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Read through the most famous quotes by topic #beau
Fireworks made of glass. An explosion of dew. Crescendo. Diminuendo. Silence. There are drugs that work the same, and while I am not suggesting that our founder purchased the glassworks to get more drops, it is clear that she had the seed planted, not once, but twice, and knew already the lovely contradictory nature of glass and she did not have to be told, on the day she saw the works at Darling Harbour, that glass is a thing in disguise, an actor, is not solid at all, but a liquid, that an old sheet of glass will not only take on a royal and purplish tinge but will reveal its true liquid nature by having grown fatter at the bottom and thinner at the top, and that even while it is as frail as the ice on a Parramatta puddle, it is stronger under compression than Sydney sandstone, that it is invisible, solid, in short, a joyous and paradoxical thing, as good a material as any to build a life from. ↗
I knew her better than herself …and she was beautiful and strong and felt deep. It has always surprised me to see the way she saw herself; how little she thought about her person. It struck me as surprising because every single time I’ve seen her, I’ve thought her larger than life. And that’s why the world feared her. Because they couldn’t compare to her; she raised a new bar for others to be measured by. Because looking at the sun hurts…and she was that to me. My own piece of sky. ↗
Where the Divine and the Human Meet" shows how important it is to meet the world with the creativity of an artist, particularly in these uncertain times: "What do we do with chaos? Creativity has an answer. We are told by those who have studied the processes of nature that creativity happens at the border between chaos and order. Chaos is a prelude to creativity. We need to learn, as every artist needs to learn, to live with chaos and indeed to dance with it as we listen to it and attempt some ordering. Artists wrestle with chaos, take it apart, deconstruct and reconstruct from it. Accept the challenge to convert chaos into some kind of order, respecting the timing of it all, not pushing beyond what is possible—combining holy patience with holy impatience--that is the role of the artist. It is each of our roles as we launch the twenty-first century because we are all called to be artists in our own way. We were all artists as children. We need to study the chaos around us in order to turn it into something beautiful. Something sustainable. Something that remains". ↗
Domenico appeared to lie against the door, and in the shadowy dark, his face was luminous and delicate. When he smiled the hollows of his cheeks deepened, the light played more beautifully on the bones, and when he spoke, it was that of a woman's voice again, husky and stroking. "Don't be afraid if him." he whispered. Tonio realized he had taken a step backwards. His heart was making a tumult inside of him. "Afraid of whom?" he asked. "Lorenzo, of course," said the roughened velvet voice. "I won't let him do anything to do." "Don't come any closer!" Tonio said sharply. Again he took a step backwards, But Domenico only smiled, his head falling a little to the left so that the white powdered curls spilled over his shoulder onto that flaring breast. "You mean I am the one you're afraid of?" Tonio looked away in confusion. "I have to leave here," he said. Domenico let out a long beguiling breath. And then suddenly he put his arms around Tonio; he pressed the soft ruffles of his breast against Tonio. Tonio stumbled back and found himself against the mirror, the candles flickering on either side of him. He reached back for the glass, his hands down, to get his balance. "You are afraid of me," Domenico whispered. "I don't know what you want!" Tonio said. "Ah, but I know what you want. Why are you afraid to take it?" Tonio was going to shake his head but he stopped, staring into Domenico's eyes. It was inconceivable that anything of a man existed under this froth, this magic. And when he saw the lips moist and parting and drawing near to him, he shut his eyes, straining away. Surely he could knock this creature to the floor with one blow, and yet he was shrinking back as if he might be burned here! ↗
Sitting down on the stairs, Cheyenne watched Behr through the slats in the railing. She liked what she saw. Covered in a fine sheen of perspiration, muscles swollen from what was clearly a grueling workout, Behr’s toned physique was a serious distraction from her worries, making her content to just sit and watch. Each thump of his fist into the bag resonated in her bones. Each kick of his leg thundered in her ears. Every move seemed to be in time with the harsh sounds of the music pumping through the room, until he was a frenzy of movement. It was frighteningly beautiful. Standing, Cheyenne called out to him. “Behr? Are you hungry?” She was feeling a little peckish herself, and she needed something to keep her hands busy. Between a combination of brutal punches, knee jabs and the music, Behr didn’t hear a word she said. So she decided to go to him. Winding her way through equipment and stepping over the discarded sweaty T-shirt, Cheyenne approached him. Waiting for the right moment to interrupt, she tapped him on the shoulder during a brief pause. Big mistake. Huge. ↗
