FOOD FRIDAY - QUINOTTO

“Meat is a wasteful use of water and creates a lot of greenhouse gases. It puts enormous pressure on the world's resources. A vegetarian diet is better.” - Nicholas Stern
 
Quinoa is a grain-like crop grown primarily for its edible seeds. It is from a South American plant, Chenopodium quinoa. It contains more protein than any other grain, and is lower in carbohydrates than most other grains. It can be substituted for rice and couscous for more dietary variety. Here is a recipe for a vegetarian quinoa risotto, or “quinotto”.

Vegetable Quinotto 
Ingredients
4 cups vegetable stock
2 cups quinoa
Olive oil – about 3 tbsp
2 medium red capsicums, chopped
1 medium eggplant, chopped
2 medium yellow zucchini, finely chopped
4 green onions, thinly sliced
2 tablespoons fresh oregano leaves
1/3 cup lemon juice (optional)
Fresh oregano leaves, to serve (can substitute with chopped parsley)
 
Method
Place stock and quinoa in a large saucepan over medium-high heat, bringing to the boil. Reduce the heat to low and simmer covered, stirring occasionally, for 10 minutes or until just tender. Remove from heat and mix through a tablespoon of the olive oil. Set aside, covered for 10 minutes.
Cover the base of a heavy-based saucepan with a thin layer of olive oil. Heat over medium-high heat. Add capsicum and eggplant. Cook, stirring, for 1 to 2 minutes or until beginning to soften. Add zucchini, onion and oregano, and stir for 2 to 4 minutes. Cook, covered, for 15 minutes or until softened. Toss to combine. Cook, covered, until zucchini is tender.
Add zucchini mixture and lemon juice (if using) to quinoa. Toss to combine. Season with pepper. Sprinkle with oregano (or chopped parsley).
 
This post is part of the Food Friday meme,
and also part of the Food Trip Friday meme.

WORK, WORK, WORK

“Far and away the best prize that life has to offer is the chance to work hard at work worth doing.” - Theodore Roosevelt
 
I am snowed under with work these days. Since January 2, when I returned to work I have been doing the work of three people, as two of my colleagues resigned just before Christmas. I am in acting position to cover one of them, continuing doing my own job, as well as picking up urgent matters from the other colleague’s job. It leaves me little time to do much else, however, Last year I had also promised to do a short series of lectures on video for a free online course, and these past two weeks this has been another imposition on my time. Add to that some editing work I am doing on a dictionary – my days (and nights) are full!
 
I have been getting about 4 hours sleep a night, which even for me is not quite enough. The weekend is welcomed with great expectancy every week, and I can use the blessed two days to catch up. I am not grumbling, don’t get me wrong, being kept busy stimulates and enlivens me. However, what is not good is that I don’t have as much time as I would like to have in order to unwind and spend some time in relaxation and doing some of the things that take my mind off work. As much as one enjoys one’s job, there is always the need for tuning off work and enjoying one’s personal interests and hobbies and leisure activities.
 
Keeping up my daily blog posts has been difficult, but at least that commitment is a safety valve that lets off some steam and allows my mind to wander in areas that are not related to my work. However, I am not spending much time at all surfing the web, or visiting the blogs that I enjoy reading. I have neglected keeping up with friends, face to face as well as online… Even family is complaining that I am not as accessible as I used to be in the past.
 
I hope that we replace the two colleagues who have departed the office, very soon! This will allow some semblance of sanity to come back into my life and hopefully I can go back to my very busy lifestyle from my current hectic one!

CLEMENTI'S NIGHTSHADE

“The more one pleases everybody, the less one pleases profoundly.” - Stendhal
 
Today is the anniversary of the birth of:
John Hancock, American patriot (1737);
Muzio Clementi, Italian composer (1752);
Marie Henri Beyle (Stendhal), writer (1783);
Édouard Manet, French artist (1832);
Humphrey Bogart, actor (1899);
Hideki Yukawa, Japanese physicist (1907);
Django Reinhardt, Belgian Gypsy jazz guitarist (1910);
Bob Paisley, footballer/trainer (1919);
Jeanne Moreau, French actress (1928);
John C. Polanyi, Canadian chemist (1929);
Bill (William Elphinstone) Gibb, fashion designer (1943);
Princess Caroline of Monaco (1958).
 

The black nightshade, Solanum nigrum, is the birthday flower for this day.  The plant symbolises sorcery and witchcraft, scepticism, obscurity and death. The language of flowers ascribes the meaning “your thoughts are dark” to the black nightshade.  The berries of the plant are most poisonous when green and their black colour when ripe is the nigrum reference of the specific name. The young shoots of the plant may be boiled with other wild greens (especially Amaranthus blitum), potatoes and zucchini, and eaten as a vegetable dish, dressed with a simple vinaigrette sauce.  Astrologically, the black nightshade is under the dominion of Saturn.
 
Muzio Clementi (1752–1832) was an Italian composer, pianist, and conductor. His more than 100 piano sonatas set the definitive form for this genre of music, and he had a great influence on all aspects of piano music. He is remembered for his series of études, Gradus ad Parnassum (1817). He lived most of his life in England and did much to advance English music. He longed to write powerful symphonies and attempted to emulate Beethoven’s style. Latest editions of his works include four reconstructed symphonies, but these are minor works compared to those of his idol.

Many artists died on this day: Gustave Doré, the French illustrator in 1883; Edvard Munch, the Norwegian painter and lithographer (of The Scream fame) in 1944; Pierre Bonnard, the French painter in 1947; (Felipe Jacinto) Salvador Dalí (y Pubol), the most famous of the surrealist painters in 1989. The American composer, Samuel Barber, died in 1981 on this day.

A CHILD'S WORLD

Magpie Tales image prompt this week was rather stressful for me as I had recently heard the story of the attempted abduction of a friend of a friend's child. Fortunately that ended well, however, how many of these occurrences do we hear of that end in great pain or tragedy? We live in a wondrous world that is populated by many good people. But it’s enough for a single evil person to cause havoc and destruction - a devastation of lives that are unfortunate enough to interact with that evil...
 

A Child’s World
 

A child’s hand, so small:
A microcosm modelled
On that of its parents’ wide world.
 

A child’s hand, so soft,
As vulnerable as a flower,
As beautiful as a butterfly.
 

A child’s hand, so curious;
A world of rhymes and songs,
Of games and drawings.
 

