Ayer estaba repasando mis apuntes de Mística femenina, cuando me di cuenta de que exactamente ese día pero 716 años atrás quemaron en la hoguera Marguerite Porete por no retractarse de su libro, El espejo de las almas simples.
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@inujaniram
Ayer estaba repasando mis apuntes de Mística femenina, cuando me di cuenta de que exactamente ese día pero 716 años atrás quemaron en la hoguera Marguerite Porete por no retractarse de su libro, El espejo de las almas simples.

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Marbled endpaper.
internet Archive
David Lynch on the set of Twin Peaks (1990)
Deep level OG techwear badman
Orange queen. Chrysanthemums : retail price list 1921 / Elmer D. Smith & Co. 1921. Catalogue cover detail.
Ernest van Zuylen. Still life with grapes and cherries, 1917. Autochrome.

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Beside The Lake
Andriana Nativio
estaba dictando apuntes tomados a mano, cuando descubrí esta libre transcripción de "Mercurio y Carón" por parte de Word
The Umbrella (1948) - Leonor Fini
TÍTULO: La Virgen y el Niño, Santa Catalina de Siena y un monje cartujo AUTOR: Bergognone (Ambrogio da Fossano) FECHA: 1488 - 1494 MATERIAL Y TÉCNICA: Tempera DIMENSIONES: 46x40,5 cm INVENTARIO: 1776
La gama cromática pálida, pero con acordes insólitos, como el amarillo y las glicinas de los vestidos del Niño, la convincente sencillez de la composición que se abre a un vasto paisaje, la delicadeza del retrato del monje hace del panel una pequeña obra maestra. Poco se sabe sobre la historia de este cuadro que, dadas sus dimensiones y su tema, probablemente estaba destinado a las paredes de una celda monástica: algunas consideraciones estilísticas, combinadas con la presencia de Bergognone en la Certosa di Pavia entre 1486 y 1494, hacen creíble su que data de alrededor de 1488 - 1490. La santa representada detrás de la santa cartuja también ha sido identificada como Santa Clara, mientras que el retrato del joven fraile, identificado por la mayoría con el beato Stefano Maconi, ex prior del convento de Pavía, sugiere que la obra fue realizada durante el primer período de actividad del artista en la abadía. El panel fue adquirido en 1891 de la colección de Carlo Henfrey en Baveno. Una obra similar se conserva en la Pinacoteca Sabauda de Turín.
Información e imagen de la Pinacoteca de Brera.
☞The Legend of the Mysterious Lady in Blue…
☞Today in History -- On today’s day 406 years ago on Candlemas Day, Sunday, February 2, 1620, an 18-year-old Spanish woman, María Fernández Coronel, took religious vows & became a Conceptionist nun, Sister María de Jesús de Ágreda, & although she never left Europe, she became known in West Texas & New Mexico as the mysterious “Lady in Blue.”
☞The Venerable María de Jesús de Ágreda (1602-1665), a.k.a. Mary of Jesus of Ágreda, The Abbess of Ágreda, Mother Ágreda, The Lady in Blue, & The Blue Nun, was a Franciscan abbess & spiritual writer who was known particularly for her extensive correspondence with King Philip IV of Spain (1605-1665) & for the reports of her bilocation between Spain & its colonies in New Spain. She was a noted mystic of her era.
☞Less than ten years after her death, Mary of Jesus was declared Venerable by Pope Clement X (1590-1676), in honor of her “heroic life of virtue.” Although the process of beatification was opened in 1673, it has not as yet been completed.
☞From the Texas State Historical Association’s Handbook of Texas Online:
On this day in 1620, María Coronel took religious vows in a Franciscan order of nuns who wore an outer cloak of coarse blue cloth over the traditional brown habit. As a nun, now known as María de Jesús de Agreda, she had numerous mystic experiences (more than 500) in which she thought she visited a distant, unknown land. Franciscan authorities determined that the land was eastern New Mexico & far-western Texas.
Sister María supposedly contacted several Indian cultures, including the Jumanos, & told the natives to seek instruction from the Spanish. Shortly thereafter, some fifty Jumano Indians appeared at the Franciscan convent of Old Isleta, south of present Albuquerque, in July 1629 & said that they had been sent to find religious teachers. They already demonstrated rudimentary knowledge of Christianity, & when asked who had instructed them replied, “The Woman in Blue.”
A subsequent expedition to the Jumanos, led by Fray Juan de Salas, encountered a large band of Indians in Southwest Texas. The Indians claimed that they had been advised by The Woman in Blue of approaching Christian missionaries. Subsequently, some 2,000 natives presented themselves for baptism & further religious instruction.
Two years later, Fray Alonso de Benavides traveled to Spain, where he interviewed María de Jesús at Agreda. Sister María told of her bilocations & acknowledged that she was indeed The Lady in Blue.
After she died in 1665, her story was published in Spain. Although she said her last visitation to the New World was in 1631, the legend of her appearances was current until the 1690s.
In the 1840s, a mysterious woman in blue reportedly traveled the Sabine River Valley aiding malaria victims, & her apparition was reported as recently as World War II.
☞The photograph depicts María de Jesús de Ágreda, the mysterious Lady in Blue, at around the age of 20 in an undated oil-on-canvas painting by an unknown artist. Created in the New Spanish Baroque style during the Viceregal Period, the painting of María de Jesús de Ágreda emphasizes her mystical bilocation to the Americas, where she appeared in this blue garb to the Jumano & other Indigenous peoples in what’s now Texas & New Mexico (1620s - 1630s). The portrait aligns with devotional iconography, depicting her as a pious visionary holding a book or rosary, symbolizing her influential writings. This painting is now in the collection of the Museo Nacional del Virreinato (Museum of the Viceroyalty of New Spain) at Tepotzotlán, México.