Time is ungovernable, but grief presents us with a choice: what do we do with the savage energies of bereavement? What do we do with the memory - or in the memory - of the beloved? Some commemorate love with statuary, but behavior, too, is a memorial, as is a well-lived life. In death, there is always the promise of hope. The key is opening, rather than numbing, ourselves to pain. Above all, we must show our children how to celebrate existence in all its beauty, and how to get up after life has knocked us down, time and again. Half-dead, we stand. And together, we salute love. Because in the end, that's all that matters. How hard we loved, and how hard we tried. ↗
Mestre. Say the word without hissing the conurbated villain, and pitying its citizens. As quickly as they can, two million tourists pass through, or by, Mestre each year, and each one will be struck by the same thought as they wonder at the aesthetic opposition that it represents. Mestre is an ugly town but ugly only in the same way that Michael Jackson might be desccribed as eccentric or a Tabasco Vindaloo flambéed in rocket fuel might be described as warm. Mestre is almost excremental in its hideousness: a fetid, fly-blown, festering, industrial urbanization, scarred with varicose motorways, flyovers, rusting railway sidings and the rubbish of a billion holidaymakers gradually burning, spewing thick black clouds into the Mediterranean sky. A town with apparently no centre, a utilitarian ever-expandable wasteland adapted to house the displaced poor, the shorebound, outpriced, domicile-deprived exiles from its neighbouring city. For, just beyond the condom- and polystyrene-washed, black-stained, mud shores of Marghera, Mestre's very own oil refinery, less than a mile away across the waters of the lagoon in full sight of its own dispossessed citizens, is the Jewel of Adriatic. Close enough for all to feel the magnetism, there stands the most beautiful icon of Renaissance glory and, like so much that can attract tourism, a place too lovely to be left in the hands of its natives, the Serenissima itself, Venice. ↗
Some may see the tortured existence of the musician as one where he's practicing like hell and being alone, I see it quite differently. Having three children, beautiful as it is, burdens you with terrible things often, with strong decision and sleepless nights. Tis is real life. And then, of course - this is getting into very personal things- I see many parts of me that are what would be called the "dark side". I had a happy childhood, but what was happening to my family, my parents, and also the dark tings that happpened-between them and where they come from, the war- there is a lot that i could not put in easy words. But it's what most of us carry. It's just whether you have the ability to voice it in the music, whether you allow yourself to be touched by thing , to be receptive to other people, to be in the pain of a composer. ↗
Entering by a wide gateway, but without gates, into an inner court, surrounded on all sides by great marble pillars supporting galleries above, I saw a large fountain of porphyry in the middle, throwing up a lofty column of water, which fell, with a noise as of the fusion of all sweet sounds, into a basin beneath; overflowing which, it ran into a single channel towards the interior of the building. Although the moon was by this time so low in the west, that not a ray of her light fell into the court, over the height of the surrounding buildings; yet was the court lighted by a second reflex from the sun of other lands. For the top of the column of water, just as it spread to fall, caught the moonbeams, and like a great pale lamp, hung high in the night air, threw a dim memory of light (as it were) over the court below. ↗
We have been together for 40 years, married for 36. There have been three times in our relationship when we were unable to resolve an issue on our own. We used all the skill that we have and yet it was still unresolved. In those three times we sought professional help because there was a blind spot for each of us. The therapist was able to listen to both of us and help us come to a place of resolution that we both felt good about. I feel very grateful for that help. Most times we have been able to work things through on our own. Sometimes we can clear the issue in a matter of a few minutes, sometimes an hour and sometimes it can take several days. But we still keep working on it until we both say that we feel complete, we understand our own part and responsibility in the issue rather than simply blaming each other, are willing to go on, and there is an even deeper connection and sometimes even humor to the situation. In working each issue through to completion we have been able to retain a beautiful lightness in our relationship that we both cherish. ↗