A parent’s guiding hand,
Protective, loving, caressing;
A child safe, happy, content
Allowed to grow and flourish.
 

A world of possibilities,
Of endless potential and growth;
A child’s hand, so wondrous…
 

A world so fragile, easily upset,
As frangible as crystal;
A child’s hand, so easily led astray.
 

A lamb, easily led to slaughter,
Innocence lost, a life interrupted.
A child’s hand, so trusting.
 

A stranger’s rapacious hand,
The talon of a bird of prey;
A child abducted, molested,
Its life stopped, a growth arrested.

MOVIE MONDAY - LIOUBI

“A flower cannot blossom without sunshine, and man cannot live without love.” - Max Müller
 
We watched an interesting Greek film at the weekend. It was not very special or very original and the plot could even be described as quite ordinary or even simple. The movie-making was straightforward and traditional, very slow in its development and the actors capable but to exceptional. However, looking at the whole package, it worked and overall ended up being quite engaging despite all of the cons that seemed to outnumber the cons. It was the 2005 Laya Yourgou movie “Lioubi”, starring Alexis Georgoulis, Eugenia Kaplan, Nikos Georgakis, Lena Kitsopoulou and Olga Damani.
 
The plot is very much a social comment on the Greek reality of the early 21^st century. A country beset by economic and social problems, a place where racism and prejudice have come to the fore and where the battle for survival (at any price) becomes a primary consideration in a society that is in a state of disequilibrium and destabilisation. The film is very much a reflective piece and it describes the journey of a young Russian woman who comes to Greece to work and to perhaps build a better life for herself.
 
Liubi (whose name means “love” in Russian) is the young Russian woman, played sensitively by Eugenia Kaplan, who is the central character of the movie. She comes into the lives of a typical middle-class Greek family in Athens, engaged as the carer for the elderly matriarch of the family Mrs Eleni (Olga Damani) who suffered a stroke and is unable to speak or move, but who understands everything happening around her. Liubi is happy that she has been offered this small but important opportunity to try and build a life for herself. Dimitris, Mrs Eleni’s son (Alexis Georgoulis), is engaged to Penny but he is unhappy with his relationship and Penny’s demands. Anna, his sister (Lena Kitsopoulou) is on the verge of hysteria as she is desperately trying to not to have continual miscarriages. Anna’s husband (Nikos Georgakis) is a lazy good-for-nothing who is more of a burden than a help to the family. Liubi and Dimitris find themselves attracted to one another and they try to reach out to each other, but things get complicated as several critical situations put inordinate pressure on an already fragile set of relationships…
 
The film was sensitively and candidly shot and the director Laya Yourgou, who also wrote the script touches on several sensitive topics dealing with the characters and situations in an objective manner. The movie had some poignant moments, some of them relating to the special relationship that Liubi develops with Mrs Eleni. The two women seem to understand one another without being able to fully communicate. However, the final scenes of the movie bring out this touching connection and the seemingly powerless old woman manages to reward Liubi for the love she has shown her and give her the opportunity that she has been searching for in Greece.
 
A well-made and acted movie, definitely a B feature, but one that is warm and sensitively made, highlighting some flaws in the dysfunctional household in a country that is going through some tough times and is having to cope with numerous stressors and destabilisers of its social fabric.

ART SUNDAY - CEZANNE

“The most seductive thing about art is the personality of the artist himself.” - Paul Cezanne
 
Paul Cezanne (1839-1906) was a French painter who is often called the father of modern art. He strove to develop an ideal combination of naturalistic representation, personal expression, and abstract pictorial order. Among the artists of his time, Cezanne perhaps has had the most profound effect on the art of the 20th century. He was the greatest single influence on both the French artist Henri Matisse, who admired his use of colour, and the Spanish artist Pablo Picasso, who developed Cezanne’s planar compositional structure into the cubist style. During the greater part of his own lifetime, however, Cezanne was largely ignored, and he worked in isolation. He mistrusted critics, had few friends, and, until 1895, exhibited only occasionally. He was alienated even from his family, who found his behavior peculiar and failed to appreciate his revolutionary art.
 
Cezanne was born in Aix-en-Provence in the South of France, on January 19, 1839. His family was well-to-do and his father was a successful banker. His boyhood companion was Émile Zola, who later gained fame as a novelist and man of letters. As did Zola, Cezanne developed artistic interests at an early age, much to the dismay of his father. In 1862, after a number of bitter family disputes, the aspiring artist was given a small allowance and sent to study art in Paris, where Zola had already gone. From the start he was drawn to the more radical elements of the Parisian art world. He especially admired the romantic painter Eugène Delacroix and, among the younger masters, Gustave Courbet and the notorious Édouard Manet, who exhibited realist paintings that were shocking in both style and subject matter to most of their contemporaries.
 
Many of Cezanne's early works were painted in dark tones applied with heavy, fluid pigment, suggesting the moody, romantic expressionism of previous generations. Just as Zola pursued his interest in the realist novel, however, Cezanne also gradually developed a commitment to the representation of contemporary life, painting the world he observed without concern for thematic idealisation or stylistic affectation. The most significant influence on the work of his early maturity proved to be Camille Pissarro, an older but as yet unrecognised painter who lived with his large family in a rural area outside Paris.
 
Pissarro not only provided the moral encouragement that the insecure Cezanne required, but he also introduced him to the new impressionist technique for rendering outdoor light. Along with the painters Claude Monet, Auguste Renoir, and a few others, Pissarro had developed a painting style that involved working outdoors (en plein air) rapidly and on a reduced scale, employing small touches of pure colour, generally without the use of preparatory sketches or linear outlines. In such a manner Pissarro and the others hoped to capture the most transient natural effects as well as their own passing emotional states as the artists stood before nature. Under Pissarro’s tutelage, and within a very short time during 1872-1873, Cezanne shifted from dark tones to bright hues and began to concentrate on scenes of farmland and rural villages.
 
Although he seemed less technically accomplished than the other impressionists, Cezanne was accepted by the group and exhibited with them in 1874 and 1877. In general, the impressionists did not have much commercial success, and Cezanne’s works received the harshest critical commentary. He drifted away from many of his Parisian contacts during the late 1870s and ‘80s and spent much of his time in his native Aix-en-Provence. After 1882, he did not work closely again with Pissarro. In 1886, Cezanne became embittered over what he took to be thinly disguised references to his own failures in one of Zola’s novels. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father’s wealth and finally, at the age of 47, became financially independent, but socially he remained quite isolated.
 
