И каждый вечер, в час назначенный(Иль это только снится мне?),
Девичий стан, шелками схваченный,
В туманном движется окне.
.
И медленно, пройдя меж пьяными,
Всегда без спутников, одна
Дыша духами и туманами,
Она садится у окна.
.
И веют древними поверьями
Ее упругие шелка,
И шляпа с траурными перьями,
И в кольцах узкая рука.
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И странной близостью закованный,
Смотрю за темную вуаль,
И вижу берег очарованный
И очарованную даль...
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(А. Блок)
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Подглядела. Да. Идею. Axinella, с Вашей подачи.
Уж больно песня хороша. Исполнитель.
Joe Dolan / Джо Долан.
Joseph "Joe" Francis Robert Dolan (16 October 1939 – 26 December 2007) was an Irish singer of easy listening songs. 
Джо Долан — (англ. Joseph Francis Robert Dolan), (16 октября 1939 — 26 декабря 2007) ирландский певец и композитор.
Ах, как он пел! Проникновенно и незабываемо! О Ней , о Леди! Нежно. Страстно. Весело и грустно. Он - музыкальный дамский угодник(с) Сколько незабываемых его песенных хитов о Её Величестве - Женщине!
Здесь и : Crazy Woman, и - Lady Of The Night!
И - Midnight Lover , и - She! И - Mysterious Lady, и - Bonjour Mademoiselle etc. etc. И
kонечно же - незабвенные мелодии о Леди в голубом: Sentimental and Blue, My Blue Tango...
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И вот эта песня, ретро, уже - ретро!
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Lady in blue!
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http://www.youtube.com/watch?v=9VmJoo-JzZk&feature=related
Who's that lady on her own
I wish that she would look my way
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She just stands there on her own
A painted smile upon her face
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Lonely lady dressed in blue
May I have this dance with you
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Let me hold you in my arms
Let the music fill your heart
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Let me hold you in my arms.
Let the music fill your heart.
Let me hold you in my arms Let the music fill your heart
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Now that I'm with you Wish this night could last forever
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Oh my lady blue If you only knew
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I was lonely lonely lady
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I was lonely lonely lady Oh my lovely lady blue
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I was lonely lonely lady
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I was lonely lonely ladyIf you only knew
Первый куплет "украшен" полотнами французского художника-импрессиониста Фредерика Карла Фрисеке:
А второй куплет песни "украсился" очень лёгкими, воздушными, небесно-голубыми живописными "напевами" французского - чьё творчество ооочень любимо! - художника Луи Икарта.
Ну и концовку песни "украсили" великолепные полотна нашей современницы Светланы Валуевой... Они, её картины - пронизаны таким изящным любованьем Женской сути, такие пронзительные и романтичные, что грех было не вспомнить Блоковские строки о "Незнакомке".
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Now that I'm with you 
I was lonely lonely lady 
Will we ever meet again 
Oh my lady lady blue 
Now that I'm with you 
I was lonely lonely lady
Now that I'm with you... 
I was lonely lonely lady
Now that I'm with you Wish this night could last forever
Oh my lady blue
If you only knew
.
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I was lonely lonely lady Oh my lovely lady blue
I was lonely lonely lady
If you only knew
.
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Will we ever meet again Or is this just a one night stand
But as I hold you in my arms
I wish this night would never end
.
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Oh my lady lady blue Will you dance with me once more
Let me hold you like before
Let me hold you once again
.
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Now that I'm with you Wish this night could last forever
Oh my lady blue
If you only knew
.
.
I was lonely lonely lady Oh my lovely lady blue
I was lonely lonely lady
If you only knew
.Now that I'm with you... Wish this night could last forever
Oh my lady blue
If you only knew
.
.
I was lonely lonely lady Oh my lovely lady blue
I was lonely lonely lady
If you only knew...
.
Уж настолько хороша песенка, что когда настал черёд художников выбирать... развела руками. Так захотелось поделиться страстной своей влюблённостью в полотна всех художников, чьи полотна здесь и поместила.
Первый куплет "украшен" полотнами французского художника-импрессиониста Фредерика Карла Фрисеке:
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Французский художник – импрессионист американского происхождения. Впрочем, до сих пор его считают, как французским, так и американским художником.Родился в Овоссо, штат Мичиган. Учился сначала в школе Института искусств в Чикаго, затем приехл в Париж, где продолжил образование в Академии Юлиана. Фрисеке с семьей в течение четырнадцати лет проживал в знаменитом местечке для всех импрессионистов – Живерни. Он жил по соседству с Моне, с которым был дружен. Фрисеке пользовался большим авторитетом среди земляков – американцев, которые организовали своеобразную колонию живописцев в Живерни.
