Archive | April, 2016

My Inspiration for April III

30 Apr

April has gone by so quickly for me. I remember the evening of 1st April so vividly: magnolia blossoms, smell of freshly mown grass, bird song, sweet hopes for the weekend… Time flies.

My discovery for this month is a YouTube channel called ‘School of Life’, I especially liked their video ‘Are You Romantic or Classical?’ Do check it out, I’d like to know which one are you. It goes without saying I’m 100% romantic. Their videos, mostly about art, history, philosophy, sociology, are a perfect dose of intellect and pessimism. Also, watch their video about Lao Tzu – animations are nice.

My other inspirations include Romanticism, Mary Shelley, Aestheticism, and Oscar Wilde, Serge Gainsbourg, kitchen sink dramas. As for films, I have to mention a few ‘Withnail and I’ (1987) – mind blowing, Cheri (2009), Irma la Douce (1963), A Little Chaos (2014), Alfie (1966), Sparrows (1926) – gothic mood, Gainsbourg: Heroic Life, The Girl With the Green Eyes and The Knack… and How to Get it – both with Rita Tushingham, and The Heiress (1949) which I watched only because of Montgomery Clift. And I almost finished watching all the films from the list of ‘Best films set in the 1960s

1785-86. Thomas Gainsborough - Mrs. Richard Brinsley Sheridan

1782. Princess Augusta Sophia of the United Kingdom

Cheyne Walk c.1840 British School 19th century 1800-1899 Presented by E. Homan 1899 http://www.tate.org.uk/art/work/N01719

Cheyne Walk c.1840 British School 19th century 1800-1899 Presented by E. Homan 1899 http://www.tate.org.uk/art/work/N01719

1857. The Sister’s Grave by Thomas Brooks

romanticism architecturethe smiths there is a light that never goes out

1984. Morrissey and Oscar Wilde books 1970s Debbie Harry, Call Me 31777-78. Thomas Gainsborough - Portrait of Anne, Countess of Chesterfield

1930s Joan Bennett 1  Gainsbourg Vie Heroique (2010) 3

GAINSBOURG: A HEROIC LIFE, (aka GAINSBOURG (VIE HEROIQUE)), from left: Lucy Gordon as Jane Birkin, Eric Elmosnino as Serge Gainsbourg, 2010. ©Focus Features

GAINSBOURG: A HEROIC LIFE, (aka GAINSBOURG (VIE HEROIQUE)), from left: Lucy Gordon as Jane Birkin, Eric Elmosnino as Serge Gainsbourg, 2010. ©Focus Features

1964. The Girl With The Green Eyes with Rita Tushingham 1

1946. Great Expectations (1946) 14 1946. Great Expectations (1946) 2 1938. Bette Davis in 'Jezebel' (1938) 101965. The Knack... and How to Get It 12

1776-78. Lady Elizabeth Hamilton (1753–1797), Countess of Derby by George RomneyA_LITTLE_CHAOS_2.jpg

1966. Alfie 1

Art, Romantics and Rock Music

28 Apr

This post is the product of the idea I got recently about mixing art with lyrics from rock music, mostly The Smiths to be honest. I absolutely enjoyed doing it because I love combining pop culture and classic works of art. Assembling these paintings and lyrics filled me with such rapture and I hope it shall do the same for you. This is a rather frivolous post, just like my other posts lately. Being engaged in other ‘projects’, I had very little time for myself and as a result I didn’t feel very inspired, but I hope to write some proper posts soon.

''The dream is gone but the baby is real oh you did a good thing she could have been a poet or, she could have been a fool...'' (This Night Has Opened My Eyes, The Smiths)

”The dream is gone
but the baby is real
oh you did a good thing
she could have been a poet
or, she could have been a fool…” (This Night Has Opened My Eyes, The Smiths)

 

''...this night has opened my eyes and I will never sleep again (...) and I'm not happy and I'm not sad...'' (The Smiths)

”…this night has opened my eyes
and I will never sleep again (…)
and I’m not happy
and I’m not sad…” (The Smiths)

I was happy in the haze of a drunken hour, but heaven knows I’m miserable now.

