Mia Feigelson Gallery

'There is a pleasure in the pathless woods, There is a rapture on the lonely shore, There is society, where none intrudes, By the deep sea, and music in its roar: I love not man the less, but Nature more, ...Continue reading

"The Singel in Amsterdam with the Round Lutheran Church (Het Singel te Amsterdam met de Ronde Lutherse Kerk)" Dutch Art - Mia Feigelson Gallery Cityscapes & Architecture - Mia Feigelson Gallery By Johannes Christiaan Karel Klinkenberg (Dutch, 1852-1924) oil on canvas; 53.3 x 39.3 cm (21 x 15.5 in.) Private Collection ... The Singel is one of the canals of Amsterdam. The Singel encircled Amsterdam in the Middle Ages, serving as a moat around the city until 1585, when Amsterdam expanded beyond the Singel. The canal runs from the IJ bay, near the Central Station, to the Muntplein square, where it meets the Amstel river. It is now the inner-most canal in Amsterdam's semicircular ring of canals. The Ronde Lutherse Kerk or Koepelkerk (round Lutheran church; cupola church) is a former Lutheran church in Amsterdam, located at the Singel. The church can be easily seen from the Singel by its copper dome. History: The church was designed by Adriaan Dortsman (ca. 1636-1682) and was opened in 1671. In 1822 the church was nearly destroyed and was rebuilt in 1826. The organ was built by J Batz in 1830 and it was restored in 1983 by Flentrop Orgelbouw. In 1935 the Lutherans left the building and it became a concert hall. In 1975 a tunnel was built by the neighbouring Sonesta Hotel, today called the Renaissance Amsterdam Hotel, for its own access. The hotel rents the church from the Lutheran church which is still the owner today. In 1983 the church was closed for restoration, but in 1993 the dome caught fire; the church was again restored. The church is not open to the public, but interested persons may request to view it at the Renaissance hotel. A security guard accompanies visitors through the tunnel to the church where the ground floor of the consistory has been converted to bathrooms and the upper floor to a meeting room. Of the main hall, the impressive columns, galleries, organ and pulpit can still be seen.

'Art is not a handicraft, it is the transmission of feeling the artist has experienced... Beauty is the perception of the infinite in the finite. And the chief characteristic of works of art is unconscious infinity... Art is the uniting of the subjective with the objective, of nature with reason, of the unconscious with the conscious ... And therefore art is the highest means of knowledge.' Leo Tolstoy, 'What is Art' (1898) "The Grace", 1919 Scandinavian Art - Mia Feigelso...n Gallery Interior Painting - Mia Feigelson Gallery By Michael Ancher (Skagen Painter, 1849-1927) oil on canvas; 61 x 82 cm (24 x 32.3 in.) Private Collection About the Artist http://bit.ly/Michael_Ancher

St Paul's Suite for Strings, Op. 29, No. 2, H. 118 (written in 1912-13, published in 1922) Remembering Gustav Holst, English composer, arranger and teacher (1874-1934) City of London Sinfonia Conductor: Richard Hickox, C.B.E. (British, 1948-2008)... Movements I. Jig: Vivace II. Ostinato: Presto III. Intermezzo: Andante con moto (labelled "Dance" in the manuscript) IV. Finale (The Dargason): Allegro (arranged from the "Fantasia on the Dargason" from his Second Suite in F for Military Band) Description by Chris Morrison for AllMusic "Gustav Holst spent a good portion of his musical life dealing with students and other non-professional musicians. In 1903 he succeeded his good friend Ralph Vaughan Williams as the director of the school orchestra at James Allen's Girls' School in London. Two years later he became musical director at the St. Paul's Girls' School, a post he kept for the rest of his life. Along with his teaching, Holst continued to compose in his spare time, and around 1907, began to explore English and Scottish folk music. Those folk tunes started making their way into compositions like the St. Paul's Suite for string orchestra, written in 1912-13 for his students at the St. Paul's School. The suite opens with a slightly dark Jig, based on a memorably rustic tune. The ostinato second movement features a tender melody and an accompaniment spiced with pizzicati. A passionate modal theme, announced by the full string body and later taken up by a quiet solo violin, dominates the third-movement Intermezzo. The rousing Finale takes up the folk tune 'The Dargason' (which Holst also employs in the finale of his Second Suite for military band), repeating it 30 times with harmonic and rhythmic variations. Towards the end of the movement the famous tune 'Greensleeves' makes an appearance as a countermelody." - Read more at http://bit.ly/2kVLEFi

'Events are subject to more frequent and more detailed recollection when they are connected with feelings... events are stored because they are charged with a certain level of affect... The greater the store of lived experience that is, the more emotional coloration and variety one’s life has the longer one’s lifetime seems, subjectively.' Marc Wittmann, Felt Time: The Psychology of How We Perceive Time "Dark Misty Morning", 2020 Mikko Lagerstedt, from Kerava, Finlan...d (b. 1982) http://www.mikkolagerstedt.com/ https://www.facebook.com/mikkolagerstedt Contact the Photographer about this Photo https://bit.ly/3uhRrmn

A Walk by Rainer Maria Rilke, Bohemian-Austrian poet (1875-1926) "My eyes already touch the sunny hill. going far ahead of the road I have begun. So we are grasped by what we cannot grasp; it has inner light, even from a distance-... and changes us, even if we do not reach it, into something else, which, hardly sensing it, we already are; a gesture waves us on answering our own wave... but what we feel is the wind in our faces." - Translated by Robert Bly "Highland scene with sheep and figures in the foreground", 1871 British Art - Mia Feigelson Gallery Landscape - Mia Feigelson Gallery By Alfred Augustus Glendening (British, 1840-1921) oil on canvas; 76.2 x 63.5 cm (30 x 25 in.) Private Collection Analysis by Poetry Chaikhana Blog - Sacred Poetry from Around the World http://bit.ly/2t9B9ia 'My eyes already touch the sunny hill, going far ahead of the road I have begun.' This is a fascinating truth that we tend to forget in the hard materiality of the modern world-view: We do not only touch the things with which we come into physical contact. We are often just as profoundly affected by what we see, even when it is out of our reach or not yet within our reach in the physical sense. Sight is a form of touch. It is contact. We touch, and are touched by, what we see. Rilke’s insight invites us to expand our understanding further still. If what we see with our eyes is a vital sort of contact, then, naturally, what we see, but not with our eyes is just as vital. What we imagine, what we daydream, what we plan, what comes to us in dreams and meditative vision, these touch us too. They affect us. We react to them. They nurture us, feed us, or they may unsettle us and break our hearts. 'So we are grasped by what we cannot grasp; it has its inner light, even from a distance' Real touch is heart to heart, mind to mind. Real touch is a process within the awareness, not about dense matter encountering more dense matter. What we seek is never what we seek, but the affect it has on us. With everything we seek, what we actually seek is self-transformation. And, of course, that transformed self is already within us, just awaiting our own permission to be that. That is why Rilke says 'and changes us, even if we do not reach it, into something else, which, hardly sensing it, we already are' Whether we yearn for a beloved person or place or circumstance, that encounter always awaits us within. 'a gesture waves us on, answering our own wave but what we feel is the wind in our faces.' We can read his final lines as suggesting something about the ephemeral nature of reality, or it can be the dawning recognition that we are continuously receiving communication, encouragement, contact, we have just been missing it because of our fixed ideas about what we seek and what is real. http://bit.ly/2t9B9ia