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13/11/2016 · Recent Harvard University graduate Soa Andrian used one of her childhood memories as a jumping-off point on her college admissions essay

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Philip Atkinson, author of ‘A Study Of Our Decline’ …
During the fifties and the beginning of sixties, Balthus adopted another seductive pose for the models of his sensual compositions. The painting titled “The Golden Age” (see fig.5) is the first from the series of many and as discovered by the scholar Jorg Zutter the first one ever exposed by Balthus in the museum. The artwork shows a young girl stretched comfortably on a small sofa and she is preoccupied by looking at the reflection of herself in the white mirror, which she keeps in her left hand. The mirror symbolizes the world, life, femininity, love, and vanity. The pearl necklace on her neck refers to the virginity, health, perfection, and preciousness. The right hand hung down looks as it is suspended in the air. Her torso is partly uncovered suggesting a delicate touch of feminine coquetry. The girl’s legs are spread in provocative invitation of sexual curiosity. Together, the white slippers on her feet, the white mirror and the white pillow behind her head as well as the white bowl on the table completed with the white light projected from the window situated in the back symbolize the innocent purity of the young female beauty. The entire room is divided by the two sources of light. The white light coming from the window on the left is mixed with the red reflections projected by the chimney. Both these lights blend together exactly in the area of the girl’s spread legs suggesting the boundaries between the innocence and the sexual initiation. The sofa itself has a shape of the hiking shoe suggesting that the young beauty is on her way approaching the sexual fire of her first erotic experience. The man on the right is preparing the ground for her erotic enlightenment by warming up the room. On the left side of the chimney, a small statue with phallic forms is standing. Just beside the sculpture the log tongs are leaning against the chimney surface. The log tongs have the shape of female crotch as well as the form of infant what symbolize the process of future maternity. The chimney itself suggests the female sexual organs and the small in posture man working hard to keep the fire on representing symbolically the process of sexual intercourse. The man with his right hand covered with the white glow is touching the chimney that suggests clearly the act of defloration. The massive quantities of symbolic information, which is easily readable after close examination of all elements of the painting, refer to the passage of time from the childhood to the adolescence and the first encounter with sexuality. It is another great artwork opened to sensual discoveries. Balthus’s mind could be read through the imagery of his paintings. He is proposing the internal conversation and to hear it one needs to understand his symbolic alphabet. His paintings need to be decoded by the meaning of each element. It can take hours or days before one can complete the entire source of information he offers for intellectual digestion on the surfaces of his canvases. To some people his paintings look simple, primitive, or perverse, but only the ignorance can judge his artwork paranoid and obsessive. Balthus came from intelligent and intellectual family and he expressed himself with intelligence too.

Autobiography - Zilpha Keatley Snyder

13/11/2016 · Recent Harvard University graduate Soa Andrian used one of her childhood memories as a jumping-off point on her college admissions essay…
She made the people and events of rural California at the turn of the century as real to me as were those of my own childhood in the 1930s.

So I came by my storytelling instincts honestly but, as soon became apparent, their acquisition was all that was honest about them.


Me Too | By Breanna Stewart - The Players' Tribune

I remember what he smelled like
No matter how well you teach, there is always room for Improvement ” (Killen,2009.p.100) .In this Essay I hope to show some of the key attributes, that I consider essential to becoming an effective early childhood teacher.

However, by careful studies of Balthus works, one can certainly appreciate their thematic and artistic values. In order to have an understanding of his greatness, one needs to see at least one original artwork of his, because Balthus really painted his paintings. By close examination of the surfaces of his canvases one can see his enormous physical effort to produce the three dimensional chromatic coatings. From far away it seems as it is just a flat application of few colors participating in visualization of his images but from a close range by tracing his brush movements, one can feel the excitement he went through in order to get the results he wanted to get. It would not be exaggeration to tell that he struggled with the canvas as he was fighting to exteriorize his adoration and his creative excitement, which was supplied to his mind by the beautiful, fulfilled with innocence childish femininities of the posing models. His seemingly simple paintings have extremely complex exterior chromatic superficies. Whatever excitement he accumulated in his creative mind he throws it out in the chunks of paint with multiple chromatic strokes of his brush. The surface of his canvases besides the figurative content consists of the orgy of the colors applied with the painter’s erotic energy constantly nourished with the adoration of the visual references. The artist devoured the beauty of the innocent bodies with the paint and his brush, and as it can be seen on the surface of his canvases he enjoyed every inch of doing it. Balthus qualities as a painter do not exclude a question, if his artwork is about admiration or perversity of the female childhood. Answer to this question lies somewhere between the two groups of Contemporary society: the paranoid conservative hypocritical part and the mentally healthy and liberated intellectually individuals.

He was a construction worker and he smoked

Toys give us a positive view of medieval childhood. Demography, the study of births and deaths, shows more of its darker side. The death rate among medieval children was high by modern standards. It has been suggested that 25% of them may have died in their first year, half as many (12.5%) between one and four, and a quarter as many (6%) between five and nine. There is no evidence that these deaths lessened parental affection and care for children, however, and the interest of adults in children can be traced throughout the middle ages. Medieval people inherited ideas about human life from the classical world. They thought they knew how infants grew in the womb and developed and matured after they were born. Life was viewed as a sequence of stages—“the ages of man.” Infancy up to the age of 7 was viewed as a time of growth, childhood from 7 to 14 as one of play, and adolescence from 14 onwards as one of physical, intellectual, and sexual development.

You can’t really wash those smells off

Balthus, whose real name was Balthazar Kossowski de Rola, had Polish origins, but he was born in Paris in 1908. Both his parents were intellectuals and artists. His attraction towards depiction of innocent perversity of the childish female models in their intimately provocative poses was influenced to some extent by the book of Emily Bronte “Wuthering Heights.” Balthus illustrated the first part of the book not because he had a contract for it, but because he was overwhelmed with the story itself. He was especially interested in the childhood of Catherine and Heathcliff, the two principal characters of Bronte’s novel. This particular story inspired majority of his artwork. Each of his paintings is fulfilled with a dose of mysterious sexuality of his models, which is present not only in the exquisite composition, but also in the way he applied the paint on it. Some of the Balthus paintings are still shocking to some viewers even today.