”I was happy in the haze of a drunken hour, but heaven knows I’m miserable now.” (The Smiths)

 

''No it's NOT like any other love this one's different because it's us!'' (Hand in Glove)

”No it’s NOT like any other love
this one’s different
because it’s us!” (The Smiths, Hand in Glove)

1841. Moonlight, William Turner.

''I dreamt about you last night and I fell out of bed twice you can pin and mount me like a butterfly...'' (Reel Around the Fountain)

”I dreamt about you last night
and I fell out of bed twice
you can pin and mount me
like a butterfly…” (The Smiths, Reel Around the Fountain)

 

''Chimes sing Sunday morn Today's the day she's sworn To steal what she never could own And race from this hole she calls home.'' (Made of Stone)

”Chimes sing Sunday morn
Today’s the day she’s sworn
To steal what she never could own
And race from this hole she calls home.” (The Stone Roses, Made of Stone)

''When she wakes up in the morning She writes down all her dreams'' (What a Waster - The Libertines)

”Everyday is like Sunday
Everyday is silent and grey
Hide on the promenade
Etch a postcard, “How I dearly wish I was not here.” (Everyday is Like Sunday, Morrissey)

''Take me now baby here as I am Pull me close, try and understand Desire is hunger is the fire I breathe Love is a banquet on which we feed'' (Because the night, Patti Smith and Bruce Springsteen)

”Take me now baby here as I am
Pull me close, try and understand
Desire is hunger is the fire I breathe
Love is a banquet on which we feed” (Because the night, Patti Smith and Bruce Springsteen)

jane eyre 41

”I’m happy when it rains I’m happy when it pours…” (Happy When it Rains, Jesus and Mary Chain)

 

marianne 45

”Oh watcha gonna do, ‘Marianne’?
You’re a sweet sweet girl.
But it’s a cruel, cruel world a cruel, cruel world.” (What Katie Did, The Libertines)

1840. mary shelley

Mary to Percy: ”We’ll live a life no one has ever known
But I know you’re thinking that I’m hardly grown
But oh thank God, at last and finally
I can see you’re gonna stay with me” (Marianne Faithfull – Come & Stay With)

 

1819. Portrait of Shelley by Alfred Clint

Shelley’s response: ”A dreaded sunny day
So I meet you at the cemetery gates
Keats and Yeats are on your side…” (Cemetry Gates, The Smiths)

 

Lord Byron courting with Caroline Lamb: ''Gimme danger, little stranger There's nothing in my dreams Just some ugly memories Kiss me like the ocean breeze

Lord Byron flirting with Caroline Lamb: ”Gimme danger, little stranger
And I’ll give you a piece
Gimme danger, little stranger
And I’ll feel your disease
There’s nothing in my dreams
Just some ugly memories
Kiss me like the ocean breeze

 

Caroline's response: ''You're bad, mad, and dangerous to know.''

Caroline’s response: ”You’re bad, mad, and dangerous to know.”

''I'm eighteen and I don't know what I want Eighteen I just don't know what I want Eighteen I gotta get away I gotta get out of this place I'll go runnin' in outer space oh yeah'' (Alice Cooper)

”I’m eighteen and I don’t know what I want
Eighteen I just don’t know what I want
Eighteen I gotta get away
I gotta get out of this place
I’ll go runnin’ in outer space oh yeah” (Alice Cooper)

1850s After the ball, by Alfred Joseph Woolmer (1805-1892)

”When she wakes up in the morning
She writes down all her dreams”
(What a Waster – The Libertines)

1874. Alfred Stevens - After the Ball 2

”There’s a club if you’d like to go
you could meet somebody who really loves you
so you go, and you stand on your own
and you leave on your own
and you go home, and you cry
and you want to die…” (The Smiths, How Soon is Now)

''Life is very long, when you're lonely Life is very long, when you're lonely Life is very long, when you're lonely Life is very long, when you're lonely'' (The Queen is Dead, The Smiths)

”Life is very long, when you’re lonely
Life is very long, when you’re lonely
Life is very long, when you’re lonely
Life is very long, when you’re lonely” (The Queen is Dead, The Smiths)

Films with Brilliant Costumes

24 Apr

Two Aprils ago, I wrote a similar post. As expected, I watched a lot of films in the mean time. Costumes in films are an interesting topic, and I’m afraid they tend to captivate my attention quite a lot. This list is rather different then the previous one, which consisted mostly of period dramas set in Georgian and Victorian era.

factory girl 17

1. Factory Girl (2006)

‘Poor little rich girl’, Edie Sedgwick, led a short, but turbulent and glamorous life. In Factory Girl she was portrayed by Sienna Miller, I loved her performance. Her look is equally alluring as unattainable – gold and silver mini-dresses, Beatnik-style no-trousers-look with black tights and kitten-heel boots, large earrings, cigarette and an amethyst ring. Regrettably, Edie’s chic ’60s wardrobe is more suitable for Andy Warhol’s Factory, than for a lifestyle of a schoolgirl like me.