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Frederick Carl Frieseke1874-1939 Born in Owosso, Michigan, Frederick Frieseke studied at The Art Institute of Chicago beginning in 1893, before going East to the Art Students League in New York City in 1897, and then to Paris in 1898. There, he studied at the Acadamie Julian, and with James Abbott McNeill Whistler for a short period at the Acadamie Carmen.
Frieseke's earliest mature works, images of individual women in interiors painted in fairly close tonalities, reflect Whistler's influence, but once he and his wife settled, in 1906, in the art colony at Giverny, where Claude Monet resided, Frieseke rapidly developed a very original aesthetic which would have an impact upon almost all the later figural painters among the colonists.
Французский художник – импрессионист американского происхождения. Впрочем, до сих пор его считают, как французским, так и американским художником.Родился в Овоссо, штат Мичиган. Учился сначала в школе Института искусств в Чикаго, затем приехл в Париж, где продолжил образование в Академии Юлиана. Фрисеке с семьей в течение четырнадцати лет проживал в знаменитом местечке для всех импрессионистов – Живерни. Он жил по соседству с Моне, с которым был дружен. Фрисеке пользовался большим авторитетом среди земляков – американцев, которые организовали своеобразную колонию живописцев в Живерни.
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Frederick Carl Frieseke1874-1939 Born in Owosso, Michigan, Frederick Frieseke studied at The Art Institute of Chicago beginning in 1893, before going East to the Art Students League in New York City in 1897, and then to Paris in 1898. There, he studied at the Acadamie Julian, and with James Abbott McNeill Whistler for a short period at the Acadamie Carmen.
Frieseke's earliest mature works, images of individual women in interiors painted in fairly close tonalities, reflect Whistler's influence, but once he and his wife settled, in 1906, in the art colony at Giverny, where Claude Monet resided, Frieseke rapidly developed a very original aesthetic which would have an impact upon almost all the later figural painters among the colonists.
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The Friesekes rented a house, surrounded by tall walls, which had been the residence of Theodore Robinson, one of the founders of the Giverny art colony. There they developed a sumptuous, colorful garden which served as the setting for many of Frieseke's pictures. The outside of their house was painted in strikingly bright colors, yellow with green shutters, while the living room walls were lemon yellow and the kitchen, a deep blue. The artist also maintained a second studio on the Epte River, which ran through the town, where he painted many of his renderings of the nude outdoors.
In Giverny, Frieseke concentrated upon monumental images of women, usually single figures, posed in domestic interiors or sun-filled outdoor settings, often in the floral garden his wife tended so conscientiously. But the rendition of sunlight, not flowers, was Frieseke's primary concern. As he himself acknowledged in 1912, "It is sunshine, flowers in sunshine, girls in sunshine, the nude in sunshine, which I have been principally interested in for eight years. . . ."
The Friesekes rented a house, surrounded by tall walls, which had been the residence of Theodore Robinson, one of the founders of the Giverny art colony. There they developed a sumptuous, colorful garden which served as the setting for many of Frieseke's pictures. The outside of their house was painted in strikingly bright colors, yellow with green shutters, while the living room walls were lemon yellow and the kitchen, a deep blue. The artist also maintained a second studio on the Epte River, which ran through the town, where he painted many of his renderings of the nude outdoors.
In Giverny, Frieseke concentrated upon monumental images of women, usually single figures, posed in domestic interiors or sun-filled outdoor settings, often in the floral garden his wife tended so conscientiously. But the rendition of sunlight, not flowers, was Frieseke's primary concern. As he himself acknowledged in 1912, "It is sunshine, flowers in sunshine, girls in sunshine, the nude in sunshine, which I have been principally interested in for eight years. . . ."
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Unlike the earlier artists in Giverny, such as Robinson, Frieseke's Impressionism was an unreal construct, his sunlight and color entirely synthetic; one modern writer has noted that "His light hardly seems to be plein air light at all. In fact it seems entirely artificial ... a stunning concoction of blues and magentas frosted with early summer green and flecks of white."
