“Sun-whipped seas, spices and fragrant trees,”
— Amy Lowell, from Poems; “Twenty-Four Hokku on a Modern Theme,”
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“Sun-whipped seas, spices and fragrant trees,”
— Amy Lowell, from Poems; “Twenty-Four Hokku on a Modern Theme,”

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Nu à la mer
Les nuits de la pleine lune (Éric Rohmer, 1984)
Night shifts - Vogue UK (1989)
Carre Otis by Hans Fuerer

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The power of profound meaning is found in blue, and first in its physical movements (1) of retreat from the spectator, (2) of turning in upon its own centre. The inclination of blue to depth is so strong that its inner appeal is stronger when its shade is deeper. Blue is the typical heavenly colour. The ultimate feeling it creates is one of rest. When it sinks almost to black, it echoes a grief that is hardly human. When it rises towards white, a movement little suited to it, its appeal to men grows weaker and more distant. In music a light blue is like a flute, a darker blue a cello; a still darker a thunderous double bass; and the darkest blue of all—an organ.
Wassily Kandinsky, Concerning the Spiritual in Art (translated by M.T.H. Sadler)
Sequestro di persona (1968)
Auguste Rodin (1840 - 1917) - Naiad

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Jeanette Winterson, Art Objects: Essays on Ecstacy and Effrontery
it has in it warnings and chances and painful beauty
the collective issue : jacey philana for dew magazine no. 57
“This is late afternoon: a minute of precise fragrance, a knowing I will love you, every day more, with more longing, with no answers.”
— Sara Pujol Russell, from “Thinking Late Afternoon”, translated from Spanish by Noël Valis (via finita–la–commedia)
Claudia Cardinale, Paris.
The photo was taken by photographer Claude Azoulay in Paris in 1961, when she was sitting in a cafe on Boulevard Saint-Germain-des-Prés.

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“Sweeter than the early morning in summer.”
— Ernest Hemingway, from “For Whom The Bell Tolls,” written c. 1940
Carla Cervantes