Rabindranath Tagore (via itsquoted)
Joy is everywhere; it is in the earth’s green covering of grass; in the blue serenity of the sky; in the reckless exuberance of spring; in the severe abstinence of grey winter; in the living flesh that animates our bodily frame; in the perfect poise of the human figure, noble and upright; in living; in the exercise of all our powers; in the acquisition of knowledge; in fighting evils; in dying for gains we never can share. Joy is there everywhere …


Napoleon Sarony photographed Oscar Wilde much before the latter’s ascension to fame. One of his photographs of Oscar Wilde, taken in 1882, became the centre of a lawsuit two years later. Sarony, claiming a copyright infringement, won the case and earned $610 as compensation in the process.

Napoleon Sarony (1821 – 1896) was one of the most celebrated photographers of 19th century. He was born in Quebec but relocated to New York when he was fifteen. From behind the camera lenses he captured everlasting images of many a famous faces of the day. He photographed Mark Twain (Samuel Clemens) many times during his career. Memorable portraits of Nikola Tesla, Walt Whitman, Winslow Homer and Wendell Phillips still stare back from the pages of Sarony’s illustrious albums.

Sarony paid a hefty $1500 to famous actress Sarah Bernhardt so that he can capture the beauty of her ethereal face and delicate features on the photographic plates. He was also a talented lithographer, a craft he learned from his father who was a lithographer by profession. Despite his mastery, Napoleon Sarony shared a love hate relationship with the art of photography. In an interview with Wilson’s Photographic Magazine, January 1893, he commented,

I burn, I ache, I die, for something that is truly art. All my art in the photograph, I value as nothing. I want to make pictures out of myself, to group a thousand shapes that crowd my imagination. This relieves me, the other oppresses me …
Edward Bulwer–Lytton (via itsquoted)
Society is a long series of uprising ridges, which from the first to the last offer no valley of repose. Wherever you take your stand, you are looked down upon by those above you, and reviled and pelted by those below you.


Peder Severin Krøyer’s precocious talent somehow managed to indulge in the romanticism of the Summer Evening on Skagen’s Beach (1899) without ignoring the poignancy of the reality as presented by the Italian Village Workers Making Hats (1880). He was part of the Skagen Painters and received a cult status in Denmark. Despite an illustrious career, Peder Severin Krøyer could not avoid the censorship of some critics who accused him of trying to please Parisian tastes instead of being truthful to his native land, Denmark.

Krøyer (July 23, 1851 – November 21, 1909) started receiving art education from a tender age at the home of his foster parents in Copenhagen. By his early twenties his skills were so developed that he drew the attention of businessman and art connoisseur Heinrich Hirschsprung. Hirschsprung remained the artist’s lifelong patron. He also sponsored Krøyer’s many trips across Europe which was instrumental in the development of his artistry.

Krøyer studied under Léon Bonnat briefy between 1887 and 1891. He met with Édouard Manet, Alfred Sisley, Edgar Degas, Claude Monet and Pierre–Auguste Renoir among others during this period. His art duly evolved imbibing the light and techniques of impressionism.

The last decade of Peder Severin Krøyer’s life was marred by health concerns. Despite being a near blind he continued painting almost till the very end. He eventually succumbed to a mental illness that also plagued his mother during his infancy. Perhaps the courage he derived for fighting with the perils of his own existence was nothing but an undying love of art which is summed up in the following words of him,

When the soft moonlight shines over the beach, I am there – immediately – with my sketchbook …
Thomas Browne (via itsquoted)
Let not fortune, which hath no name in Scripture, have any in thy divinity. Let Providence, not chance, have the honour of thy acknowledgments, and be thy Œdipus in contingencies. Mark well the paths and winding ways thereof; but be not too wise in the construction, or sudden in the application. The hand of Providence writes often by abbreviatures, hieroglyphics or short characters, which, like the Laconism on the wall, are not to be made out but by a hint or key from that spirit which indited them.