This isolation and Cezanne’s concentration and singleness of purpose may account for the remarkable development he sustained during the 1880s and ‘90s. In this period he continued to paint studies from nature in brilliant impressionist colors, but he gradually simplified his application of the paint to the point where he seemed able to define volumetric forms with juxtaposed strokes of pure color. Critics eventually argued that Cezanne had discovered a means of rendering both nature’s light and nature’s form with a single application of colour.
 
He seemed to be reintroducing a formal structure that the impressionists had abandoned, without sacrificing the sense of brilliant illumination they had achieved. Cezanne himself spoke of “modulating” with colour rather than “modelling” with dark and light. By this he meant that he would replace an artificial convention of representation (modelling) with a more expressive system (modulating) that was closer still to nature, or, as the artist himself said, “parallel to nature”. For Cezanne, the answer to all the technical problems of impressionism lay in a use of colour both more orderly and more expressive than that of his fellow impressionists.
 
Cezanne's goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years—such as the “Large Bathers” (circa 1899-1906, Museum of Art, Philadelphia)—reveal curious distortions that seem to have been dictated by the rigour of the system of colour modulation he imposed on his own representations. The succeeding generation of painters, however, eventually came to be receptive to nearly all of Cezanne’s idiosyncrasies. Cezanne’s heirs felt that the naturalistic painting of impressionism had become formularised, and a new and original style, however difficult it might be, was needed to return a sense of sincerity and commitment to modern art.
 
For many years Cezanne was known only to his old impressionist colleagues and to a few younger radical post-impressionist artists, including the Dutch painter Vincent van Gogh and the French painter Paul Gauguin. In 1895, however, Ambroise Vollard, an ambitious Paris art dealer, arranged a show of Cezanne’s works and over the next few years promoted them successfully. By 1904, Cezanne was featured in a major official exhibition, and by the time of his death (in Aix-en-Provence on October 22, 1906) he had attained the status of a legendary figure. During his last years many younger artists traveled to Aix-en-Provence to observe him at work and to receive any words of wisdom he might offer. Both his style and his theory remained mysterious and cryptic; he seemed to some a naive primitive, while to others he was a sophisticated master of technical procedure. The intensity of his colour, coupled with the apparent strictness of his compositional organisation, signalled to most that, despite the artist’s own frequent despair, he had synthesised the basic expressive and representational elements of painting in a highly original manner.
 
In the painting above, “Mont Sainte-Victoire with Large Pine” (ca 1887), at the Courtauld Institute of Art, we have a favourite theme of Cezanne’s The Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence. It became the subject of a number of many of Cézanne’s paintings. In these paintings, Cézanne often sketched the railway bridge on the Aix-Marseille line at the Arc River Valley in the center on the right side of the picture. Especially, in Mont Sainte-Victoire and the Viaduct of the Arc River Valley (1885–1887), he depicted a moving train on this bridge. Only half a year after the opening of the Aix-Marseille line on October 15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised the Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a “beau motif (beautiful motif)”, and, in about that same year, he began the series wherein he topicalised this mountain.

SERENE SATURDAY

“I am very willing to share whatever I know or feel I know about finding some serenity in this lifetime.” - Dirk Benedict
 

A wonderful Saturday! Lovely weather making it perfect for some early morning gardening and then out to watch a matinée performance , in the Arts Centre Melbourne of “Oh, Suivant!”. This is from Belgium and it is a two person show of Europe’s favourite street, circus and physical theatre performers, D’Irque and Fien. Oh Suivant! is a family-friendly show jam-packed with juggling and circus tricks, jaw-dropping acrobatics and playful audience interaction. Inspired by the slapstick and physical comedy of silent movies, Oh Suivant! is a modern-day clowning farce reminiscent of Charlie Chaplin. After years of intense training in circus arts and twelve years of experience in street theatre in over twenty countries, D’Irque and Fien present the Australian premiere of their street-wise blend of circus, physical theatre and live music in a Melbourne exclusive season. We enjoyed that, as did the many children who were present in the audience.
 

Then a lovely walk along the Yarra and a light lunch at Southbank, followed by wonderful afternoon and evening. Here is a marvellous piece by Claudio Monteverdi (1567-1643), his “Messa a quattro voci da cappella”: 1.Kyrie; 2.Gloria; 3.Credo/ Sanctus 07:06; 4.Benedictus; 5.Agnus Dei. It is performed by the Ensemble Elyma directed by Gabriel Garrido.

PANFORTE

“Sweet is the memory of past troubles.” -  Marcus Tullius Cicero
 
Panforte is a traditional Italian dessert containing fruits and nuts, and resembles fruitcake or Lebkuchen. It may date back to 13th century Siena, in Italy’s Tuscany region. Documents from 1205 AD show that panforte was paid to the monks and nuns of a local monastery as a tax or tithe which was due on the seventh of February that year. Literally, panforte means “strong bread” which refers to the spicy flavour. The original name of panforte was “panpepato” (peppered bread), due to the strong pepper used in the cake. There are references to the Crusaders carrying panforte, a durable confection, with them on their quests, and to the use of panforte in surviving sieges.
 
Panforte di Siena
Ingredients
 
150 g unsalted almonds, roasted and coarsely chopped
75 g unsalted hazelnuts, roasted coarsely chopped
75 g unsalted pistachios, roasted coarsely chopped
100 g candied orange peel, chopped
75 g flour
30 g pure cocoa powder
1/4 tsp cloves
1/2 tsp cinnamon
1/2 tsp nutmeg
1/2 tsp allspice
Pinch white pepper
100 g sugar
200 g clear honey
35 g butter
Icing sugar to dust

Method
Preheat the oven to 150˚C.
Mix the nuts with the orange peel.
Sift the flour, cocoa powder and spices and mix through the nuts.
Gently heat the sugar, honey and butter in a pan till the sugar has dissolved and let it cook on higher heat for 3-4 minutes.
Quickly mix the syrup through the dry mix, scoop in a round tin (covered with baking paper) and press in in with your fingers.
Let it bake in the oven for 40 minutes and cool down in the tin. Remove the paper and dust with icing sugar.
Serve tiny portions. The cutting will need some force!
 

This post is part of the Food Friday meme,

and also part of the Food Trip Friday meme.

