gri_2003_m_46_b05_f08_014
- Max. dissimilarity: 0.187
- Mean dissimilarity: 0.122
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Transcribers
- 71704151 - Preacher357
- 72585590 - dvmoonbird
- WINNER - 73090814 - tmeconverse
- 73128334 - racjohn
- 73773843 - ChaoticK
- 73879714 - Zooniverse2017
71704151 - Preacher357
10 August Blackheath Dearest SylviaPasmore admired your Ajax & The Past and particulary mentioned
the rhythmic quality of your form. He asked for your name and
failing to catch what I said asked a second time, obviously miss-
ing to be sure of knowing the artist's name. (The portrait of Hetty
was not on view, by the way, as it is the centre peice of a lion exh.
at 100's of Lions).
We talked about art matters generally and in
particular of the Tate Gal. exh. He thought Malenich's White On White
the most abstract picture in the show - 'a thing-in-its-own-right'; the
mandrians, however, he thinks use color symbolically and so are
concrete. Melenich's square is dictated by the canvas whereas
M's disrupts the given quality of the material.
I gave him china tea, cucumber sandwiches (into which he can be
said to have tucked), & choc. buscuits. He invited me to 'drop
in after supper' on Thursday which I accepted. He is going to
send me a book by C. Beiderman called Art As The Evolution of
Visual Knowledge. It deals with ideas of art in which P
is interested and as I think I shall use my opportunity to write
about Pasmore (he favours the idea) I need to know this book.
Beiderman is messianic but probably, talented.
Tomorrow Monday my lecture will go like this, roughly:
Rousseau's Dream (monumental; and primitivism of theme); Derain
(would-be monumentality & vaine primitivism); Clogall (public
theme is near monumental terms); Lam (jungle, the 'real thing');
Leger (monumental & popular, like Rausseam); Picasso's (monu-
mental & private) Artist & Model. On the theme of large works
I can cover some of the works so far omitted.
Pasmore and I went for a walk after tea before he returned
home and I feel pleasantly fresh after strolling on the heath.
It is time for dinner, very nearly. I had an omlette for
lunch, close on the heels of an 11:00 breakfast, & tea is discussed
above: for dinner I shall have a kind of meat, potatoes,
then pears and bananas, and milk. I propose to go to bed
early so I can get up early and be at the T.G. by 10:00 (or my
lecture is 12:00). More tomorrow, my love.
72585590 - dvmoonbird
Blackheath10 August
Dearest Sylvia
Pacmore admired your Ajax in the Past and particularly mentioned the rhythmic quality of your form. He asked for your name and failing to catch what I said asked a second time, obviously wishing to be sure of learning the artist's name. (The portrait of Hetty was not on view, by the way, as it is the centre piece of a loan exh. at 100% of Lions)
We talked about art matters generally and in particular of the Tate Gal. Exh. He thought Malenich's White on White the most abstract picture in the show - 'a thing-in-its-own-right'; the madisons, however, he thinks use color symbolically and so are less concrete. Malevich's square is dictated by the canvas whereas M's lozenge dissrupts the given quality of the material.
I gave him china tea, cucumber sandwiches (into which he can be said to love tuches), & choc. biscuits. He invited me to 'drop in after supper' on Thursday which I accepted. He is going to send me a book by C. Beiderman called Art As The Evaluation of Visual Knowledge. It deals with ideas of art in which P is interested and as I think I shall use my opportunity to write about Pasmore (he favours the idea) I need to know this book. Beiderman is messianic but, probably, talented.
Tomorrow Monday my lecture will go like this, roughly: Rousseau's Dream (monumental; and primitivism of theme); Derain (would-be monumentality to Rains primitivism); Chagall (public theme in near monumental terms); Iam (jungle, the "real thing'); Leger (monumental or popular, like Laurreau); Picasso's (monumental to private) Artist & Model. On the theme of large works I can cover some of the works so far omitted.
Pasmore and I went for a walk after ten before he returned home and I feel pleasantly fresh after strolling on the heath. It is time for dinner, very nearly. I had an omelette for lunch, close on the heels of an 11.00 breakfast, & tea is discussed above: for dinner I shall have a tin of meat, potatoes; then pears and bananas; and milk. I propose to go to bed early so I can get up early and be at the t.G. by 10.00 (as my lecture is at 12.00). More tomorrow, my love.
