had to give way to the subliminal oneness of a vivid equilibrium.”

- From David Sylvester, “About Modern Art: Critical Essays, 1948-1997″

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