Toma ~ This Is The End Of Everything

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Henri Michaux – Nous deux encore ,1948

Air du feu, tu n’as pas su jouer. Tu as jeté sur ma maison une toile noire. Qu’est-ce que cet opaque partout ? C’est l’opaque qui a bouché mon ciel.Qu’est-ce que ce silence partout ? C’est le silence qui a fait taire mon chant. L’espoir, il m’eût suffi d’un ruisselet. Mais tu as tout pris. Le son qui vibre m’a été retiré. Tu n’as pas su jouer. Tu as attrapé les cordes. Mais tu n’as pas su jouer. Tu as tout bousillé tout de suite. Tu as cassé le violon. Tu as jeté une flamme sur la peau de soie. Pour faire un affreux marais de sang. Son bonheur riait dans son âme. Mais c’était tout tromperie. Ca n’a pas fait long rire. Elle était dans un train roulant vers la mer. Elle était dans une fusée filant sur le roc. Elle s’élançait quoiqu’immobile vers le serpent de feu qui allait la consumer. Et fut là tout à coup, saisissant la confiante, tandis qu’elle peignait sa chevelure, contemplant sa félicité dans la glace. Et lorsqu’elle vit monter cette flamme sur elle, oh… Dans l’instant ...
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Albert Camus - The Crisis of Man, lecture, 1946

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"The story of men is the story of their mistakes, not their truth. The truth is probably like happiness, it's simple and has no history. " Albert Camus The Crisis of Man - Text of the lecture given in 1946 at Columbia University unpublished in French, translated from English by Jean-Marie Laclavetine In Nouvelle Revue Française. Andrey Chezhin - from Touching the City St. Petersburg, 1991
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The Nightmare (1781) by Henry Fuseli

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This is Fuseli’s infamous masterwork The Nightmare. This has been an icon of horror ever since it was first exhibited to the public at the annual Royal Academy exhibition in London in 1782. The painting draws on folklore, science and classical art to create a new kind of sexually-charged image. Fuseli wanted the painting to shock and intrigue, as well as to make a name for himself. In this he succeeded triumphantly. The work has been copied and lampooned many times. Background One of the most innovative Romantic artists of his day, the Swiss-born Johann Heinrich Henry Fuseli - son of the portraitist Johann Caspar Fussli (1706-82) - developed an early talent for drawing before moving to London in 1764 at the age of 23. Here, encouraged by Joshua Reynolds (1723-92) who was shortly to be elected the first president of the newly formed Royal Academy of Arts, Fuseli took up painting. This led him to spend most of the 1770s in Italy, studying the figure painting of Michelangelo (1475-...
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