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Saint-John Perse A version by Derek Mahon These are birds, pure and simple, nothing more, their truth the secret of life itself . . . Derek Mahon s previous translation work includes versions of Jaccottet (Words in the Air, 1998) and Valéry (The Seaside Cemetery, 2001). To these he now adds Birds by Saint-John Perse whose long, discursive, musical texts owe something to Rimbaud s Illuminations but are finally unique. Among twentieth-century poets Perse is remarkable for his oceanic qualities, his global reach and philosophical optimism. Birds is about birds, but also about the artistic vocation itself, Yeats s lonely impulse of delight
Traces the rise and fall of Maya civilization through its great royal cities, from El Mirador, the largest and oldest, to the rival city-states of the Classical period such as Tikal, Calakmul, Yaxchilán, Palenque, Toniná, and Copán. He then moves on to the great cities of the Terminal Classic period; at a time when the mighty centers of the southern lowlands were in a steep decline, cities to the north such as Uxmal and Kabah achieved a pinnacle of architectural beauty. After that he turns to the Postclassic period and Chichén Itzá in central Yucatán, a huge, cosmopolitan city that flourished during a military and cultural takeover by the Toltecs of central Mexico.
Il catalogo riproduce interamente la Suite 347, di proprietà di Bancaja di Valencia. Tutte le incisioni, appunto 347, realizzate da Picasso tra marzo e ottobre del 1968, rappresentano il "diario di bordo" di un uomo che "senza curarsi delle proprie ansie o di quelle profonde inquietudini che spesso cercava, portandole a galla, di esorcizzare," si apriva "alla percezione del mondo esterno, quel mondo che a un uomo di quasi 87 anni appariva folle, grottesco. Aveva visto ben altro!" La Suite è composta da quattro grandi nuclei tematici: La Celestina, ovvero le stampe selezionate da Picasso per un'edizione della Celestina di Fernando de Rojas, pubblicata dall'atelier Crommelynck nel 1971; Picasso, la sua opera e il suo pubblico, una sorta di presentazione dei soggetti principali e di tutte le tecniche e gli stili utilizzati; Mitologia e circo, in cui affiorano la mitologia mediterranea e i tradizionali temi picassiani: il Don Chisciotte, i personaggi di Rembrandt, Raffaello, le mezzane ecc...; Il pittore e le modelle, incisioni che rimandano a temi della Suite Vollard e a quelli ripresi nella Suite 156 con Degas e Poussin nella parte di voyeur, i moschettieri e le donne rembrandtiane. Inoltre, il tema di Raffaello e la Fornarina, già trattato da Ingres, viene affrontato da Picasso con maggiore ironia e malizia. Annotation Supplied by Informazioni Editoriali
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