These qualities are abundantly apparent in In the Doorway (now, Good Morning), probably painted around 1912 or the following year, with its counterpoint of pinks, greens, and yellows, depicting his model entering the Friesekes' Giverny home from the garden. Frieseke's art has often been identified as "Decorative Impressionism." Despite the immediacy of the pose, and the moment of introduction defined by the picture's present title, the emphasis on pattern and decoration in the model's striped dress, contrasted with the sparkling color pattern of the garden's blooms, and the concomitant flattening, two-dimensional effects, ally the work more with the painting of the Post-impressionists than with the perceptual aesthetics of orthodox Impressionism.
Unlike the earlier artists in Giverny, such as Robinson, Frieseke's Impressionism was an unreal construct, his sunlight and color entirely synthetic; one modern writer has noted that "His light hardly seems to be plein air light at all. In fact it seems entirely artificial ... a stunning concoction of blues and magentas frosted with early summer green and flecks of white."
These qualities are abundantly apparent in In the Doorway (now, Good Morning), probably painted around 1912 or the following year, with its counterpoint of pinks, greens, and yellows, depicting his model entering the Friesekes' Giverny home from the garden. Frieseke's art has often been identified as "Decorative Impressionism." Despite the immediacy of the pose, and the moment of introduction defined by the picture's present title, the emphasis on pattern and decoration in the model's striped dress, contrasted with the sparkling color pattern of the garden's blooms, and the concomitant flattening, two-dimensional effects, ally the work more with the painting of the Post-impressionists than with the perceptual aesthetics of orthodox Impressionism.
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Though the Friesekes remained in Giverny for fourteen years, until 1920, neither they nor any of their fellow artists who arrived in the early twentieth century became close to Monet. Frieseke acknowledged the influence of and his admiration for the art of Auguste Renoir; certainly his rounded and sensual figural types are very close to those of the French master.
Marcelle, one of the artist's favorite models, appears in many of his pictures. The parasol-a literal sun shade-is a very common motif in Frieseke's art; it both protects his lovely female models and further emphasizes their position as articles of beauty and recipients of the spectator's gaze. Positioning the female figure on a threshold, between the interior and the outdoors, between shadow and sunlight, was a favorite motif among American Impressionists.
Though the Friesekes remained in Giverny for fourteen years, until 1920, neither they nor any of their fellow artists who arrived in the early twentieth century became close to Monet. Frieseke acknowledged the influence of and his admiration for the art of Auguste Renoir; certainly his rounded and sensual figural types are very close to those of the French master.
Marcelle, one of the artist's favorite models, appears in many of his pictures. The parasol-a literal sun shade-is a very common motif in Frieseke's art; it both protects his lovely female models and further emphasizes their position as articles of beauty and recipients of the spectator's gaze. Positioning the female figure on a threshold, between the interior and the outdoors, between shadow and sunlight, was a favorite motif among American Impressionists.
***
Такие яркие-синие, такие звучные, такие реальные полона художника, так созвучны песенке, да?
Такие яркие-синие, такие звучные, такие реальные полона художника, так созвучны песенке, да?
А второй куплет песни "украсился" очень лёгкими, воздушными, небесно-голубыми живописными "напевами" французского - чьё творчество ооочень любимо! - художника Луи Икарта.
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Louis Icart, French (1880-1950)
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec.
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec.
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Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction.
Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction.
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Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard.
In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced.
In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.
Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard.
In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced.
In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.
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Icart's portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor, which is as important as the implied or direct sexuality. The beautiful courtesans cavort on rich, thick pillows; their facial expressions projecting passion, dismay or surprise, for the women of Louis Icart are the women of France as we have imagined them to be Eve, Leda, Venus, Scheherazade and Joan of Arc, all wrapped up into an irresistible package.
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ЛУИ ИКАРТ (1888-1950) - французский художник-иллюстратор, работал в стиле Арт - Деко.
Icart's portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor, which is as important as the implied or direct sexuality. The beautiful courtesans cavort on rich, thick pillows; their facial expressions projecting passion, dismay or surprise, for the women of Louis Icart are the women of France as we have imagined them to be Eve, Leda, Venus, Scheherazade and Joan of Arc, all wrapped up into an irresistible package.
.
ЛУИ ИКАРТ (1888-1950) - французский художник-иллюстратор, работал в стиле Арт - Деко.
Ну и концовку песни "украсили" великолепные полотна нашей современницы Светланы Валуевой... Они, её картины - пронизаны таким изящным любованьем Женской сути, такие пронзительные и романтичные, что грех было не вспомнить Блоковские строки о "Незнакомке".
