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‘l'avventura del sipario’’ by angelo quaglio c. 1870
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Oda Iselin Sønderland (Norwegian/Irish, 1996) - Linse (Lens) (2025)
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The Icebergs, 1861 - oil on canvas — Frederic Edwin Church (American, 1826-1900)
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Alfred Kubin, Der Sumpf (The Swamp), c.1905
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The Forest (1927) Max Ernst, oil on canvas, 96.3 x 129.5 cm
Ernst’s attitude toward the forest as the sublime embodiment of both enchantment and terror can be traced to his experiences in the German forest as a child. "They are, it seems, savage and impenetrable, black and russet, extravagant, secular, swarming, diametrical, negligent, ferocious, fervent, and likeable, without yesterday or tomorrow. … Naked, they dress only in their majesty and their mystery"
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"We, undercover agents dispersed among less revealing duties, we sometimes recognize each other. By a certain way of looking, by a way of shaking hands, we recognize each other and call this love. And then our disguise is unnecessary: though we don’t speak, neither do we lie, though we don’t speak the truth, neither must we dissemble any longer. Love is when we are allowed to participate a bit more. Few want love, because love is the great disillusionment with all the rest. And few can bear losing the rest of their illusions. There are people who would volunteer for love, thinking love will enrich their personal lives. On the contrary: love is ultimately poverty. Love is not having. Moreover love is the disillusionment of what you thought was love. And it’s no prize, that’s why it doesn’t make people vain, love is no prize, it’s a status granted exclusively to people who, without it, would defile the egg with their personal suffering. That doesn’t make love an honorable exception; it is granted precisely to those bad agents, those who would ruin everything if they weren’t allowed to guess at things vaguely.
—Clarice Lispector, "The Egg and the Chicken"
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From 'The Mabinogion' illustrated by Alan Lee
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Little blue heron By: Theodore Cross From: Natural History Magazine 1989
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Copy of the Lotus Sutra, chapter 2, in gold and silver ink on indigo paper. Korea, Goryeo dynasty, 14th century.
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