I sit before flowers
hoping they will train me in the art
of opening up.
(Source: larmoyante, via apoetreflects)

I sit before flowers
hoping they will train me in the art
of opening up.
(Source: larmoyante, via apoetreflects)
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From the Faraway, Nearby, 1938
Georgia O’Keeffe (American, 1887–1986)
Oil on canvas
36 x 40 1/8 in. (91.2 x 102 cm)
Alfred Stieglitz Collection, 1959 (59.204.2)
© 2011 Artists Rights Society (ARS), New York
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“I have things in my head that are not like what anyone taught me—shapes and ideas so near to me, so natural to my way of being and thinking.”
—Georgia O’Keeffe
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“What you remember saves you.”
― W. S. Merwin
What you able to forget helps too.
(via apoetreflects)
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Everyone’s creative acts, whatever they may be, make constructive form out of the apparent formlessness of our lives. -Rollo May
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To look life in the face, always, to look life in the face, and to know it for what it is…at last, to love it for what it is, and then to put it away.
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Virginia Woolf , 1911 - 1912. Oil on board, by Vanessa Bell.
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Today was a shift in consciousness for me. It has been a rough few days. Lots if feeling down and negative. This morning, though, I decided to get determined about my day and my life. I decided to use my strength and my will to place my focus on what I desire which is joy and abundance. It is amazing the shifts that can occur when you become determined. What started out as a morning of sadness and looking back turned into a day of joy and new discovery. I feel truly grateful and highly blessed. :0)
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Indonesia’s endangered orangutans, rhinos and tigers could lose their forest home forever if a new mining backed plan is pushed through, but we can stop it. Click here to find out how:
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PERHAPS NO OTHER single piece of artwork in the entire Western world so deftly summarizes the intersecting forces of Heaven and Hell as Hieronymus Bosch’s THE GARDEN OF EARTHLY DELIGHTS. Painted between 1490 and 1510, and now in the collection of the Prado Museum in Madrid, the famous triptych is one of the world’s most astonishing accomplishments in cosmological iconography.
History has produced a meager share of works by authors willing to tackle questions of cosmology, from Dante’s DIVINE COMEDY through Swedenborg’s HEAVEN AND HELL, Gurdjieff’s BEELZEBUB’S TALES, and Carlos Castaneda’s A SEPARATE REALITY. Because works like these are relatively rare, each achieves its own pinnacle; the task of creating and describing the entire moral and physical universe is not for the faint of heart. The obstacles to achieving an equal level of discourse in a visual medium—let alone one small in scale—are daunting. Short of obvious literalizations spawned by classic Christian theology, there seem to be few ready answers to such a problem. The question is divine; the response can only be human, calling for an unparalleled mastery of metaphor and symbolism.
Uniquely, not only among all his peers but throughout almost all of art history, Bosch (1450–1516) managed to confront and surmount these problems and leave us with an esoteric masterpiece that describes the interaction of Heaven and Hell as transmitted through the most tactile and familiar agency possible—mankind
―excerpt from Lee van Laer’s: EMANATIONS OF DIVINITY: THE COSMOLOGY OF HIERONYMUS BOSCH: the wonders of Hieronymous Bosch’s The Garden of Earthly Delights, from the new summer issue of Parabola: “Heaven and Hell.”Image: Hieronymus Bosch, Garden of Earthly Delights (Ecclesia’s paradise). Central panel.