***

1960s Sue Lyon 30

2. Lolita (1962)

Despite the film’s subject being more or less controversial, the clothes that Sue Lyon wears are rather nice, and I’m not even a fan of 1950s fashion. Thanks to Bern Stern’s publicity photos of Sue Lyon wearing heart-shaped sunglasses, they became a symbol for nymphets (both the book and film), even thought in the film Lolita wears only the simple cat sunglasses. I think Sue Lyon was brilliant as Lolita. She seems so mature considering that she was only 14 years old by the time filming started.

***

Das Wilde Leben (Eight Miles High) 1

3. Eight Miles High (2007)

This is a biographical film about the life of a West German groupie Uschi Obermaier played by Natalie Avalon. Appropriately, the clothes Uschi wears are in tune with the late ’60s and 70s fashion, which means plenty of mini skirts, sequins, messy bed-hair, gypsy skirts, jeans… Uschi’s life was really wild, and she had a wardrobe to accompany it.

***

1960s Julie Christie 7

4. Darling (1965)

Interested in what an elegant lady climbing up the social ladder, in 1965 London, would be wearing? Well, you should watch Julie Christie in Darling. A very classic, elegant 1960s style with chic tweed suits, long evening dresses with sequins, kerchiefs, skirts with knee socks. I’d call this film a portrait of London’s society in the mid 1960s.

***

Michelle Pfeiffer as Léa de Lonval in CHERI 3

5. Cheri (2009)

Michelle Pfeiffer plays a retired courtesan in this costume drama set in La Belle Epoque. Her costumes are so evocative of fin de siecle; wide-brimmed hats, roses, black gloves, silks, beautiful silks, white lace and pearls. Michelle Pfeiffer must have signed a deal with the devil because she doesn’t seem to age, she’s still simply drop dead gorgeous.

***

1963. Shirley MacLaine - 'Irma La Douce' 1

6. Irma La Douce (1963)

Another charming courtesan, Irma La Douce, played by Shirley MacLaine, in a comedy set in 1960s Paris. Irma is mad about green colour, and her costumes prove that. She often wears a black skirt with green stockings, green shirt, green bow in her hair, green eyeshadow, even a green bra.

***

une femme est une femme 3

7. Une Femme Est Une Femme (1961)

Anna Karina’s vivid red and blue outfits in ‘A Woman is a Woman’, perfectly match the grey backdrop of Paris. And the costumes are just one tiny bit of this film’s brilliance. I confess, I’ve been very keen on colourful tights ever since I first watched this film, I have them in all colours.

***

dark shadows 4

8. Dark Shadows (2012)

I’ve always wondered how would Tim Burton mix ‘Victorian Gothic’ and Psychedelic aesthetics, and this film answered my question. I already wrote a post for itself discussing costumes and my opinion about this film, so I’ll quote myself: I can imagine myself having Carolyn’s bedroom; a psychedelic style decorated room with yellow carpet, vivid purple walls covered with posters of Iggy Pop and various other musicians of the time. It’s very bright, groovy, colourful and inspirational. I really loved the fact that every character has its own distinct style.

***

Little Dorrit 1

9. Little Dorrit (2008)

This adaptation of Dickens’ novel is set in the 1820s, thought it has that doll-like 1830s vibe in some costumes, specially those worn by Fanny Dorrit. You can see her costume in the photo, on the left: that extravagant hairstyle with feathers, lace mittens, and wide sleeves – quite a theatrical flair about her character.

***

an education 9

10. An Education (2009)

A film about a bored schoolgirl who meets a charming (and married) man who introduces her to a life of luxuries, parties, art auctions. Carey Mulligan plays this little modern Emma Bovary, and her quote says it all: ‘You have no idea how boring everything was before I met you.’ Most of the film she wears her school uniform, but when she goes out in the evenings she’s clad in classic and elegant 1960s style.

