Philosopher - “Perhaps there are more beautiful times, but this is our time.”
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Quentlein retweeted
Tom Petty & The Heartbreakers
"American Girl"
Live at Live Aid 1985
Remembering the LEGENDARY musician, singer-songwriter, and solo artist #TomPetty who would have been 76 today. Happy Heavenly Birthday! 🤍🕊️🎉
Born on October 20th, 1950. 🎉🎉🎉🎉🎉🎉
#RestInPeace 🙏❤️
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Quentlein retweeted
The little children of Deptford, London, born a century ago. Filmed in the 1920s and now staring back at us from the other side of the lens 100 years later.
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Quentlein retweeted
Robert Palmer est mort le jour d’anniversaire de Bryan Ferry.
Un 26 septembre.
Ils étaient amis.
Clin d’œil.
Johnny & Mary | Bryan Ferry.
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Quentlein retweeted
C’est le dernier Such à Shame de l’histoire au UK - et il est totalement différent.
Longueur de la phase d’intro, structure du morceau, textures des sons, fréquence de mediator, proéminence du piano…c’est fabuleux.
Such a Shame | Talk Talk | Londres, 1986.
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Quentlein retweeted
Vingt ans que j’attendais une version comme ça.
Quand elle commence à toucher le violoncelle à 1’07, le frisson quantique.
Hey There Delilah | Oklou.
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It’s honestly so cringey for me to repost a post from Boris Becker right now. But some things need to be done.
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3 a.m. You can’t sleep, so you get up and look out the window into a dark night. This Song is playing in the background. Time means nothing anymore.
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Quentlein retweeted
In Canada Ottawa, The Greek Community put on Zorba the Greek dance. everyone out there joined in! Amazing🕺
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Quentlein retweeted
This song will transport you back to those wonderful years ✨
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Quentlein retweeted
“Comparison is the thief of happiness.”
-Brené Brown / The Gifts of Imperfection
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Quentlein retweeted
This looks like a photograph. It's not. It's an oil painting made in 1883 by Peder Mørk Mønsted.
It's called The Woodland Glade. Sunlight pours down through a high forest canopy and scatters across the ground in a thousand shifting patches of gold and shadow, each one placed with a precision that hardly seems possible for a human hand.
In his own day Mønsted was celebrated for exactly this. He was admired enough to travel the world and, in 1893, to be received as a personal guest of King George I of Greece, a king who had himself been born a Danish prince, painting the royal family and the countryside there.
But Mønsted had two misfortunes: he painted landscapes rather than important people, and he did it just as the art world was falling out of love with this kind of realism, deciding that all that loving exactitude had had its day.
So his name slipped almost entirely out of art history. And yet his paintings never stopped being loved: they circulate endlessly online, reposted by people who fall for a sunlit forest and, most of the time, have no idea who made it. The man has been forgotten, but the light he captured never has. Leonardo da Vinci once said it best: "A beautiful body perishes, but a work of art dies not."
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Quentlein retweeted
This is one of the most famous paintings in America, and almost everything you assume about the two people standing in it is wrong...
The painting is American Gothic, made by Grant Wood in 1930, and it hangs in the Art Institute of Chicago. It actually began with the house: Wood spotted a small white farmhouse in Eldon, Iowa, with a pointed Gothic window set into its upper floor, the kind of refined, churchlike window you would expect on a cathedral, not a plain country home. He decided to paint it, and then, in his words, "the kind of people I fancied should live in that house."
The man with the pitchfork was Wood's own dentist, Dr. Byron McKeeby. The woman was Wood's sister, Nan. And here is the detail most people get wrong: they are not husband and wife. Wood always insisted the pair were a father and his grown daughter. Nan, embarrassed to be seen as the wife of a man twice her age, spent years correcting people on exactly this point.
When it was first shown, the people it seemed to portray were furious. Iowans took it as an insult, a mocking picture of joyless country folk, and one farmwife reportedly said Wood ought to have his head bashed in. But he swore there was no ridicule in it. He only wanted to paint the people he had known all his life, the stoic dignity of the rural Midwest, with honesty rather than contempt. He had trained in Paris and come home seeing his own place with new eyes. As he put it: "I had to go to France to appreciate Iowa."
Then history took the meaning out of his hands, and that’s what i love about art: it takes on a life of its own. As the Great Depression deepened, a hungry and frightened country looked at these two faces and no longer saw mockery. It saw survival. The pitchfork, the plain clothes, the refusal to bend, all of it became a portrait of the American spirit holding the line while everything else collapsed...
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