Schlörwagen / Egg or Pillbug | Karl Schlör (1939)



The Schlörwagen (nicknamed "Egg" or "Pillbug") was a prototype aerodynamic rear-engine passenger vehicle 
developed by Karl Schlör (1911–1997) and presented to the public in 1939.

The project was shelved with the onset of World War II and mass production was never realized.
The model was later taken to Russia and fitted with an external propeller engine.
The whereabouts of the sole functioning model remain unknown.



On directing > Very Simple Slogans for the Kino-Eye technique | Dziga Vertov(1926)

"I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it.”
Dziga Vertov, 1923

1. Film-drama is the opium of the people.
2. Down with the immortal kings and queens of the screen! Long live the ordinary mortal, filmed in life at his daily tasks!
3. Down with the bourgeois fairy-tale script! Long live life as it is!
4. Film-drama and religion are deadly weapons in the hands of capitalists. By showing our revolutionary way of life, we will wrest that weapon from the enemy’s hands.
5. The contemporary artistic drama is a vestige of the old world. It is an attempt to pour our revolutionary reality into bourgeois molds.
6. Down with the staging of everyday life! Film us as we are.
7. The scenario is a fairy tale invented for us by a writer. We live our own lives, and we do not submit to anyone’s fictions.
8. Each of us does his task in life and does not prevent anyone else from working. The film workers’ task is to film us so as not to interfere with our work.
9. Long live the kino-eye of the proletarian revolution!


Dziga Vertov, Very Simple Slogans for the Kino-Eye technique, 1926




Also:

Les Saltimbanques / Pablo Picasso | Photos by Lucien Clergue, Arles, 1955


Lucien Clergue, La Grande Parade, Arles, 1955            Lucien Clergue, Arlequin À La Charrette, Arles, 1955
Lucien Clergue, Danseuse à la porte, Arles, 1955                       Lucien Clergue, Arlequin À La Charrette, Arles, 1955
 Lucien Clergue, Les Saltimbanques, le Violoniste, Arles, 1955                               Lucien Clergue, Arlequin À La Charrette, Arles, 1955
Les Saltimbanques, Arlequin et Acrobates, Arles, 1955                                           Lucien Clergue, Arlequin À La Charrette, Arles, 1955
  Lucien Clergue, Trio de saltimbanques, Arles, 1955
Lucien Clergue, Saltimbanque, Danseuse, Arles, 1955
 Lucien Clergue, Les Saltimbanques, 1955
 Lucien Clergue, Les Saltimbanques, le Violoniste, Arles, 1955 


Lucien Clergue was born in Arles, France. At the age of 7 he began learning to play the violin, and after several years of study his teacher admitted that he had nothing more to teach him. Clergue was from a family of shopkeepers and could not afford to pursue further studies in a college or university school of music, such as a conservatory. In 1949, he learned the basics of photography.
Four years later, at a corrida in Arles, he showed his photographs to Spanish painter Pablo Picasso who, though subdued, asked to see more of his work. Within a year and a half, young Clergue worked on his photography with the goal of sending more images to Picasso. During this period, he worked on a series of photographs of traveling entertainers, acrobats and harlequins, the «Saltimbanques».

Lucien Clergue and Pablo Picasso, 1953 >

The pair met at a bullfight in 1953, and remained friends until Picasso’s death two decades later. The work that brought Clergue early recognition in 1955, Les Saltimbanques, was an attempt to impress Picasso: a series of photos in which children strike world-weary poses in the costumes of travelling circus performers, it referenced the painter’s Harlequin and Pierrot motifs.


 “My mother died when I was 18 and a half. The next year, though, I had a good fortune to meet Pablo Picasso at a bullring,” Clergue told L’Oeil de la Photographie. “Picasso signed one of my prints, not my best, but now it is the most expensive. When I reached the age of 20 I was still working in a factory, but I was taking photographs of five children dressed in clothes designed by me. I was trying to make Picasso happy: he had said at the bullring ‘I want to see more prints’.”

Clergue photographed other writers and artists in Picasso’s circle of friends, including the poet and filmmaker Jean Cocteau; the two collaborated on a volume of poetry and Cocteau’s 1959 film Le Testament d'Orphée. His images of Picasso reflect the level of intimacy they shared, and which he captured in his 1993 book Picasso My Friend, as well as in the 1970 film Picasso: War, Peace, Love.

“I had the opportunity to film Pablo Picasso in his home in Mougins … A few years later Picasso died and left me an artistic orphan,” he says. Informal and revealing, Clergue’s portraits show the artist posing next to works in his studio, with friends at a bullfight and reclining on the beach – often with a cigarette in hand. (...)


Black Sun over Paris | Charles Baudelaire / Marc Chagall

 Marc Chagall, Black Sun over Paris, 1952


''Στην άβυσσο των μεγάλων πόλεων, όπως και στην έρημο, 
υπάρχει κάτι που δυναμώνει και διαμορφώνει την καρδιά 
του ανθρώπου (...) όταν δεν τον διαφθείρει και δεν τον εξασθενίζει.''