ST ANTHONY'S DAY

“We gain the strength of the temptation we resist.” - Ralph Waldo Emerson
 
January 17 is the Feast Day of St Anthony the Great. Anthony was born in to a wealthy family in Lower Egypt about 254 AD. Also known as Anthony of Egypt, Anthony of the Desert, and Anthony the Anchorite, he was a leader among the Desert Fathers, who were Christian monks in the Egyptian desert in the 3rd and 4th centuries AD.
 
Anthony live a life of ease and leisure until he was about 18 years old, when his parents died and left him with the care of his unmarried sister. One day shortly threafter he heard a sermon which quoted Jesus’ teaching: “If you want to be perfect, go, sell what you have and give to the poor, and you will have treasures in heaven; and come, follow Me” (Matthew 19:21). This made a great impression on him. Anthony then gave away some of the family estate to his neighbours, sold the remaining property, donated the funds thus raised to the poor, placed his sister with a group of Christian virgins, a type of proto-monastery of nuns, and himself became the disciple of a local hermit in the desert.
 
He spent his life praying and meditating, and his holiness marked him as one whose wisdom commanded respect. According to writing about his life, the devil fought St. Anthony by afflicting him with boredom, laziness, and visions of women who tried to tempt him. All of these temptations he overcame by the power of prayer. After that, he moved to a tomb, where he resided and closed the door on himself, depending on some local villagers who brought him food. When the devil perceived his ascetic life and his intense worship, he was envious and beat him mercilessly, leaving him unconscious. When his friends from the local village came to visit him and found him in this condition, they carried him to a church. These episodes provided a rich theme for Christian art, generally titled “The Temptation of St Anthony”.
 
Salvador Dali’s “Temptation of St Anthony” above is modern representation of this and builds on the rich iconography of the past centuries. The Saint in Dali’s painting is tempted firstly by the form of a horse in the foreground representing strength, sometimes also symbol of voluptuousness. The elephant which follows it, is carrying on its back the golden cup of lust in which a nude woman is standing precariously balanced on the fragile pedestal, a figure which emphasises the erotic character of the composition. The other elephants are carrying buildings on their backs; the first of these is an obelisk inspired by that of Bernini in Rome, the second and third are burdened with Venetian edifices in the style of Palladio. In the background another elephant carries a tall tower, which is not without phallic overtones, and in the clouds one can glimpse a few fragments of the Escorial, symbol of temporal and spiritual order.
 
When the Synod of Nicaea was convened, St Anthony was invited to participate. His eloquent defence of the Orthodox doctrine concerning the person of Jesus Christ was instrumental in weakening the position of the schismatic sect, Arianism. His witness led to the eventual and complete elimination of Arianism. He instructed his followers to bury his body in an unmarked, secret grave, lest his body become an object of veneration. The monastic rules of Saint Anthony, the “patriarch” of monastic life, have served as the basis for countless monasteries.
 
St Antony the Great of Egypt is the patron saint of pig breeders and farmers. His name has given us the English word “tantony”, a diminutive for pig, usually applied to the runt of the litter.
    From St Antony’s Feast be more bold,
    Raise your skirt a little, it’ll be less cold.
                Greek Weather Rhyme
 
St Anthony is also revered as the patron saint of skin diseases (erysipelas is a skin disease also known as St Anthony’s fire), of basket makers, brushmakers, and gravediggers.

YARROW FOR SUSAN SONTAG

“What we need, is to use what we have.” - Susan Sontag
 
Today is the anniversary of the birthday of:
André Michelin, French first tyre mass producer (1853);
Edward Gordon Craig, theatre designer (1872);
Robert Service, poet (1874);
Laura Riding, poet (1901);
Diana Wynyard, actress (1906);
Alexander Knox, actor (1907);
Ethel Merman (Zimmerman), actress/singer (1909);
William Kennedy, writer (1930);
Susan Sontag, writer (1933);
Marilyn Horne, US opera singer (1934);
Sade, singer (1960).
 
The plant for today’s birthdays is yarrow, Achillea millefolium.  The herb is named after Achilles, the ancient Greek hero who fought in the Trojan War. When the Greeks landed near Troy, some Trojans, led by Telephus, one of King Priam’s sons-in-law tried to stop the Greeks.  Achilles wounded Telephus with his spear, helped by Dionysus, god of wine. Telephus had been told by an oracle that Achilles would both wound and cure him. He promised Achilles to lead the Greeks to Troy if he would cure his wound. Achilles scraped rust from his spear and applied it to Telephus’s wound. The filings from the spear fell to the ground and yarrow sprang from them.
 
Yarrow symbolises heartache and cure.  Astrologically, this is a herb of Venus.  An older name of the herb is Venus-tree and several love oracles are based on this plant.  It was said that if the stem was cut across the initials of one’s future husband would appear.  An ounce of yarrow wrapped in a piece of yellow flannel and placed under one’s pillow would enable one to dream of one’s future spouse.  Eating yarrow at a wedding feast, ensured that the bridal couple would love one another for seven years.

***

Susan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne’s College, Oxford.
 

Her books, all published by Farrar, Straus & Giroux, include four novels, “The Benefactor”, “Death Kit”, “The Volcano Lover”, and “In America”; a collection of short stories, “I, etcetera”; several plays, including “Alice in Bed” and “Lady from the Sea”; and nine works of nonfiction, starting with “Against Interpretation” and including “On Photography”, “Illness as Metaphor”, “Where the Stress Falls”, “Regarding the Pain of Others”, and “At the Same Time”.
 

Susan Sontag was considered one of the most influential liberal thinkers in the United States during the twentieth century. She was also a filmmaker and theatre director. As well as that, she was a human rights and anti-war activist. She owned fifteen thousand books in her personal library in her home.
 

In the 1970s, Susan Sontag learned she had breast cancer. Doctors did not expect her to survive. However, she went through a series of difficult treatments and she did survive. Her experience with the disease became the subject of one of her most famous works. “Illness as Metaphor”, published in 1978. “Illness as Metaphor” is a critical study of modern life. In it, the author maintains that modern culture creates myths or stories about sickness. She also criticised the language that people use when they talk about sickness – such as “battling a disease” or “the war on cancer”. Sontag felt these terms made sick people feel responsible for their condition. Her book gave readers the power to demand more information from doctors. Ten years later, she extended her opinions to the disease AIDS. Her short story “How We Live Now” was published in 1986 in the New Yorker magazine. Her book “AIDS and its Metaphors” was published two years later. It is about the social and personal effects of the disease.
 