***

A_LITTLE_CHAOS_2.jpg

11. A Little Chaos (2014)

This is the most recent film from this I’ve watched, starring Kate Winslet and Alan Rickman. Winslet is dressed rather plain throughout the film because she’s a gardener, but there one scene near the end, at the court, where everyone’s dressed in late 17th century/ Restoration era finery. Cream coloured silks, lace, wide sleeves, and the hairstyle are so romantic and carefree.

***

vivien leigh as blanche 1

12. A Streetcar Named Desire (1951)

Vivian Leigh as a withered Southern Belle with fragile nerves who doesn’t want ‘realism, but magic’, and is always dressed in fine silks, lace and fur, adorned by the finest perfume, of course never in the daylight because it would reveal her true age and looks. I so empathise with her.

***

1938. Bette Davis in 'Jezebel' (1938) 1

13. Jezebel (1938)

This film, starring the beautiful Bette Davis, is a proof that rustling of taffeta petticoats and silks skirts is the sweetest sound in the world. I thought the plot and the ending were a bit vague, but costumes absolutely delighted me.

***

Have you a film you’d add on the list?

Story Aesthetics

22 Apr

I started writing a new story. Short story, but still haven’t finished it, probably never will, that’s how it goes with me. The initial idea came to my mind in October, but a few nights ago, lying in my bed, and ‘thinking about life and thinking about death, and neither one particularly appealed to me’ (The Smiths), the story idea occurred to me again so I felt compelled to write it down the following day. It’s awfully charming and tiresome at the same time when you intend to sleep but your mind is full of ideas. Then I’m usually too tired, or too lazy, as you wish, to get up and write my story so I just take a few notes so I don’t forget it. I’m sure those of you who write stories would agree with me. Yeah, I wouldn’t mind seeing other people’s ‘story aesthetics’, so if you do that sort of thing, be sure to let me know. Hope you enjoy the pictures.

a shelley 7a shelley 1a shelley 51819. Portrait of Shelley by Alfred Clinta shelley 10 a shelley 11 a shelley 12

a shelley 13SOURCEa shelley 6 a shelley 14 a shelley 8 a shelley 91780s George Romney - Portrait of Miss Kitty Calcraft

1856. The Death of Chatterton, 1856, by Henry Wallis

1785-86. Thomas Gainsborough - Mrs. Richard Brinsley SheridanSource

1960s marianne faithfull 171 1960s marianne faithfull 149 1960s marianne faithfull 1471776-78. Lady Elizabeth Hamilton (1753–1797), Countess of Derby by George Romneyjane eyre 45 jane eyre 43 jane eyre 42 dark shadows room a

Gothic Beauty of Miss Havisham

14 Apr

Miss Havisham is one of my favourite literary heroines ever. Eerie, self-pitying, decadent and grotesque figure who occupies cold chambers without a ray of daylight, chambers that resemble tombs more than fine rooms fit for a mansion. Her presence shrouds the novel in a veil of mystery, and her story is so interesting it could make a novel for itself. I think Helena Bonham Carter was brilliant as Miss Havisham, and I could gather quite some inspiration by merely looking at the photo below.

helena bonham carter miss havishanHelena Bonham Carter as Miss Havisham in Great Expectations (2012)

In an arm-chair, with an elbow resting on the table and her head leaning on that hand, sat the strangest lady I have ever seen, or shall ever see.

She was dressed in rich materials – satins, and lace, and silks – all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table. Dresses, less splendid than the dress she wore, and half-packed trunks, were scattered about. She had not quite finished dressing, for she had but one shoe on – the other was on the table near her hand – her veil was but half arranged, her watch and chain were not put on, and some lace for her bosom lay with those trinkets, and with her handkerchief, and gloves, and some flowers, and a prayer-book, all confusedly heaped about the looking-glass.

It was not in the first few moments that I saw all these things, though I saw more of them in the first moments than might be supposed. But, I saw that everything within my view which ought to be white, had been white long ago, and had lost its lustre, and was faded and yellow. I saw that the bride within the bridal dress had withered like the dress, and like the flowers, and had no brightness left but the brightness of her sunken eyes. I saw that the dress had been put upon the rounded figure of a young woman, and that the figure upon which it now hung loose, had shrunk to skin and bone. Once, I had been taken to see some ghastly waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress, that had been dug out of a vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me. I should have cried out, if I could.

Mary Pickford, Lillian Gish, Silent Films and Frilly Dresses

9 Apr

America’s sweetheart, The girl with the curls, Little Mary – these are some of the nicknames for Mary Pickford, a silent film actress who recently captivated me.