Charles Baudelaire, Un mangeur d'opium
μτφ: Ινώ Ρόζου


No man is an island | John Donne (1624)



''No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee.''


Modern version:

''No man is an island, entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friends or of thine own were; any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee.''


John Donne, Devotions upon Emergent Occasions"Meditation XVII", 1624
* These are perhaps the most famous lines in John Donne’s oeuvre, especially since they were used in the 20th century by Ernest Hemingway for the title of his novel For Whom the Bell Tolls (1940).


Dublin (1966-1967) | Photos by Evelyn Hofer



Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work.


< Evelyn Hofer, Dublin, 1966











Late in her life, when asked for her thoughts on being called "the most famous unknown photographer in America." she said she liked it. She understood that what mattered was the work, not personal fame.



 Evelyn Hofer, Dublin, 1966 >
Evelyn Hofer, Dublin, 1966                                                Evelyn Hofer, Mods, Fitzwilliam Square, Dublin, 1967
Evelyn Hofer, Dublin, 1966
Evelyn Hofer, Distillery, Dublin, 1966 
Evelyn Hofer, Huband Bridge, Dublin, 1966
Evelyn Hofer, Gravediggers, Dublin, 1966 
 Evelyn Hofer. Phoenix Park on a Sunday, Dublin, 1966
Evelyn Hofer, Seminaries , Dublin, 1966                                          Evelyn Hofer, Orphans, Dublin, 1966
Evelyn Hofer, "Jammet's", Dublin, 1966                                          Evelyn Hofer, Anna and Emma, Dublin, 1966
Evelyn Hofer, Young Child, Dublin, 1967                                        Evelyn Hofer, Two Painters, Dublin, 1967


The Book and the Movie: The Razor's Edge (1944) / W. Somerset Maugham | Edmund Goulding (1946)



The Razor’s Edge is the first film version of W. Somerset Maugham’s 1944 novel. It was released in 1946 and stars Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb, Herbert Marshall, supporting cast Lucile Watson, Frank Latimore and Elsa Lanchester. Marshall plays Somerset Maugham. The film was directed by Edmund Goulding.




"I have never begun a novel with more misgiving..."
"The man I am writing about is not famous. It may be that he never will be. It may be that when his life at last comes to an end he will leave no more trace of his sojourn on earth than a stone thrown into a river leaves on the surface of the water..."


"Sometimes a very small thing will have an effect on you out of all proportion to the event. It depends on the circumstances and your mood at the time..."


“Passion doesn’t count the cost. Pascal said that the heart has its reasons that reason takes no account of. If he meant what I think, he meant that when passion seizes the heart it invents reasons that seem not only plausible but conclusive to prove that the world is well lost for love. It convinces you that honour is well sacrificed and that shame is a cheap price to pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O’Shea. And if it doesn’t destroy it dies.” 


“Almost all the people who’ve had the most effect on me I seem to have met by chance, yet looking back it seems as though I couldn’t but have met them.”



The Day is Gone and All It’s Sweets are Gone / John Keats 


The day is gone, and all its sweets are gone!
Sweet voice, sweet lips, soft hand, and softer breast,
Warm breath, light whisper, tender semi-tone,
Bright eyes, accomplished shape, and lang'rous waist!
Faded the flower and all its budded charms,
Faded the sight of beauty from my eyes,
Faded the shape of beauty from my arms,
Faded the voice, warmth, whiteness, paradise -
Vanished unseasonably at shut of eve,
When the dusk holiday - or holinight
Of fragrant-curtained love begins to weave
The woof of darkness thick, for hid delight;
But, as I’ve read love’s missal through to-day,
He’ll let me sleep, seeing I fast and pray.


"If the rose at noon has lost the beauty it had at dawn, the beauty it had then was real. Nothing in the world is permanent, and we’re foolish when we ask anything to last, but surely we’re still more foolish not to take delight in it while we have it. If change is of the essence of existence one would have thought it only sensible to make it the premise of our philosophy. We can none of us step into the same river twice, but the river flows on and the other river we step into is cool and refreshing too."

W. Somerset Maugham, The Razor's Edge, 1944


“It is very difficult to know people and I don't think one can ever really know any but one's own countrymen. For men and women are not only themselves; they are also the region in which they are born, the city apartment or the farm in which they learnt to walk, the games they played as children, the old wives' tales they overheard, the food they ate, the schools they attended, the sports they followed, the poets they read, and the God they believed in. It is all these things that have made them what they are, and these are the things that you can't come to know by hearsay, you can only know them if you have lived them.”

W. Somerset Maugham, The Razor's Edge, 1944

“You're beginning to dislike me, aren't you? Well, dislike me. It doesn't make any difference to me now.”



* Gene Tierney on the set of The Razor’s Edge, 1946
** Tyrone Power and Gene Tierney with director Edmund Goulding on the set of The Razor’s Edge, 1946
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