Lo bueno de comer manzanas."Cuaderno de la herborista" , Margarita García Alonso
Edmond François Aman-Jean
Lo
bueno de comer manzanas.
Antes
del eclipse, en mi época,
la
muchacha era única bajo la falda
que
flotaba heno de los valles.
Los
mancebos mostraban ramas
de
una dureza que modelaba
el
horizonte del árbol.
Pero
la tala indiscriminada de almas
les
ha mutado en idénticos
-mismo
vientre, seno, diente parejo-
como
si fuesen vegetales enumerados
hierba
ordinaria donde mean los ángeles.
La
herborista contempla el escaso ejemplar raro
bajo
el manzano en el flor.
del poemario "Cuaderno de la herborista" , Margarita García Alonso, Editions Hoy no he visto el paraiso, 2012.
© 2012 Editions Hoy no he visto el paraíso.
© Margarita García Alonso.
ISBN:978-2-919441-21-1
DL: 9782919441211
Impreso en España / Printed in Spain Impreso por Bubok
Ya que no he podido entender a los Hombres,
recorto y coso pero no me sale un humano,
me dedico a las plantas.
La herborista.
The Girl with the Peacock, 1895, oil on canvas, 105 x 104 cm, Musée des Arts Décoratifs, Paris.
Edmond François Aman-Jean was a French symbolist painter, who founded the Salon des Tuileries in 1923. He established his reputation primarily for his portraits, especially of female subjects; he was also noted for his murals in public and official buildings, including the Sorbonne. Like many French artists of his generation, he was influenced by the new perspectives on Japanese art current in Paris in his day; more unusually, Aman-Jean was interested in the Pre-Raphaelite artists in England.
Aman-Jean was a close friend of Georges Seurat; the two artists shared a Paris studio in 1879.
The Girl with the Peacock, 1895, oil on canvas, 105 x 104 cm, Musée des Arts Décoratifs, Paris.
Edmond François Aman-Jean was a French symbolist painter, who founded the Salon des Tuileries in 1923. He established his reputation primarily for his portraits, especially of female subjects; he was also noted for his murals in public and official buildings, including the Sorbonne. Like many French artists of his generation, he was influenced by the new perspectives on Japanese art current in Paris in his day; more unusually, Aman-Jean was interested in the Pre-Raphaelite artists in England.
Aman-Jean was a close friend of Georges Seurat; the two artists shared a Paris studio in 1879.
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