Susan Sontag received many awards in the United States and from other countries. Israel, Germany and Spain honoured her with awards. In 2004, two days after her death, the mayor of Sarajevo announced the city would name a street after her. The mayor called her a writer and a humanist who actively took part in the creation of the history of Sarajevo and Bosnia. Susan Sontag died of leukaemia in New York City in 2004. She was seventy-one years old.

COLD WINTER

“People don’t notice whether it’s winter or summer when they’re happy.” - Anton Chekhov
 
Magpie Tales has given us a new image this week to stimulate literary creativity. This photograph first elicited a smile from me and then I noticed the stark contrast between the cool and warm colours. The contrast engendered three haiku.
 
Gently, silently
Snow falls outside my window;
Hot thoughts of your love.
 
Warm wool covers me up,
Fire burns fiercely in fireplace –
Alone my heart: Cold.
 
Wind howls, air freezes,
Icicles snap; Who needs furs,
While we two embrace?

MOVIE MONDAY - THE DESCENDANTS

“Every good relationship, especially marriage, is based on respect. If it's not based on respect, nothing that appears to be good will last very long.” - Amy Grant
 

I must begin this movie review by saying that I have watched several George Clooney films and have been quite disappointed. The greatly lamentable “Men who Stare at Goats” is one example, the muddled and rather boring “Syriana” being another lemon, and the so-so “The American” is another one. When we watched yet another Clooney film at the weekend, I had great reservations, but ended up pleasantly surprised. This film was quite a decent one, and Clooney does show his mettle as a serious actor.
 

The movie we watched was the Alexander Payne 2011 film “The Descendants” starring George Clooney, Shailene Woodley and Amara Miller. This was a rather run-of-the-mill drama that would appeal to a wide audience, but especially women given the lead actor and the plot. The movie is set in Hawaii and one gets to see some of the lush scenery, but not as much as I had hoped… The subplot does have a lot to do with the land as Matt King (Clooney) is a lawyer and the head of a trust that holds many acres of prime Hawaiian land that is in his family and must soon be sold for development making all the family members very rich. The question here is one of heritage and despoliation of the environment and of ties with the past. Throughout much of the film we see this aspect explored and how the “descendants” of the original owner of the land will deal with the pressures put on them by a capitalistic system.
 

The main story involves Matt King (Clooney) having to cope with the serious boating accident of his young wife, which has left her in a coma with no hope of ever recovering. King’s two daughters, the feisty and rebellious teenager, Alexandra (Woodley), and the younger more vulnerable Scottie (Miller), have been rather distant from their father and their mother’s state has forced the survivors to come together and re-establish damaged relationships. What does not help is the discovery of the comatose mother’s guilty secrets and the way that Matt King must cope with those in order to allow himself to heal and then help his daughters cope with their loss.
 

The film is standard drama, competently acted and has won multiple awards: The 2012 Oscar for best writing, adapted screenplay; the 2012 AFI Best Movie award; 2012 BFCA Best Actor award, 2012 Golden Globe Best Movie and Best Actor awards, etc, etc. The young Shailene Woodley does an excellent job of playing the rather volatile but feisty Alex King and she has the meatiest role in terms of a transformation. She rises to the occasion with aplomb and no doubt we shall see a lot more of her good work in the future. All the other actors played well, including a small but very well-played supporting role by Judy Greer as a betrayed wife. There are some lighter moments, for example when Alexandra’s insensitive loud-mouthed friend Sid (Nick Krause) comes into the scene, but there is always a tension and sadness in the background.
 

The film is a good one to watch when one is in a receptive and fairly high spirited mood, as it otherwise can be a little depressing. It may be too slow for the liking of some and there are no high speed chase scenes and other adventure action shots. It is a drama, there is a lot of talking and character development and it des make the viewer think a little, “What if it were me in that situation, what would I do?” Ultimately this is a redemption movie, where the themes of “sinning” and “forgiveness” are explored, with the subplot around heritage and what we pass on from generation to generation – the tangible as well as the intangible.

ART SUNDAY - COROT

“I long for the countryside. That's where I get my calm and tranquillity - from being able to come and find a spot of green.” - Emilia Clarke
 

Jean-Baptiste Camille Corot (born July 16, 1796, Paris, died Feb. 22, 1875, Paris) is a French landscape painter. He was born to prosperous parents, but he proved unsuited to the family business, which his parents had hoped that he might run one day. However, his parents were enlightened enough at age 25 to give him a small allowance to pursue art training. He travelled frequently and painted topographical landscapes throughout his career, but he preferred making small oil sketches and drawings from nature; from these he produced large finished paintings for exhibition.
 

From 1827 Corot exhibited regularly at the Salon, but his greatest success there came with a rather different type of picture - more traditionally Romantic in its evocation of an Arcadian past, and painted in a misty soft-edged style that contrasts sharply with the luminous clarity of his more topographical work. By the 1850s he had achieved critical success and a large income, and he was generous to less successful artists. His naturalistic oil sketches are now more highly regarded than his more self-consciously poetic finished paintings. He is often associated with the Barbizon school. A master of tonal gradation and soft edges, he prepared the way for the Impressionist landscape painters and had an important influence on Claude Monet, Camille Pissarro, and Berthe Morisot.
 

Throughout his life Corot found congenial the advice given to him by his teacher Achille-Etna Michallon “…to reproduce as scrupulously as possible what I saw in front of me.” On the other hand he never felt entirely at home with the ideals of the Barbizon School, the members of which saw Romantic idealisation of the countryside as a form of escapism from urban banality, and he remained more faithful to the French Classical tradition than to the English or Dutch schools. Yet although he continued to make studied compositions after his sketches done direct from nature, he brought a new and personal poetry in the Classical tradition of composed landscape and an unaffected naturalness which had hitherto been foreign to it. Through he represented nature realistically, he did not idealise the peasant or the labours of agriculture in the manner of Millet and Courbet, and was uninvolved in ideological controversy.
 

Late in his career Corot also turned to figure painting and it is only fairly recently that this aspect of his work has emerged from neglect - his female nudes are often of high quality. It was, however, his directness of vision that was generally admired by the major landscape painters of the latter half of the century and influenced nearly all of them at some stage in their careers. His popularity is such that he is said to be the most forged of all painters!
 

