Frida Kahlo: Art, Garden, Life









Senke Edvarda Munka

“The ancients were right to compare love to a flame, for like a flame, love only leaves ashes behind.”


“Like a star rising from the dark and meeting another star that flashes up for a moment only to disappear again in the dark, so man and women meet each other. They are gliding along together. They light up in love, a brief flame – and disappear again in different directions. Only a few find themselves together in a large blaze in which they can be fully united.”

-Edvard Munch, Albertina Museum, Vienna

Gojine utvare – “Užasi rata” 1810-1820.

Izložbu grafika Užasi rata Franciska Goje posvećenu ratu u Španiji (napad na Španiju od strane Francuske pod vođstvom Napolepna Bonaparte, 1808), imala sam priliku da pogledam prvi put 2012. u muzeuju u Varšavi, a zatim  2013. neke od grafika bile su izložene u galeriji Instituta Servantes u Beogradu.

Nakon izlaska iz galerije pratila me je duga zanemelost, nemogućnost diskustovanja o onome što sam na crtežima pročitala. Na ukupno 8o grafika naslikanih između 1820-1820. Kolekcija je objavljena posthumno.

Sad forebodings of what is going to happen
Rightly or Wrongly
The Same
There’s no help for it
Not [in this case] either
It’s a hard step
Bitter to be present

Uredila: Venesa Mušović

jer… 25.oktobra 1881.

pablo-picasso (1)

In May 1904 the twenty-three-year-old Pablo Picasso arrived in Paris from Barcelona for his fourth stay. He moved into a recently vacated studio in Montmartre on 13 rue Ravignan, an odd-shaped ramshackle building dubbed the Bateau Lavoir, or laundary boat, by Picasso’s close friend, the poet Max Jacob. After three discouraging trips to Paris, this time Picasso was determined to stay and make a name for himself in a city that was the center of the art world, and the avan-garde itself. He would accomplish this beyond his dreams.

Svi odlomci preuzeti su  iz knjige Space, Time and The Beauty That Causes Havoc, Arthur I. Miller



Pablo Picasso was born 25 October, 1881, at Malaga, a small town in southern Spain that had seen better times. His father, don Jose Ruiz Blasco, was a painter, teacher of art and curator of the Municipal Museum. His mother, Maria Lopez Picasso, was a conventional Spanish wife with the customary aura of piety.


Francoise Gilot and Pablo Picasso



He was an incredible gifted child, able to draw before he could speak. His mother reported that Pablo’s first words were “piz, piz”, Spanish baby language for lapiz, or pencil. A typical party game with the young boy was to have him draw, say, a horse, starting from the tail, then starting from the nose, and so on.



Pablo Picasso playing in the water with his son Claude, Vallauris, France, 1948

Pablo Picasso playing in the water with his son Claude, Vallauris, France, 1948. Photograph: Robert Capa

Mystery of Picasso

Jackson Pollock – The Moon-Woman Cuts the Cicle

Pollock’s mention in 1994 of the basic universality of all real art which he saw in the native American cultures of the American West recalls C.G. Jung’s idea of a collective uncouncious transcending cultures and common to all human beings. Pollock had undergone psyhoterapy at the hands of a Jungain from 1939 to 1942, primarily on account of his alcoholism. In Jung’s theory, the moon is a symbol of the female principle, which is active in both genders; it stands for the uncouncious, intuitive, emotional and subjective. 

The title of the picture The Moon-Woman Cuts the Cicle is howewer, according to Michael Leja, difficult to interpret by reference to Jung’s writings.” Perhaps she cuts the cicle of the moon to produce the crescent, or she may so appear in her character as Opener of the Womb, or as the deity to whom circumcisions were dedicated.” All the same, Leja sees Pollock’s use of Jungain symbolism not as an unconscious, but rather as a deliberate act in a social context which, since the late 1930s, had turned away from political and sociological models to explain crisis situation, and increasingly preferred the approach of psychological theories.

Abstract Expressionism, Barbara Hess