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«Вы родились позже на целый век», - говорили Светлане Валуевой педагоги по живописи в МГХИ им. Сурикова. Герои ее картин – женщины, которым суждено жить во времена Серебряного века, Арт Нуво. Одни – реальные, другие – плод воображения. И все они в окружении странных форм, предметов и знаков погружены в фантазийный мистический мир.
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Родилась в Москве 24 октября 1966 года.С 1978 по 1985 год училась в Московской средней художественной школе им. Томского при институте имени Сурикова.С 1987 по 1993 год - учеба в МГХИ им. Сурикова.1991 год - стажировка в Германии, в Штутгардской академии художеств, в классе профессора Шафрата.1993- 1995 год - персональные выставки в ЦДХ.1995 год выставки в Японии, в Германии.1996 год - написана коллекция работ для Государственного Академического Большого театра России для постоянной экспозиции в театре.1997 год - персональная выставка в ЦДХ, участие в зимнем Арт-Манеже в Москве.1998 год - выставка в Японии, Кагосима.
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Родилась в Москве 24 октября 1966 года.С 1978 по 1985 год училась в Московской средней художественной школе им. Томского при институте имени Сурикова.С 1987 по 1993 год - учеба в МГХИ им. Сурикова.1991 год - стажировка в Германии, в Штутгардской академии художеств, в классе профессора Шафрата.1993- 1995 год - персональные выставки в ЦДХ.1995 год выставки в Японии, в Германии.1996 год - написана коллекция работ для Государственного Академического Большого театра России для постоянной экспозиции в театре.1997 год - персональная выставка в ЦДХ, участие в зимнем Арт-Манеже в Москве.1998 год - выставка в Японии, Кагосима.
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1998 год - выставка в галерее "Альбатрос" в Москве.С 1999-2002 гг.- выставки в ЦДХ в галерее "Визит"2000 г. - выставка в Цюрихе в галерее "Medici House"С 2002 по 2004 - персональные выставки в США, Вашингтоне, Нью-Йорке, Лос-Анжелесе, участие на Арт-Экспо в Нью-Йорке и Атланте.Картины Светланы Валуевой находятся в частных собраниях в Бельгии, Германии, Японии, США, Англии и Франции.
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SVETLANA VALUEVA — Nostalgia for the elevated, magnificent “silver age” of Russia has drawn Svetlana Valueva to the past, a period known in the West as Art Nouveau, Jugendstil, or Liberty. This is where the characters of Svetlana’s paintings are destined to dwell.
Says Valueva “It’s hard today to trace back the origins of my affinity for Art Nouveau, a style which emerged on the brink of the 20th century. I feel I was destined to love this art from birth. This elaborate, refined, truly aristocratic style, regardless of subject matter, conversely captures the fragility of all earthbound existence. Decadence became second nature to me, its’ reflection in my works, again being created at the crossroads of centuries”.
In Valueva's paintings, women often live in a mystical world, surrounded by bizarre forms, signs and objects: a world real to them, to be taken seriously. “Mirror of Art Nouveau”, her first collection, was twelve works about love, life and beauty.“ “My female friends; an actress, a fashion designer and a photographic artist, were the prototypes for my characters”, says Valueva.
Designing costumes for these models, she drew numerous preliminary sketches. After six months, her subjects appeared unlike themselves, having lost the aura of earthly problems. Valueva peers into an inner spiritual world and expresses that on canvas.
SVETLANA VALUEVA — Nostalgia for the elevated, magnificent “silver age” of Russia has drawn Svetlana Valueva to the past, a period known in the West as Art Nouveau, Jugendstil, or Liberty. This is where the characters of Svetlana’s paintings are destined to dwell.
Says Valueva “It’s hard today to trace back the origins of my affinity for Art Nouveau, a style which emerged on the brink of the 20th century. I feel I was destined to love this art from birth. This elaborate, refined, truly aristocratic style, regardless of subject matter, conversely captures the fragility of all earthbound existence. Decadence became second nature to me, its’ reflection in my works, again being created at the crossroads of centuries”.
In Valueva's paintings, women often live in a mystical world, surrounded by bizarre forms, signs and objects: a world real to them, to be taken seriously. “Mirror of Art Nouveau”, her first collection, was twelve works about love, life and beauty.“ “My female friends; an actress, a fashion designer and a photographic artist, were the prototypes for my characters”, says Valueva.
Designing costumes for these models, she drew numerous preliminary sketches. After six months, her subjects appeared unlike themselves, having lost the aura of earthly problems. Valueva peers into an inner spiritual world and expresses that on canvas.