His painting above, ”Ville D’ Avray” of 1867 is characteristic of his misty, gentle landscapes that evoke great serenity and a life of Arcadian simplicity. The figures of peasants going about their business contributes to this effect, but the effect is realistic rather than idealised or grandiose. I liked this painting so much in my youth that I copied it in oils (quite successfully too!).

MUSIC SATURDAY - TELEMANN

“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” - Plato
 

For Music Saturday a wonderful set of works by Georg Philipp Telemann. It is his “Essercizii Musici”, a set of sonatas for chamber instruments, performed (beautifully!) in this case by Camerata Köln.



Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family’s wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music.
 

He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann’s career prospered, his personal life was always troubled: His first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.
 

Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time - he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.
 

Telemann’s music incorporates several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles.

FOOD FRIDAY - LENTIL PÂTÉ

“Until he extends the circle of his compassion to all living things, man will not himself find peace.” - Albert Schweitzer
 
A vegetarian is a person who does not eat meat or fish, and sometimes other animal products, especially for moral, religious, or health reasons. Vegetarians usually eat dairy products and eggs. A vegan is a person who does not eat or use any animal products whatsoever. From antiquity, many philosophers have espoused the vegetarian diet: Plutarch, Hesiod, Horace, Plotinus, Buddha, and since then many other notable people (see the interesting Wikipedia list).
 
Here is a vegetarian pâté that is both wholesome and delicious.
 
Lentil pâté with nuts
Ingredients
 
3 cups diced carrots
1 and 1/2  cups cooked lentils
1/2 cup chopped onion
2 cloves garlic, minced
1/2 teaspoon chopped sage
1 teaspoon curry
1/2 teaspoon ground turmeric
1/2 teaspoon ground cumin
2 teaspoon of soy sauce
3/4 cups rolled oats, ground
3/4 cups pecan nuts or walnuts chopped finely
2 tablespoons of parsley
1/3 cup yoghurt
1/3 cup tahini (optional)
Olive oil
Salt to taste
Freshly ground pepper
 
Method
Sauté in olive oil the onions and garlic until golden, and then stir in the oats and spices. Cook the carrots and blend with lentils and onions and garlic to make a purée.  Add the rest of ingredients and mix well. Put it into greased baking pan and bake it at 180ºC for 40 minutes. For best results, refrigerate overnight. Serve at room temperature or cold. Great on a sandwich.
 
This post is part of the Food Friday meme,

and also part of the Food Trip Friday meme.

IN PRAISE OF BUSHFIRES

“Australians have stewardship of a beautiful, diverse and unique environment. Positioning Australia to respond to a changing climate, securing supplies of water to meet our domestic, agricultural and industrial needs, protecting our globally unique biodiversity and providing positive futures for Australian communities are the critical issues facing the nation.” - CSIRO
 
Bushfires once again are rampant throughout much of Southeastern Australia this Summer. The relatively wet climactic conditions over the last few years have created lush vegetation, which in the dry heat that we have been experiencing now, is perfect fuel for the wild fires that sweep through the wooded areas. Bushfire has been part of the Australian landscape for millions of years, but while we consider it a major threat, some of our flora and fauna depend upon it for their survival. Australia’s native vegetation encourages the spread of fire and as a consequence of evolution, bushfires create a number of surprising benefits for the Australian environment that cannot be created any other way.
 
Eucalyptus forest litter is coarse and decays slowly, ensuring that after several years there will still be an abundant build-up on the forest floor to carry the next fire. The bark of many native species is highly flammable and loosely attached to the trees, making ideal firebrands to carry fire across natural barriers. The green leaves contain highly flammable oils and resins that act as a catalyst to promote combustion before the leaves are fully dry. These factors predispose greatly to fires and sooner or later, in some part of Australia, weather patterns will occur so that strong, hot, dry winds will blow from the centre of the continent, so all that is needed is a spark to produce a conflagration. If these conditions of hot dry weather are associated with a drought of any length, the massive bushfire that develops will not be stopped until the weather moderates.
 
The Australian Aborigines lived in harmony with the environment before European settlement and they had learnt that they had to break up the forest fuel in order to survive within the landscape filled with many hazards. They burnt off vegetation extensively and often, so as to reduce forest litter. They learnt by observation the responses of the plants and animals to burning and took advantage of these responses to exist harmoniously and sustainably within the natural environment.
 
Since European settlement, the total amount of fire in the Australian landscape has declined. The bushland areas and particularly those around Sydney and Melbourne have thickened and accumulated more fuel. As a result, the infrequent fires that now occur under extreme weather burn much more intensely and have a significant impact on the built environment. Fragmentation of the bush by different land use practices, such as spreading urbanisation and agriculture, means that the Aboriginal fire regime is no longer possible or desirable in these areas.
 
Australian native flora and fauna have evolved to survive in a fire-prone environment. In order to maintain the biodiversity of the native areas of vegetation and its resident fauna, we have to accept that fire is a process that must be used to manage our bushland. Nothing else except bushfire does the following:

• Fire produces the chemicals in the ash to stimulate new growth of vegetation;
• Smoke stimulates the flowering and regeneration of particular species;
• The heat pulse of a passing bushfire removes growth-inhibiting toxins in the litter;
• Opens tightly-closed fruits to release new seed;
• Penetrates deep into the soil to stimulate the germination of long-buried seed.

Nothing else except bushfire produces the succession of plant development to which our native fauna have adapted to meet their requirements for food, shelter and reproduction.
 
Australian bushfires fires threaten lives and property and cause millions of dollars of damage each year. To a large extent, this is because since European settlement we have modified the Australian native environment and have made it adapt to a land use and settlement pattern that is more suited to a northern European, cooler and wetter climate, which has a completely different flora and fauna. The introduction of many exotic tree species such as European and American deciduous trees and also the evergreen pines has meant that the response of the landscape to bushfires has become less characteristic and unpredictable. The construction of residences within or adjacent to wooded areas has increased the risk of property destruction and loss of life. People’s ideas regarding the aesthetics of the landscape – i.e. that it should be green and lush and unravaged by the effects of fire is contrary to the Australian environment and the wise management of the land that the Aborigines were in charge of so successfully for millennia.
 
