gri_2003_m_46_b01_f04_002

Max. dissimilarity: 1.0
Mean dissimilarity: 0.425
Image votes: 0.0

Transcribers

65324974 - csleahey
65331903 - not-logged-in-09d4e4fefb2883cabf25
65332352 - not-logged-in-5ff38c4d00b4249a82be
65340580 - vrooje
WINNER - 65358205 - Kazmc1964

65324974 - csleahey

9 v 1948 11 Mansel Road
Wimbledon
My dearest Sylvia,

The weather like everything else conspires to make me wish myself a Pett: the sun prickles my face. Pearls come. As your bus curved out of the station I glimpsed again the Hastings Poster. Last night I glanced through some poems by Max Jacob - and met your name, Sylvie.

At present I have only the Marion watercolor because on my way home on Friday I stopped at Eric's flat and have them the other one to frame for me. I shall have it back early next week when it will go straight up on my wall - the only picture there. I shall have to go and visit him before then however because I am impatient to study it. On Friday I looked long an hard at 'Marion' and liked again the color and the sense of mass, of weight. And I like the slight twisting plane of the lips in contrast to the straighter lines of nose and eye-sockets. Oh you are so manifestly a painter in your strength and richness.

Thinking about our talk on Friday and looking at your watercolor now I think I was right when I said you give an impression of weight, and consequently of growth and movement, and not a map of planes which, as sometimes in M8s less successful pieces, are really rather flimsy - despite their precision. But you react against the 20th century, post-Cezanne earnestness; mercifully, to this old reactionary. Take 'Marion'. Though she sits back in the chair she is not still, not static. Nor is it just the great swinging mass of hair that keeps her tense: the whole form is felt as capable of movement, of 'displacing' space to use a marine term which fits here. Vincent Lines, if he followed his own silly antithesis, would have to put you with Blake!

I hope to hear new of a new work in your next letter.

Christchurch, Spitalfiels, oh dear, is by Hawkmoor. Really his baroque has Victorian affiliations - in this case. I think it would wound alright on paper - but that's all.

Mother's Red Cross Party van from about 6-30 to nearly 3. Violent games and tests of general knowledge and God remembers what else. I provided a scatalogical treasure hunt which, instead of disgusting, was a success. Lots of nice things to eat and drink and - what is more - lots left. This mitigates the ordeal.

65331903 - not-logged-in-09d4e4fefb2883cabf25

65332352 - not-logged-in-5ff38c4d00b4249a82be

9 v 1948

11 Mansel Road
Wimbledon

My dearest Sylvia

The weather like everything else conspires to make me wish myself at Pett: the sun prickles my face. Pearls come. As your bus curved out of the station I glimpsed again the Hastings Poster. Last night I glanced through some poems my Max Jacob -- and met your name, Sylvie.

At present I have only the Marion watercolor because on my way home on Friday I stopped at Eric's flat and gave him the other one to frame for me. Shall have it back early next week when it will go straight up on my wall -- the only picture there. I shall have to go and visit him before them however because I am impatient to study it. On Friday I looked long and hard at 'Marion' and liked again the color and the sense of mass, of weight. And I like the slight twisting plane of the lips in contrast to the straighter lines of nose and eye-sockets. Oh you are so manifestly a painter in your strength and richness.

Thinking about our talk on Friday and liking at your watercolor now I think I was right when I said you give an impression of weight, and consequently of growth and movement, and not a map of planes which, as sometimes in MS's less successful pieces, are really rather flimsy -- despite their precision, But you react against the 20th century, post-Cezanne earnestness; mercifully, to this old reactionary. Take 'Marion'. Though she sits back in the chair she is not still, not static. Nor is it just the great swinging mass of hair that keeps her tense: the whole form is felt as capable of movement, of 'displacing' space to use a marine term which fits here. Vincent Lines, if he followed his own sill antithesis, would have to put you with Blake!

I hope to hear news of a new work in your next letter.

Christchurch, Spitalfields, oh dear, is by Hawksmoor. Really his baroque has Victorian affiliations -- in this case. I think it would sound alright on paper -- but that's all.