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Portrait of Sor Juana Ines de la Cruz
Artist: Miguel Cabrera (Mexican, 1695–1768)
Date: c. 1750
Medium: Oil on canvas
Collection: Museo Nacional de Historia, Chapultepec Park, Mexico City, Mexico
Description
This medium-sized oil painting painted in the mid-18th century is the Museo Nacional de Historia's masterpiece in terms of portraits. The Oaxacan painter Miguel Mateo Maldonado y Cabrera depicted Sor Juana Inés de la Cruz, the Tenth Muse, based on the portrait by the Spanish artist Juan de Miranda, painted a little more than half a century after the death of the famous writer. Cabrera modified it by placing the nun in a large cell full of books to highlight the wisdom and eagerness to study that characterized the life of the poetess and passionate scientist. Among the books in the library, one can identify the works of the wise Jesuit of the 17th century Athanasius Kircher, who had an important influence on the thinking of his contemporaries. Sor Juana's sharp fingers, which are as white as her face, give the figure an appearance full of spirituality and intelligence. Dressed in the simple habit of the Order of the Jerónimos and wearing on her chest the so-called “shield of nuns”, she is seated in a high-backed chair; her right hand rests on a book, while her left hand holds a rosary in allusion to her piety. Miguel Cabrera, one of the artists who enjoyed the greatest fame among the many painters who flourished during the 18th century in the viceroyalty of New Spain, completed the painting with legends or texts in Latin in a game of intelligence that marks the most important moments of Sor Juana: her birth, her consecration to the convent of San Jerónimo and her death. In it she also expresses her admiration for the Tenth Muse. It is likely that the work was commissioned by the superior of the Jeronymite order.
De izquierda a derecha:
Macario Matus
Roberto Bolaño [Arturo Belano]
Mario Santiago Papasquiaro [Ulises Lima]
Orlando Guillén [El Cojo]
Alcira Soust Scaffo [Auxilio Lacouture]
Julián Gómez
Bruno Montané [Felipe Müller]
Casa del Lago, Chapultepec, Ciudad de México, 1975. [De la exposición: “Alcira Soust Scaffo: Escribir poesía, ¿vivir dónde?” @ Museo Universitario de Arte Contemporáneo, UNAM, 2018)
#infrarrealistas #detectivessalvajes #realvisceralistas
«Hagamos la ronda / Girar y girar! // De la tierra al cielo / Subiremos más // Del bosque a la mar / Correr y contar! // Giremos! Giremos! / Sin manos parar! // De la tierra al cielo / Del bosque a la mar! / Girar y girar!» México, viernes 17 de enero de 1969 – La niña loba. Poemas, notas y obra gráfica de Alcira Soust Scaffo (1958–1991), «Escribir poesía, ¿vivir dónde?»
Nació en Durazno en 1924. Dedicó su vida a la enseñanza, aunque también pasó más de dos décadas en México, escribiendo poesía y traduciendo del francés. En sus diarios, publicados parcialmente en la biografía: «Escribir poesía, ¿vivir dónde?» , se pueden ver algunas de las versiones que realizó de poetas como Arthur Rimbaud o Paul Éluard. No publicó ningún libro en vida, y sus textos solo se pueden encontrar en edición facsímil. Aunque las letras mexicanas la olvidaran injustamente tras su regreso a Uruguay, su nombre siguió resonando gracias a su aparición como personaje principal de Amuleto, novela de Roberto Bolaño en la que ella llevaba el nombre de Auxilio Lacouture. Por culpa de una infección respiratoria, Alcira Soust Scaffo murió en Montevideo en junio de 1997.
Alcira, poeta de espíritu maldito, no es solamente un símbolo de 1968, sino un personaje que atravesó como una flecha la construcción y transformación del mundo cultural mexicano. Fue parte del estallido que representó, para la tradición, la contracultura en el ámbito de las artes —la misma explosión viscerrealista que generaron los sucesivos movimientos estudiantiles, marcando la historia contemporánea del país desde los años sesenta y cimbrando también las estructuras de la universidad y su correlación de fuerzas internas. La negación de concebir a Alcira Soust Scaffo como poeta, para volverla solo un personaje imaginario, literario, demente, vagabundo, desdentado es consecuencia de la distancia reificante del mito.
↓ Sigue ↓ ⠀ ____ #books #bookstagramfeature #libros #igbooks #leoycomparto #leoautoras #bookstagram #vscocam #megustaleer #leoyrecomiendo #bookish #librosrecomendados #mybookfeatures #travel #lovebooks #reader #bibliophile #bookstagrammer #instabooks #readersofinstagram #igreads #bookreview #booklove #film https://www.instagram.com/p/CJn-49pF8ko/?igshid=adqehupp4kr0
Alcira Soust Scaffo
Alcira Soust Scaffo em frente ao Lago de Pátzcuaro, c. 1953.

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Creek in the redwoods near Scotia, California. 1924. Marcus E. Jones.
Internet Archive
San Juan Evangelista, en Patmos, atribuído a José de Ribera, século XVII.