We must learn to accept that in Australia, bushfire is an ecological process that is as natural as the sun and the rain. We must learn to accept that bushfire determines the composition of our flora and fauna and contributes to its success within Australia’s unique landscape. If we want to reduce the devastating and tragic effects of uncontrolled bushfires, we must make fire suppression a strategic and regular occurrence in our lives, in locations that are appropriate. We need to learn that it is the dry undergrowth and dead leaf, bark and twig litter that provides the fuel for bushfires, and use prescribed, planned burn-offs at appropriate times of the year in order to reduce fuel loads. This implies that people need to individually take responsibility for managing the fuels in their properties, and maintain their gardens and adjacent land so that they do not burn uncontrolled in summer.
 
Fire services and land management agencies need the support of individuals and community groups even when there is no fire emergency and accept the minor inconvenience of smoke in the air when fire is prescribed for hazard reduction, forest regeneration or biodiversity management. People living in areas adjacent to high fire hazards must plant wisely, manage the flora and potential bushfire fuel in their gardens and construct properties that are bushfire resistant and well-prepared for a wave of fire that may sweep through their property. As part of any bushfire survival plan, farmers and homeowners should assess how they can make their property defendable, consider what fire protection systems need to be in place and ensure they know the location of their nearest shelter in the event that they need to evacuate quickly. As fires can occur at unexpected times, it’s also important to plan for different scenarios, such as on a workday, during school holidays or at a social function. Above all, if people choose to evacuate, they must leave their property early.
 
We live in a vast, beautiful land. It is often that we find ourselves in a harsh and punishing environment. If we respect the land and work with it, we make our own survival more probable, while nurturing and sustaining the native flora and fauna that we are the custodians of.

LAVENDER FOR JOAN, SIMONE & CAROLINE

“In industry is all.” - Periander (One of the Seven Sages of Ancient Greece).
 
The anniversary of the birth of:
John Smith, American colonist (1580);
Gregory XV (Alessandro Ludovisi), Pope of Rome (1554);
Carrie Chapman Catt, feminist (1859);
Chaim Nachman Bialik, poet (1873);
John Watson, founder of behaviourism (1878);
Karel Capek, Czech playwright (1890);
Gracie Fields (Grace Stansfield), singer (1898);
Chic Young (Murat Bernard Young), “Blondie” cartoonist (1901);
Rudolf Bing, conductor (1902);
Simone de Beauvoir, French writer (1908);
Richard Milhous Nixon, 37th president (1968-74) of the USA (1913);
Gypsy Rose Lee (Rose Louise Hovick), stripper/writer (1914);
Judith Krantz, writer (1928);
Joan Baez, singer (1941);
Susannah York (Susannah Yolande Fletcher), actress (1941);
Crystal Gayle, singer (1951).
 
The birthday plant for this day is lavender, Lavandula spica.  The name of the plant is derived from the Latin lavo = “wash”, as the plant has been used for centuries to scent bath water and soaps.  The Greeks called lavender nardos, from which the English “nard”.  This is because the herb grew abundantly in Naarda, Syria.  The plant signifies assiduity, mistrust and acknowledgment.  Mercury rules this plant according to the astrologers.  Before the more recent meaning of distrust was attached to the herb, lovers exchanged sprigs of lavender as a sign of affection:
            “He from his lasse him lavender hath sent,
            Showing her love and doth quit all crave.”                                              (Michael Drayton, 1563-1631)
 
It was customary, however, for lavender not to be grown in a household where there were daughters, as “lavender will only grow in old maids’ gardens”. If the herb thrived in a garden, it was said that the daughter of the house would never marry.
 
On this day in 1848, Caroline Lucretia Herschel, died. She was an English astronomer, the sister of William Herschel for whom she worked as an assistant. She discovered 9 comets. Also died on this day in 1878, Victor Emmanuel, the first king of Italy.
 
LAVENDER CANDY 
Ingredients
 
1       400 g can of full cream, condensed, sweetened milk
1       canful of water
50     g butter
1/2    teaspoonful vanilla essence
2       drops of lavender essential oil
1/2    drop each of red and blue food colour (to make purple)
450   g granulated sugar
 
Method
Pour the milk into a saucepan, fill the can with water and add it to the milk. Stir and add the butter, vanilla essence and sugar. Stir over a low heat until the sugar has dissolved, then boil steadily, stirring occasionally, until the mixture reaches the soft ball stage (116˚C on a sugar thermometer). For a softish candy remove from the heat immediately and add the lavender oil and food colour, stirring all the while. Grease a 20 cm square tin with a little butter and pour in the unbeaten mixture. Allow to become almost cold and then mark into squares. Wrap the squares in cellophane once they are cold. (If you prefer a crisper candy, once the soft ball stage has been reached, boil slowly at 116˚C for a further 1-2 minutes, then treat as previously).

ENCHANTRESS

“Ah, women. They make the highs higher and the lows more frequent.” - Friedrich Nietzsche
 
Magpie Tales has provided a visual prompt by Daniel Murtagh, as a means of stimulating some literary creativity. The image is quite striking and resulted in this response from me…
 
Enchantress
 
Eyes of flint and limpid quartz
Flashes of evil witchcraft in your arcane gaze.
Eyes of serpents, fireflies, lizards
Green laurel and deadly nightshade –
A healing balsam mixed with poison!
 
The nightingale and the siren sing
Sweet words that hide a fatal meaning.
Your voice enchanting music
Your teeth biting each syllable,
Making it shout in barbarous pleasure…
 
Your lips are red like a gaping wound
Your kiss is cold like the sepulchral marble,
Yet burning like infernal fire.
Your lips are scarlet like a strawberry,
A bite and sweet blood flows! Juice of the forbidden fruit.
 
As my hands touch your soft skin
Your silver nails gash my flesh;
The vice of your embrace crushes me,
I die and suffocate whispering your name,
While up in the sky the sickle of a moon
Cuts the thin thread of my life.

MOVIE MONDAY - THE HELP

“I refuse to accept the view that mankind is so tragically bound to the starless midnight of racism and war that the bright daybreak of peace and brotherhood can never become a reality... I believe that unarmed truth and unconditional love will have the final word.” - Martin Luther King, Jr.

At the weekend we watched the 2011 Tate Taylor movie “The Help”, starring Emma Stone, Viola Davis, Octavia Spencer and Bryce Dallas Howard. It was based on the novel by Kathryn Stockett, with a screenplay by the film’s director, Tate Taylor. The film was excellent and despite its 146 minute run-time it kept us engaged and entertained the whole time we were watching it. It has its mix of pathos and humour, light-heartedness and poignancy, sadness and happiness. Not having read the novel, this review is limited to the movie, which we thoroughly enjoyed.