WINNER - 73090814 - tmeconverse
Blackheath10 August
Dearest Sylvia
Pasmore admired your Ajax in The Past and particularly mentioned
the rhythmic quality of your form. He asked for your name and
failing to catch what I said asked a second time, obviously wish-
ing to be sure of knowing the artist's name. (The portrait of Hetty
was not on view, by the way, as it is the centrepiece of a loan exh.
at 100s of Lions.)
We talked about art matters generally and in
particular of the Tate Gal. exh. He thought Malevich's White On White
the most abstract picture in the show - 'a thing-in-its-own-right'; the
Mandrians, however, he thinks are color symbolically and so are
less concrete. Malevich's square is dictated by the canvas whereas
M's lozenge disrupts the given quality of the material.
I gave him china tea, cucumber sandwiches (into which he can be said to have tucked), & choc. biscuits. He invited me to 'drop
in after supper' on Thursday which I accepted. He is going to
lend me a book by C. Biederman called Art As The Evolution of
Visual Knowledge. It deals with ideas of art in which P
is interested and as I think I shall use my opportunity to write
about Pasmore (he favours the idea) I need to know this book.
Biederman is messianic but, probably, talented.
Tomorrow Monday my lecture will go like this, roughly:
Rousseau's Dream (monumental; and primitivism of theme); Derain
(would-be monumentalist & naive primitivism); Chagall (public
theme in near monumental terms); Lam (Jungle, the 'real thing');
Leges (monumental & popular, like Rousseau); Picasso; (monu-
mental & private) Artist & Model. On the theme of large works
I can cover some of the works so far omitted.
Pasmore and I went for a walk after tea before he returned
home and I feel pleasantly fresh after strolling on the Heath.
It is time for dinner, very nearly. I had an omelette for
lunch, close on the heels of an 11.00 breakfast, & tea is discussed
above: for dinner I shall have a tin of meat, potatoes;
then pears and bananas; and milk. I propose to go to bed
early so I can get up early and be at the T.G. by 10.00 (as my
lecture is 12.00). More tomorrow, my love.
73128334 - racjohn
Blackheath10 August
Dearest Sylvia
Pasmore admired your Ajax in the Past and particularly mentioned
the rhythmic quality of your form. He asked for your name and
failing to catch what I said asked a second time, obviously wish-
ing to be sure of having the artists' name. (The portrait of Hetty
was not on view, by the way, as it is the centre piece of a loon exh.
at 100s of lions.)
We talked about art matters generally and in
particular of the Tate Gal. Exh. He thought Malevich's White on White
the most abstract picture in the show - 'a thing-in-its-own-right': the
Mondrians, however, he thinks use colour symbolically and so are
less concrete. Malevich's square is dictated by the canvas whereas
M's lozenge disrupts the given quality of the material.
I gave him china tea, cucumber sandwiches (into which he can be
said to have tucked), & choc. biscuits. He invited me to 'drop
in after supper' on Thursday which I accepted. He is going to
lend me a book by C. Biederman called Art as the Evolution of
Visual Knowledge. It deals with ideas of art in which P
is interested and as I think I shall use my opportunity to write
about Pasmore (he favours the idea) I need to know this book.
Biederman is messianic but, probably, talented.
Tomorrow Monday my lecture will go like this, roughly:
Rousseau's Dream (monumental; and primitivism of theme); Derain
(would-be monumentality & naive primitivism); Chagall (public
theme in near monumental terms); Lam (jungle, the 'real thing');
Leger (monumental & popular, like Rousseau); Picasso's (monu
mental & private) Artist & Model. On a theme of large works
I can cover some of the works so far omitted.
Pasmore and I went for a walk after tea before he returned
home and I feel pleasantly fresh after strolling on the heath.
It is time for dinner, very nearly. I had an omelette for
lunch, close on the heels of an 11.00 breakfast, & tea is discussed
above: for dinner I shall have a tin of meat, potatoes;
then pears and bananas; and milk. I propose to go to bed
early so I can get up early and be at the T.G by 10.00 (as my
lecture is 12.00). More tomorrow, my love.