1920s Mary Pickford 8

***

Before I started writing this post, I gave myself a task of watching a documentary about her called Mary Pickford: The Muse of the Movies (2012), which is really interesting and you can watch it on YouTube. It’s a good quality documentary; amusing with plenty of information, and the narrator has a pleasant voice. I liked that the focus was not only on Mary Pickford’s personality and different stages of her career, but on the development of Hollywood as we know it today, film industry and ‘flickers’, as the early films were known back then.

I utterly recommend you to watch the documentary as it is a great introduction into the glamorous world of Hollywood – a topic which has, as I mentioned in one of my previous posts, captivated me recently. Like majority of people, I like watching films, but I’ve never been a massive ‘Old Hollywood’ fan like my mum, for example. Films of the 1930s and 1940s somehow never captured my attention, and I always wondered, with a slight dose of envy, what my mum saw in them. Then, a few weeks ago, out of nowhere, I’m ill with a disease called ‘Old Hollywood glamour’, and the only cure is to watch as many films as you can!

***

1920s Mary Pickford 7***

As you might have guessed by the title, a Hollywood phase I became fixated on is the Silent era and its main star, actress Mary Pickford. Her eyes are her most charming feature; two bright stars surrounded by long eyelashes, with the ability to express every emotion; from sadness and resignation to gratitude and rapture. Then her gorgeous curls, her famous curls, which she cut off in 1928 much to the dismay of her fans. Bobbing her hair happened as a sort of ritual of transition: her mother had just died, and she found herself incapable of playing little girls now that she wasn’t anyone’s ‘little girl’. Her phase of playing child-parts was over.

That’s a personality trait I liked about Mary Pickford – she knew how to end things while they were still good. She was a woman who achieved everything she set her mind to. A remarkable person, not just a great actress. Her ‘rags to riches’ life story continues to captivate people’s imagination. ‘America’s Sweetheart’ was born as Gladys Smith in Canada, on 8th April 1892, in a poor family with an alcoholic father. Not the best starting point for someone who’d later be the first Hollywood actress to earn a million dollars.

***

1917. Mary Pickford in Rebecca of Sunnybrook Farm (1917)Mary Pickford in Rebecca of Sunnybrook Farm (1917)

***

‘When Mary smiled, you could hear the angels sing’, said Lillian Gish, a fellow silent film actress and Mary’s lifelong friend.

***

1916. Mary Pickford 1916 advertisementAdvertisement in ‘Moving Picture World’, September 1916

***

Mary Pickford’s life story is interwoven with the life story of another silent film actress – Lillian Gish. In 1905, the Smith family shared quarters with the Gish family. Namely, Lillian Gish (14 Oct 1893-1993) had a younger sister Dorothy (11 March 1898-1968) who was also an actress. Similarly, Mary Pickford was the eldest sibling, her sister Charlotte ‘Lottie’ and brother Jack were actors as well, though both had succumbed to alcohol and died fairly young. Both families led bohemian lives which are as rich as they are hard to endure. Mary and Lillian became lifelong friends.

Starting in theatre, both girls quickly transferred to films or ‘flickers’. Early films were sensationalistic (does anyone sense a revival these days?), and often close to being pornographic. Targeted audience was the working class. After a long day’s work at the factory or a construction site, they could go and a watch a film, which was cheap as chips, travel in their imagination and escape the greyness of their lives.

***

1920s Mary Pickford being paintedMary Pickford being painted, c. early 1920s

***

Even though both were great actresses, Mary Pickford’s name stayed synonymous with the era of silent films. Early cinematography produced a great deal of actresses and icons such as Louise Brooks, Norma and Constance Talmadge, Theda Bara, Clara Bow, Pola Negri – all of which played very seductive and flirtatious roles. Lillian Gish and Mary Pickford had a different quality about them – they played more virtuous, innocent and girlish characters. They looked like dolls with their large expressive eyes and lush curls.

Lillian said herself: “I played so many frail, downtrodden little virgins in the films of my youth that I sometimes think I invented that stereotype of a role.” (source)

Lillian Gish plays a ‘frail, downtrodden little virgin’ Lucy Burrows in the filmBroken Blossoms (1919). Brilliantness of the film comes from the combination of Lillian’s poignant portrayal of a ‘fragile waif’, gloomy and decaying Limehouse district of London as the setting, and the opium-laced mood and Eastern flair brought by Cheng Huan – a Chinese lad who came to London with a dream ‘to spread the gentle message of Buddha to the Anglo-Saxon lands.’ Lillian’s performance was remarkable, and the ending truly brought tears to my eyes, and I’m not someone who cries easily at films. Somehow, when watching a silent film, you focus all your attention at the face expressions, gestures, eye movements; everything is intensified. Some quotes from the title cards, Cheng Huan’s thoughts about Lucy.