The plot is set in Jackson, Mississippi, during the tumultuous 1960s, when civil rights had become a burgeoning issue in the USA. Skeeter (Stone) is a southern society girl who returns from “Ole Miss” determined to become a writer, and begins by getting a job as a newspaper’s household hint columnist, a topic she knows nothing about. As she turns to the black housemaids for advice, she decides to interview these black women who have spent their lives taking care of the well-to-do southern families. Aibileen (Davis), Skeeter’s best friend’s housekeeper, is the first to talk to Skeeter. This causes the dismay of Aibelene’s friends in the black community who are suspicious of Skeeter’s motives and afraid of repercussions. Skeeter places her childhood friendships on the line when she and Aibileen continue their collaboration. Several deplorable incidents involving the humiliation and victimisation of the black maids, cause more of them to come forward to tell their amazing and sad stories. Along the way, new alliances are made, old friendships are reviewed and new friendships forged.

This movie is a good example of how well a Hollywood movie can be made about an issue that is sensitive, controversial and quite thorny. It confronts and challenges the viewer, but at the same time it uses humour subtly, in order to relentlessly satirise and ridicule attitudes that caused so much misery and despair in the lives of so many people at those times. The humour is often scatological, but there is a good reason for this, given the whole issue regarding the use of separate toilets by the black and white people in the same households, which was quite a widely debated topic at that time and place.

The acting is excellent and Viola Davis shines forth in a magnificent performance as Aibeleen, the black maid. Octavia Spencer as Minny, another black maid, provides the right mix of humour and bravura, while Emma Stone, as Skeeter, puts in a good performance in what is a difficult role, one that could easily be sugar-coated. However, Stone’s performance is genuine and sensitive. Bryce Dallas Howard is great in her rendition of Hilly Holbrook, a social shark, displaying her full glory of ignorance, entitlement and superiority. Her minions and followers emulate her moves and adopt her views, hoping to gain her approval. The cinematography, costumes, hair and make-up are perfect in setting up the class differences and taking us back in time very successfully. The incidental TV and radio segments provide context and timing with the deaths of Medger Evers and JFK.

This is a film worth watching and it certainly motivated us to look for the book in order to read it.

ART SUNDAY - AIVAZOVSKY

“I dream of painting and then I paint my dream.” - Vincent Van Gogh
 
Ivan Konstantinovich Aivazovsky (1817-1900) was born in the family of a merchant of Armenian origin in the town of Feodosia, in the Crimea.  His parents suffered economic hardship and he spent his childhood in poverty. With the help of people who had noticed the talented youth, he entered the Simferopol gymnasium, and then the St. Petersburg Academy of Arts, where he took the landscape painting course and was especially interested in seascapes.
 
In the autumn of 1836 Aivazovsky presented 5 marine pictures to the Academic exhibition, which were highly appreciated. In 1837, Aivazovsky received the Major Gold Medal for “Calm in the Gulf of Finland” (1836) and “The Great Roads at Kronstadt” (1836), which allowed him to go on a long study trip abroad. However, the artist first went to the Crimea to perfect himself in his chosen genre by painting the sea and views of Crimean coastal towns.
 
During the period of 1840-1844 Aivazovsky, as a pensioner of the Academy of Arts, spent time in Italy, traveled to Germany, France, Spain, and Holland. He worked much and had many exhibitions, meeting everywhere with success. He painted a lot of marine landscapes, which became very popular in Italy: “The Bay of Naples by Moonlight” (1842), “Seashore; Calm” (1843), “Malta; Valetta Harbour” (1844). His works were highly appreciated by J.W.M. Turner, a prominent English landscape and marine painter.
 
In the course of his work, Aivazovsky evolved his own method of depicting the motion of the sea – from memory, without preliminary sketches, limiting himself to rough pencil outlines. Aivazovsky’s phenomenal memory and romantic imagination allowed him to do all this with incomparable brilliance. The development of this new method reflected the spirit of the age, when the ever-increasing romantic tendencies put an artist’s imagination to the front.
 
When in 1844 the artist returned to St. Petersburg, he was awarded the title of Academician, and became attached to the General Naval Headquarters. This allowed him to travel much with Russian fleet expeditions on different missions; he visited Turkey, Greece, Egypt, America. From 1846 to 1848 he painted several canvases with naval warfare as the subject; the pictures portrayed historical battles of the Russian Fleet “The Battle of Chesme” (1848), “The Battle in the Chios Channel” (1848), “Meeting of the Brig Mercury with the Russian Squadron” (1848).
 
Towards the 1850s the romantic features in Aivazovsky’s work became increasingly pronounced. This can be seen quite clearly in one of his best and most famous paintings “The Tenth Wave” (1850) and also in “Moonlit Night” (1849), “The Sea; Koktebel” (1853), “Storm” (1854) and others.
 
The process, which determined the development of Russian art in the second half of the 19th century, also affected Aivazovsky. A new and consistently realistic tendency appeared in his work, although the romantic features still remained. The artist’s greatest achievement of this period is “The Black Sea” (1881), a picture showing the nature of the sea, eternally alive, always in motion. Other important pictures of the late years are “The Rainbow” (1873), “Shipwreck” (1876), “The Billow” (1889), “The ‘Mary’ Caught in a Storm” (1892).
 
Aivazovsky left more than 6000 pictures, which vary greatly in artistic value. There are masterpieces and there are second-rate works. He failed in drawing landscapes, and was challenged when attempting to paint the human figure. Aivazovsky got good commissions and became quite rich. He spent much money for charity, especially for his native town, he opened in Feodosia the first School of Arts (in 1865), then the Art Gallery (in 1889). He was a member of Academies of Stuttgart, Florence, Rome and Amsterdam.
 
The artist visited Constantinople several times throughout his life and returned to the subject often. Aivazovsky’s talents were recognised by Sultan Abdülaziz (1830-1876) who commissioned a series of views of Constantinople in 1874 to decorate the Dolmabahçe Palace. Sotheby’s London achieved the record price for a Turkish view by Aivazovsky with “View of Constantinople and the Bosphorus”, (1856 – see above) which sold for £3,233,250 in April 2012.