Aneta Frackowska Design

I just saw a young dog with 2 guy, they passed me by. The dog really wanted to run to me, but he/she was on the leash and the guy kept it tight. I smiled at the dog and said very flirtatious "Hi!" (to the dog) without even looking at the guys. The dog was happy, the guys laughed, I’m still laughing.
I may look normal, but I say "Hi!" to cute dogs! 🐕 😂

"The Triumph of Death"
Fresco from the Palazzo Sclafani, Palermo, c. 1440-5.
Dimensions: 600 cm × 642 cm (240 in × 253 in)
Location: Palazzo Abatellis, Palermo in Italy.

"The Triumph of Death" is a fresco created around 1440-5 now housed in the Regional Gallery of Palazzo Abatellis in Palermo, southern Italy. The name of the artist of the work has been debated.

The fresco comes from the court of Palazzo Sclafani, also in Palermo. Due to its highly refined style, it is thought to have been commissioned by the Aragonese Kings of Naples.
The theme of the "Triumph of Death" was popular in Europe during the Renaissance, particularly in Northern Europe. The Burgundian artist Guillaume Spicre, also known as the Palazzo Sclafani Master, is often credited with its creation, although other names have been suggested.
The fresco was stripped and divided into four parts to be housed in the Regional Gallery, where it is now located. Though at the time of the removal the work was in good condition, gradually during the 20th century the painted surface has detached near the points of division, compromising the integrity of the scene.

The fresco depicts a luxurious garden surrounded by a hedge. Death enters riding a skeletal horse, firing arrows from a bow. Death aims at characters belonging to all social levels, killing them. The horse occupies the center of the scene, with its ribs visible and an emaciated head showing teeth and the tongue. Death has just released an arrow, which has hit a young man in the lower right corner; Death also wears a scythe at the side of the saddle, its typical attribute.

On the lower part are corpses of the people previously killed: emperors, popes, bishops, friars (both Franciscans and Dominicans), poets, knights and maidens. Each character is portrayed differently: some still have a grimace of pain on the face, while others are serene; some have their limbs dismembered on the ground, and others are kneeling after having been just struck by an arrow. On the left is a group of poor people, invoking Death to stop their suffering, but being ignored. Among them, the figure looking towards the observer has been proposed as a possible self-portrait of the artist.

On the right, a group of richly dressed noblewomen and knights with fur clothes are entertained by a musician. They appear to have no interest in the events and continue to socialize. The women in this group wear ostentatious necklaces and some are adorned with long, dangling earrings. A sumptuary law passed in Sicily in 1420 prohibited the wearing of expensive gold jewelry, except for rings, and declared that earrings could only be worn at particularly important celebrations. A man with a falcon on his arm and another is leading two hounds represent common pursuits of the noble classes in the Renaissance.

My local park is starting to bloom.

Final stage of the restoration of the equestrian sculpture of Louis XIV at the Château de Versailles. The installation of a microcrystalline wax to protect the surface and reduce the effects of bad weather.

Introducing the Nuanced Neutrals palette: An edit of nine distinctive colours that will bring an elevated elegance to your home.
From the light grey tones of Very Very Light Gray to the subtle hints of colour in Barely There, this palette has something for everyone. 🙂

The last one!🍷

And now, back to normal.

This Beaux-Arts residence on East 64th Street was erected in 1878-79. It is one of the most stunning architectural treasures on the Upper East Side of New York City.

Demain, mardi 26 mars, ouverture de l'exposition "Paris 1874. Inventer l'impressionnisme".
À découvrir jusqu'au 14 juillet au musée d'Orsay.
👉 bit.ly/Paris1874
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Tomorrow, Tuesday March 26, opening of the exhibition "Paris 1874. Inventing Impressionism".
On view at the Musée d'Orsay until July 14.
👉 bit.ly/Paris1874_en
Avec le généreux soutien de Morgan Stanley, les American Friends Musées d’Orsay et de l’Orangerie et le cabinet Wilhelm & Associés.

Organisée avec la National Gallery of Art, Washington.

Avec le soutien exceptionnel du Musée Marmottan Monet et de l'Académie des beaux-arts, Paris.

Avec la participation exceptionnelle de la BnF - Bibliothèque nationale de France.

NUDITY from 25,000–30,000 years ago.

The Venus of Willendorf is an 11.1-centimetre-tall (4.4 in) Venus figurine estimated to have been made around 25,000–30,000 years ago.
It was found on August 7, 1908, by a workman named Johann Veran or Josef Veram during excavations conducted by archaeologists Josef Szombathy, Hugo Obermaier, and Josef Bayer at a Paleolithic site near Willendorf, a village in Lower Austria. It is carved from an oolitic limestone that is not local to the area, and tinted with red ochre. The figurine is now in the Natural History Museum in Vienna, Austria.

😂

And this, Ladies and Gentleman, this is the… train 🚂 from Versailles to Paris!
I saw 👀 many amazing advertisements of Château de Versailles already, especially in trains, but this one is definitely a knockout! 🏰

My soul has returned home again! 🏰
P.S. I just have to wait till all the intruders get out of here… 😂

This, Ladies and Gentleman, this is Versailles! 🏰

Darkness there and nothing more!

Raven
BY EDGAR ALLAN POE
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Chopin: Desire for Love
(Polish: Chopin. Pragnienie miłości) is a film created by the director Jerzy Antczak based on the life story of the Polish pianist and composer Frédéric Chopin (born Fryderyk Franciszek Chopin 1 March 1810 – 17 October 1849).

The plot covers the affair between Chopin and feminist writer George Sand. Chopin's music is integral to the film, with pianist Janusz Olejniczak playing his works. Two versions of the film were shot - in Polish and English - with British actors later lip-syncing the dialogue. Antczak spent 25 years writing the screenplay and six years raising the budget for the film.

The film was screened at Houston Film Festival in 2003 and won the Gold Award for Best Cinematography and the Platinum Award for Best Drama.

Released on 1st March 2002 in Poland. 🇵🇱
Directed by Jerzy Antczak.
Music composed by Frédéric Chopin.

Chopin Desire for Love | Full Romance Movie | Piotr Adamczyk | Danuta Stenka | Adam Woronowicz An award-winning film encapsulating the passionate romance between composer Frédéric Chopin and writer George Sand in 19th-century Paris. As they navigate he...