***

1919. Broken Blossoms, or The Yellow Man and the Girl (1919) 1

***

Blue and yellow silk caressing white skin – her beauty so long hidden shines out like a poem. (at 50.50 min)

Breathing in an amber flute to this alabaster cockney girl her love name – White Blossom. (at 55.18)

***

1919. Broken Blossoms, or The Yellow Man and the Girl (1919) 3 1919. Broken Blossoms, or The Yellow Man and the Girl (1919) 4

***

I reckon Lillian has a naturally melancholic face, perhaps it is because her eyes are large and her lips really small, I dunno, but most of the photos of her have a slightly morbid appeal, at least for me. She’s a true Ophelia.

***

1919. Broken Blossoms, or The Yellow Man and the Girl (1919) 11

***

Mary Pickford played a variety of roles, and often performed the stunts herself as a matter of fact, but her most memorable films are those where she plays a role of a little girl, something she successfully did up until the age of thirty-something. Up to now, I’ve watched four of such films, in this order: Poor Little Rich Girl (1917) where she stars as Gwendolyn, Pollyanna (1920) as Pollyana Whittier, The Little Princess (1917) as Sara Crewe, and Rebecca of Sunnybrook Farm (1917) as Rebecca Randall. There’s more films where she plays child roles, but the next thing I want to watch is ‘The Taming of the Shrew’ (1929) – it’s a ‘talkie’ she performed with her then-husband Douglas Fairbanks. That should be smashing!

There’s something so appealing about Mary Pickford’s roles in these particular films; a mixture of naivety and innocence, enhanced by her costumes and curls, and a courage and generosity. Goodness always wins in the end: in Poor Little Rich Girl she unites her previously money-and-success-distracted parents, in The Little Princess she finds a wealthy foster parent and brings her friend along, in Pollyanna she brings optimism to everyone she encounters. If audiences of the time saw a hope for the better world in those films, I fully understand them.

***

The Taming of the Shrew (1929)Mary Pickford in The Taming of the Shrew (1929)

***

Isn’t it strange, back then, a twenty-five year old actress could play a little girl, while today fourteen year old girls are encouraged by the media to look much older and ”attractive”.

***

1920s Mary Pickford 6

***

Mary Pickford and Lillian Gish’s expressive eyes reminded me a great deal of Anna Karina, just because I watched her films first. I noticed a certain ‘silent film’ quality about Anna Karina’s acting. Others did too: With her expressive, luminous eyes and radiant presence she had the looks of a silent movie star while simultaneously embodying the self-confident spirit of the 60s generation.” (source) This correlation is especially prominent in Godard’s film Vivre sa Vie (1963) where Anna Karina ironically plays – an aspiring actress. Really, even if you excluded the speaking parts, her eyes would reveal everything.

Another thing I wanted to discuss was the costumes. Mary Pickford has a marvellous wardrobe in her child-roles: straw hats or flowers in her lush curly hair, knee-long white dresses with lace and frills, worn with white tights, then her cute polka-dot dress with several petticoats and a parasol as an accessory in the role Rebecca, her cute one piece pyjama in ‘Poor Little Rich Girl’. Even in others pictures I’ve shown here, she looks elegant like a spring day – in frilly white dresses, wide hats, string of pearls, empire waist for a girlish appeal, lots of lace. Is it a charming 1910s revival of Rococo and Marie Antoinette countryside style, or a prelude to modern Japanese Lolita style?

***

Gaylen Studlar - Precocious Charms

W. Wordsworth – ‘My Heart Leaps Up’ or ‘The Rainbow’

7 Apr

English Romantic poet William Wordsworth was born on 7th April 1770.

(c) National Museums Northern Ireland; Supplied by The Public Catalogue Foundation

(c) National Museums Northern Ireland; Supplied by The Public Catalogue Foundation

Paul Sandby (1731-1809), Carrick Ferry, near Wexford, Ireland

The Rainbow

My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is the father of the Man;
And I could wish my days to be
Bound each to each by natural piety.