Submit your work, meet writers and drop the ads. Become a member
Jillian Jones Sep 20
Let’s make out in an art gallery.

Maybe the more I fall into you
and the more you fall into me,

We will become a work of art
and fade into the background.
No one would notice the two lovers
for all they see is art.

Let’s make out in an art gallery and become
our own renaissance painting.

-let's be the art j.j
I bolted
this hanger
though steep
as the
cliff to
fly her
planes to
new heights
her hills
of Charlemagne
was renaissance
with the
reign in
just a
freshwater danced
such music
until dawn
Chris Saitta Jul 5
Loneliness is a sketchwork of pen and ink of iron gall,
Brushed over in brown wash of wood soot from oak,
Disguised then under tempera of golden-ratio of yolk,
Flared over with fiery oils to the smoke-blurred brink, sfumato,
Or pigment of the fresco, a shade of off-life, languid as watercolor,
Or from the too-fondly-felt impasto knife.

But bares its bones in the light-dark cleft of Caravaggio,
With diminutions of death and the storm’s dark imbroglio,
And sunlight as flesh made into soul,
The skin stretched whole around the world.

Each sky is just a sketch
Of loneliness, left unsigned,
By every hand.
“Iron gall” was the vegetable-based ink common in Europe from the 5th-19th centuries.
“Brown wash” was a wash of wood soot over the ink drawing to enhance the dimensions.
Tempera refers to pigments mixed with egg-yolk.
The “golden ratio” was the famed Greek ratio of beauty (1.618...) applied to art and architecture.
“Sfumato” means “evaporate like smoke” and refers to the technique employed heavily by da Vinci and the Renaissance masters to blur outlines for a softening, misty effect.
I probably love the truth
And the Truth is poetic
I propose that poetic lines be banned
Does that sound poetic
The Structure Of A Motion Picture
Chris Saitta May 13
Venezia, its musical key of brick and shade
And the canals in rejoining polyphony
Sweeten the dour Church-ear.  
From the impasto knife and loose brushwork,
A thumb-smear of waves and gently-bristled strife
Rise to assumption of the cloud-submerged bay,
Mural of cristallo, only-light without landscape,
Made too from the winds of Murano,
Its clayed blowpipe of waterways molding
The lagoon of blown glass and bouquet of colored sea-shadows.

The Tiber lies on its side, like the lion and fox,
Licking its paws at empire’s dust,
A drifting gaze of water that already foresees
The swift-run northward to Romagna,
Where the veined fur of the roe will succumb…
A ripple twitches like one dark claw of the Borgia…

The watercolors of the Arno are a fresco
On the wet plaster of the lips of Firenze, Tuscan fire-dream.
Or like the warring leg in curve of counterpoise,
Sprung foot-forward to the daring world
And arm slung down in stone-victory
From this valley, too much like Elah,
With taunting eyes turned from the Medici toward Rome.
Titian revolutionized the style of painting that contained no landscape in his "Assumption of the ******" (circa 1515)
"cristallo" is actually a term that means clear glass, or glass without impurities, and was invented around the time of the Renaissance.
"the lion and fox" was a nickname for Cesare Borgia.
"Romagna" was his intended conquest.
"Elah" was the valley where the Israelites camped when David defeated Goliath
veritas Apr 21
she was obsessed with this idea of rebirth because she messed up too many times; she believed everyone deserved a Rennaisance, and it was her vision of the circle yeats drew,

and it was for dreamers who squatted in gutters along alleyways hoping to find a muse fallen and buried in the filth;

and it was for realists who really had fallen and buried themselves in filth because their homes were lower than that;

and it was for addicts, who believed they had really been to the moon and conspired against naysayers;

and it was for conspiracists who knew all along the moon simply didn't exist because they had it manufactured in their kitchen;

and it was for sleeping girls with trembling hands who sought out this kitchen in the night whilst everyone merrily slept;

and it was for the sleeping boy who really wasn't asleep but lying naked under sheets and limbs;

and it was for the tangled limbs that still quivered next to him from a dissolved ecstasy, boyish and sad and hungry;

and it was for that hidden starving hunger that still plagued the neighborhood's homes and lingered on doorsteps, begging;

and it was for begging peals of laughter that his mother sent up from the rooftop when the sky went dark and only her kin across town, reeling, beastly, gorgeous, could ever reply;

and it was for unsent replies, for conscripted soldiers, for wars fought by better men and surveyed by lesser;

and it was for less-than-scrupulous masters who hid under their solemn cathedral art that spoke higher than god himself;

and it was for god who left the world to fend under his illusory cloak of stars, so dim it only mocked his fiery wrath beneath;

and it was for that fiery wrath, the kind that incited and ravaged and devastated, merciless with abandon for all of mankind's own misgivings;

and it was those misgivings that had started her renaissance, her quest for glory cores and sovereign minds, for signs and streets and women and colors and light and the end of all suffering;

it was for restart (like a death, but shorter), somewhere between termination and a genesis in vitro (the liminal space found within and without); for her alone, solitary line cleaving the shadowy folds of time, defiant, windswept, miraculous, insignificant glitch through the eternal night; for her, until she commanded time to stop; for her, hungry; for her, powerful; for her, terrified; for her for her and only ever her: the regifted universe.
inspired by Howl.
Euphie Jan 10
A new era of making love
from underneath our bedsheets.
Next page