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Такие вот напевы о Леди в голубом. Спасибо , Axinella , за поданую идею.
Такие вот напевы о Леди в голубом. Спасибо , Axinella , за поданую идею.
7 comments:
Ну что я могу сказать, прекрасно, Трень–Брень, прекрасно, как женская красота, прекрасно, как голубое небо сегодня над Парижем...Полотна Светланы Валуевой пронизаны воздухом, полны хрупкого изящества и очень похожи на автора. Я очень польщена Вашим выбором и мне очень понравилась Ваша интерпретация "Lady in bleu". А как Вам клип? Я в полном восторге, напоминает немые фильмы, таких дам больше не бывает!
Дальнейших вам творческих успехов! Ретро – неисчерпаемый источник вдохновения. Вспоминаю папу, сидит, слушает: "Мне бесконечно жаль моих несбывшихся мечтаний, и только боль воспоминаний зовёт меня"...Помните? А ещё Саша Цфасман – Утомлённое солнце нежно с морем прощалось, в этот час ты призналась, что нет любви...Жду всегда с нетерпением Ваших новых работ. Axinella
Ну, раз речь пошла о Париже...
Ах, Париж, Париж...
Ну, а какой Париж - без аккордеона?
http://www.youtube.com/watch?v=j1LPj9msobY&feature=related
Вот бы пройтись по Монмартру да с Любимой...
your seasoul
-- Ретро – неисчерпаемый источник вдохновения.--
О, да! Вы верно подметили! И я сразу же, не откладывая в долгий ящик - ведь, написали - ждёте, да? - отозвалась. Ooooочень любопытно, как - Вам? Понравится ли?
А вообще-то ... я oooоочень рада нашему с Вами совпадению: во вкусах и чувствованиях. Нашему с Вами общению! Да!
Рада Вам - бесконечно, Axinella.
Трень-Брень.
-- Вот бы пройтись по Монмартру да с Любимой...--
Спасибо, seasoul.
Аккордеон - это прекрасно... А ещё прекрaсней - Монмартр? Весной? А весну не люблю, нет...
И на Монмартре никогда, наверняка - воочию - не побываю...
*вздохнула*
Трень-печально-Брень.
Уважаемая Трень-Врень, получила удовольствие от вашего блога. Я тоже очень люблю "Утомленное солнце" и тоже знаю о Фогте, и др. Я hочу только добавить,что это танго впервые прозвучало в фильме " До Свиданья мальчики" по книге с тем же названием Бориса Балтера, филм был выпущен где-то в конце 60х . Дело происходило до войны в курортном городе и вот там мое поколение и услушало эту "декадентскую" музыку, филм был очень славный, настояший шестидесятник, мне кажется что его критиковали за недостаток идеологии или что-то в этом роде. Я Я Вам очень советую посмотреть этот фильм, Я сама бы тоже с удовольствием его посмотрела.
картины в голубом пoдборке замечательные. Спасибо.
Melba
Ну... во-первых, милая-милая Melba , спасибо, что заглянули в мой блог.
Спасибо за...комментарий, спасибо за то, что Вам понравилось... то и сё... и в голубом... - даже и не сомневалась: всё ж родственные мы, как я поняла - души, да?
Спасибо за уточнение. Я вот с трудом вспомнила, "поковырявшись" в памяти. Фильм такой был - Калика, да? Он вроде , давно эмигрировал?
Нет, не видела. Но - обещаю - посмотрю. Песня - то...- Булата Окуджавы - на слуху: "До свидания, мальчики..". Уж больно интересно, КАК звучало это танго: "Утомлённое солнце.." в том фильме.
А Вы заглядывайте почаще, а?
А я обещаю пополнять блоговскую "кубышку" . Что-то я захандрила ....по весне. *вздoхнула" . Но...- обещаю исправится И снова ...запеть песенки. И картинками украсить.
Трень-Брень.
Трень-Брень, добрый день! Вот и рифма получилась!
Возвращаясь к "До свиданья мальчики!", мне кажется, что та же версия этого танго была в нем, что и в " Утомленные солнцем". Да, режиссером был Калик, и там снялась Виkтория Федорова, помните её?
Я вам попытаюсь послать одну французскую подборку танго с иллюстрациями, мне эта подборка очень нравится, когда получите первую картинkу нажимайте на ' press bar' или на 'arrow keys'.
У Вас здесь так славно, милая Трень - Брень!
http://pdf.informatia.ro/repository/Diverse/PPS/27nov2007/Le_Tango_en_peinture.pps
Melba
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