petermorwood:

blastedheath:

Alfred Egerton Cooper (British, 1883-1974),  1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

A demonstration of how painting can sometimes trump photography. This captures the looming presence of a dirigible overhead better than most high-quality pics of commercial Zeppelins. It was probably painted to commemorate R34’s east-to-west Atlantic crossing,
“Before starting on the voyage, it was decided that some of the members of the crew, including W.W. Ballantyne , must be left behind, the numbers being limited of necessity to thirty on the voyage. Two hours before the flight, William Ballantyne managed to climb back on board the ship, and hid himself in the darkness of the ship. He had also carried with him, the crews’ mascot, a small tabby kitten called “Whoopsie”. Both of these stowaways had hidden themselves. But the cramped conditions and the fact that the smell of the gas had made Ballantyne nauseous, made him give up and come out of hiding. The dishevelled stowaway was brought in front of Major Scott and Maitland, and it was decided that there was actually nothing they could do about it. It was agreed that had they been over land then Ballantyne would have been put overboard by parachute, but as the next landfall was in fact America, he was to stay on board. The only problem that could occur was the strain on the very limited and controlled resources. Having been quite ill for some time, he was rested on one of the hammocks, and attended to by Lieutenant Luck. When he recovered, Ballantyne was, as with traditional stowaways, made to work his passage as cook and often having to hand pump the petrol into the tanks. As to the second stowaway, Whoopsie, it was deemed that the oldest airman on board, 42 year old George Graham accepted responsibility for the cat, and Whoopsie worked her passage throughout the rest of the voyage, providing entertainment and comfort to the other crew members.”
Whoopsie…? :-)

petermorwood:

blastedheath:

Alfred Egerton Cooper (British, 1883-1974),  1919. Oil on canvas, 56 x 66 cm. Royal Air Force Museum.

A demonstration of how painting can sometimes trump photography. This captures the looming presence of a dirigible overhead better than most high-quality pics of commercial Zeppelins. It was probably painted to commemorate R34’s east-to-west Atlantic crossing,

Before starting on the voyage, it was decided that some of the members of the crew, including W.W. Ballantyne , must be left behind, the numbers being limited of necessity to thirty on the voyage. Two hours before the flight, William Ballantyne managed to climb back on board the ship, and hid himself in the darkness of the ship. He had also carried with him, the crews’ mascot, a small tabby kitten called “Whoopsie”. Both of these stowaways had hidden themselves. But the cramped conditions and the fact that the smell of the gas had made Ballantyne nauseous, made him give up and come out of hiding.

The dishevelled stowaway was brought in front of Major Scott and Maitland, and it was decided that there was actually nothing they could do about it. It was agreed that had they been over land then Ballantyne would have been put overboard by parachute, but as the next landfall was in fact America, he was to stay on board. The only problem that could occur was the strain on the very limited and controlled resources. Having been quite ill for some time, he was rested on one of the hammocks, and attended to by Lieutenant Luck. When he recovered, Ballantyne was, as with traditional stowaways, made to work his passage as cook and often having to hand pump the petrol into the tanks. As to the second stowaway, Whoopsie, it was deemed that the oldest airman on board, 42 year old George Graham accepted responsibility for the cat, and Whoopsie worked her passage throughout the rest of the voyage, providing entertainment and comfort to the other crew members.

Whoopsie…? :-)

bookmobility:

Why did this sculpture by Harry Bertoia cause officials in Dallas to freak out in 1955, and what does it have to do with the purpose of libraries? Find out in…
Scandalous Works of Library Art

bookmobility:

Why did this sculpture by Harry Bertoia cause officials in Dallas to freak out in 1955, and what does it have to do with the purpose of libraries? Find out in…

Scandalous Works of Library Art

(via atompunk)

vcrfl:

Albert Anker (1831–1910): Teeservice.

vcrfl:

Albert Anker (1831–1910): Teeservice.

(Source: dipot)

velvetonions:

“… Watercolours?”
      “It’s a bit more complex than that.”

Spaced, S01E01 - Beginnings

(via lyall)

"We must recover the feelings and sensitivities which were once the common property of all civilized people. Those works of art, of literature, of music, which are pre-modern are of essential value for us. They can teach us, as will nothing we ourselves now produce, what nobility is, what virtue is, what honor and purity are, what sacrifice and loyalty are, what is worthy and what is not. Poetry, music, art, fiction, are not spiritual food, but are rather the milk and bread we need to strengthen ourselves to live on the meat of the spirit.

We have almost forgotten the sight and sound and feel of the sublime. To regain it we must return to a time when the gray, gritty moral fog had not yet settled over the world: a time when men’s sight was still clear and their souls still keen. If we cannot manage the uplands of the soul we shall hardly be able to touch the peaks of the spirit. Hardened by the din and moral cacophony of our world, our hearts are cold and our consciences numb. We are little moved by pity, honor, nobility, purity, because we seldom or never see them. We are even little moved by beauty, because we hardly know what it is. Like most value-terms, ‘beauty’ has become almost contentless, a word empty of any absolute meaning. Beauty is now whatever we like, or whatever someone tells us is beautiful. Art is whatever someone chooses to call art. There are, ostensibly, no longer any valid reasons for refusing to admit that a pile of rusty hubcaps and bent pipe is ‘art’ in the same way that Rembrandt is ‘art.’"

— Sisters of St. Xenia’s Skete, Literature, Culture and the Western Soul (via zerogate)

(Source: stmichaelschool.us, via zerogate)

proustitute:

Hervé Guibert, Table de travail (voyage avec deux enfants), 1982

proustitute:

Hervé Guibert, Table de travail (voyage avec deux enfants), 1982

"Good art can come out of thieves, bootleggers, or horse swipes. People really are afraid to find out just how much hardship and poverty they can stand. They are afraid to find out how tough they are. Nothing can destroy the good writer. The only thing that can alter the good writer is death. Good ones don’t have time to bother with success or getting rich. Success is feminine and like a woman; if you cringe before her, she will override you. So the way to treat her is to show her the back of your hand. Then maybe she will do the crawling."

—  William Faulkner (via oldroze)

(via dipot)

"The aim of art is to represent not the outward appearance of things, but their inward significance, and this, and not the external manner and detail, is true reality."

— Aristotle. (via vcrfl)