73773843 - ChaoticK
Blackheath10 August
Dearest Sylvia
Parmore admired your Ajax & the Past and particularly mentioned the rhythmic quality of your form. he asked for your name and failing to catch what I said asked a second time, obviously wishing to be sure of having the artist's name. (The portrait of Hertz was not on view, by the way, as it is the centre piece of a loan exh. at 100s of lions.)
We talked about art matters generally and in particular of the Tate Gal. exh. He thought Malevich's White On White the most abstract picture in the show - 'a thing-in-its-own-right'; the Mondrians, however, he thinks use color symbolically and so are less concrete. Malevich's square is dictated by the canvas whereas M's lozenge disrupts the given quality of the material.
I gave him china tea, cucumber sandwiches (into which he can he said to love tuchre, & choc. biscuits. He invited me to 'drop in after supper' on Thursday which I accepted. He is going to lend me a book by C. Beiderman called Art as the Evolution of Visual Knowledge. It deals with ideas of art in which P is interested and as I think I shall use my opportunity to write about Pasmore (he favours the idea) I need to know this book. Beiderman is messianic but, probably, talented.
Tomorrow Monday my lecture will go like this, roughly: Rousseau's Dream (monumental; and primitivism of theme); Derain (would be monumentality & rains primitivism); Chagall (public them in near monumental terms); Lam (jungle, the 'real thing'); Leger (monumental & popular, like Rousseau); Picasso's (monu- mental & private) Artist & Model. On the theme of large works I can cover some of the works so far omitted.
Pasmore and I went for a walk after ten before he returned home and I feel pleasantly fresh after strolling on the heath. It is time for dinner, very nearly. I had an omlette for lunch, close on the heels of an 11.00 breakfast, & tea is discussed above: for dinner I shall have a tin of meat, potatoes; then pears and bananas; and milk. I propose to go to bed early so I can get up early and be at the T.G. by 10.00 (as my lecture is 12.00). More tomorrow, my love.
73879714 - Zooniverse2017
Blackheath10 August
Dearest Sylvia
Passmore admired your Ajax & The Past and particularly mentioned
the rhythmic quality of your form. He asked for your name and
failing to catch what I said asked a second time, obviously wish-
ing to be sure of knowing the artist's name. (The portrait of Hetty
was not on view, by the way, as it is the centre
piece of a loan exh.
of 100s of Lions.)
We talked about art matters generally and in
particular of the Tate Jul. exh. He thought Malevich's White On White
the most abstract picture in the show - 'a thing-in-its-own-right'; the
Madrions, however, he thinks use color symbolically and so are
less concrete. Malevich's square is dictated by the canvas whereas
M's lozenge disrupts the given quality of the material.
I have him China tea, cucumber sandwiches (into which he can be
said to have tucked), & choc. biscuits. He invited me to 'drop
in after supper' on Thursday which I accepted. He is going to
send me a book by C. Beiderman called Art As The Evolution of
Visual Knowledge. It deals with ideas of art in which P
is interested and as I think I shall use my opportunity to write
about Passmore (he favours the idea) I need to know this book.
Beiderman is messianic but, probably, talented.
Tomorrow Monday my lecture will go like this, roughly:
Rousseau's Dream (monumental; and primitivism of theme); Derain
(would-be monumentality & naive primitivism); Clogall (public
than in near monumental terms); Lam (jungle, tho' 'real thing');
Legen (monumental & popular, like Rousseau); Picasso's (monu-
mental & private) Artist & Model. On the theme of large works
I can cover some of the works so far omitted.
Passmore and I went for a walk after tea before returned home and I feel pleasantly fresh after strolling on the heath.
It is time for dinner, very nearly. I had an omelette for
lunch; close on the heels of an 11.00 breakfast & tea is discussed
above; for dinner I shall have a line of meat, potatoes;
then pears and bananas; and milk. I propose to go to bed
early so I can get up early and be at the T.G. by 10.00 (as my
lecture is 12.00). More tomorrow, my love.