Mother's Red Cross Party ran from about 6-30 to nearly 3. Violent games and tests of general knowledge and God remembers what else. I provided a scatological treasure hunt which, instead of disgusting, was a success. Lots of nice things to eat and drink and -- what is more -- lots left. This mitigates the ordeal.

65340580 - vrooje

9 v 1948 11 Mansel Road
Wimbledon
My dearest Sylvia

The weather like everything else conspires to make
me with myself at Pett: the sun prickles my face.
Pearls come. As your bus curved out of the station
I glimpsed again the Hastings Poster. Last night I
glanced through some poems by Max Jacob - and met your
name, Sylvie.

At present I have only the Marion watercolor be-
cause on my way home on Friday I stopped at Eric's
flat and gave him the other one to frame for me. I
shall have it back early next week when it will go straight
up on my wall - the only picture there. I shall have
to go and visit him before then however because I am im-
patient to study it. On Friday I looked long and hard
at 'Marion' and liked again the color and the sense of
mass, of weight. And I like the slight twisting plane
of the lips in contrast to the straighter lines of nose
and eye-sockets. Oh you are so manifestly a painter
in your strength and richness.

Thinking about our talk on Friday and looking at your
watercolor now I think I was right when I said you give
an impression of weight, and consequently of growth and
movement, and not a map of planes which, as sometimes in
M's less successful pieces, are really rather flimsy -
despite their precision. But you react against the 20th century, post-Cezanne earnestness; mercifully,
to this old reactionary. Take 'Marion'. Though she
sits back in the chair she is not still, not static.
Nor is it just the great swinging mass of hair that keeps
her tense: the whole form is felt as capable of movement,
of 'displacing' space to use a marine term which fits here.
Vincent Lines, if he followed his own silly antithesis,
would have to put you with Blake!

I hope to hear news of a new work in your next letter.

Christchurch, Spitalfields, oh dear, is by Hawksmoor.
Really his baroque has Victorian affiliations - in this
case. I think it would sound alright on paper - but
that's all.

Mother's Red Cross Party ran from about 6-30 to nearly
3. Violent games and tests of general knowledge and God
remembers what else. I provided a scatalogical treasure
hunt which, instead of disgusting, was a success. Lots
of nice things to eat and drink and - what is more - lots
left. This mitigates the ordeal.

WINNER - 65358205 - Kazmc1964

9 v 1948
11 Mansel Road
Wimbledon
My dearest Sylvia
The weather like everything else conspires to make
me wish myself at Pett: the sun prickles my face.
Pearls come. As your bus curved out of the station
I glimpsed again the Hastings Poster. Last night I
glanced through some poems by Max Jacob - and met your name, Sylvie.
At present I have only the Marion watercolor be-
cause on my way home on Friday I stopped at Eric's
flat and gave him the other one to frame for me. I
shall have it back early next week when it will go straight
up on my wall - the only picture there. I shall have
to go and visit him before then however because I am im-
patient to study it. On Friday I looked long and hard
at 'Marion' and liked again the color and the sense of
mass, of weight. And I like the slight twisting plane
of the lips in contrast to the straighter lines of nose
and eye-sockets. Oh you are so manifestly a painter
in your strengths and richness.
Thinking about our talk on Friday and looking at your
watercolor now I think I was right when I said you give
an impression of weight, and consequently of growth and
movement, and not a map of planes which, as sometimes in
M's less successful pieces, are really rather flimsy -
despite their precision.
But you react against
the 20th century, post-Cezanne earnestness; mercifully,
to this old reactionary. Take 'Marion'. Though she
sits back in the chair she is not still, not static.
Nor is it just the great swinging mass of hair that keeps
her tense: the whole form is felt as capable of movement,
of 'displacing' space to use a marine term which fits here.
Vincent Lines, if he followed his own silly antithesis,
would have to put you with Blake!
I hope to hear news of a new work in your next letter.
Christchurch, Spitalfields, oh dear, is by Hawksmoor.
Really his baroque has Victorian affiliations - in this
case. I think it would sound alright on paper - but
that's all.
Mother's Red Cross Party ran from about 6-30 to nearly 3. Violent games and test of general knowledge and God
remembers what else. I provided a scatological treasure
hunt which, instead of disgusting, was a success. Lots
of nice things to eat and drink and - what is more - lots left. This mitigates the ordeal.

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