©Photo RMN - ©Franck Raux / distributed by DNPAC
(b ?Ferrara, c. 1490; d Ferrara, 1541-2). Although responsive to a wide range of outside influences, the most important of which were probably those of Giorgione in Venice and Raphael in Rome, he was an artist of great originality with a strong feeling for effects of light and colour. Landscape plays a prominent and highly expressive role in his work. He was employed, as were also the poets Matteomaria Boiardo (?1441-94) and Ludovico Ariosto, at the court of Ferrara, which was internationally renowned for its culture, especially its musical life and collections of art: one of his best-known works is an illustration of a magical scene from Ariosto's poetry, Melissa (1520s; Rome, Gal. Borghese), a painting of opulent colour and texture.
Part of the Dossi familyArt Encyclopedia. The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc..
See F. Gibbons, Dosso and Battista Dossi (1968).Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press.
WHEN Dr. Louis Aledort, and his wife, Ruth, above, bought their six-room apartment on the Upper West Side in 2001, they interviewed several architects, and mentioned to each of them that they had an art collection. Only one architect, Richard Lavenstein, a partner at Bond Street Architecture & Design in Manhattan, asked to see the collection.
“No one else said, what kind of art? What period is the art?” Dr. Aledort said.
Mr. Lavenstein was hired.
The Aledorts, who own mostly lithographs, by Robert Rauschenberg, Elizabeth Murray and Jasper Johns, not only wanted to light their art well, they needed to compensate for the fact that part of the apartment faced a courtyard and had very little light.
They could have lowered the 10-foot ceilings to put in recessed lighting, but Dr. Aledort, a hematologist, and Mrs. Aledort, who works with breast cancer patients in a support group held at Mount Sinai Medical Center, didn’t like that solution. Instead, their architect collaborated with Francesca Bettridge, the president of Cline Bettridge Bernstein Lighting Design in Manhattan, which handled lighting for most of the public spaces of the Time Warner Center.血液學（英語：Hematology或haematology）是一門專門研究血液的學科，屬於生物學、生理學、病理學以及醫學的分支學門。研究的對象包括血液中的蛋白質（如血紅素）與各類細胞（如紅血球）。除了血液本身之外，血液學也研究造血器官以及與血液相關的疾病。
Ms. Bettridge designed a lighting scheme that is “relaxed,” she said, and that “makes people comfortable.” She washed the walls gently with light, using tiny but elegant fixtures to create museum-quality lighting. Because most of the couple’s art is under glass, she took care to minimize reflections.
In every room, she chose each light fixture to fulfill a specific function. There is not a random fixture in sight, and all of them are on dimmers.
In the foyer, which has black and white prints, “I wanted to add layers of light, and balance the room,” she said. A translucent torchier glows in the far left corner, spreading its diffused light on the ceiling and on the wall, while also lighting the art to its left. On the right side of the foyer, translucent sconces flank the entrance to the living room, creating more light on the ceiling and walls, while also shedding light on two pieces of art. The light is soft and warm. The foyer is clearly an entry, a hallway with art, but it is not an art gallery.
In the living room, top, she and the architect used low-voltage halogen track lighting covered with aluminum bands that were painted to match the wall. The light fixtures, called Valux, from Nulux, hold MR16 lamps, each with a reflector, so light from the bulb bounces off the reflector and shines down on the art.
Because the lamp also has a ribbed lens the light is spread more evenly. (The track was $140 a square foot and the lamps were $215 each.) “When you’re lighting a piece of art, you aim the light at 30 degrees, and if it’s a shiny surface you come at the art at an even steeper angle,” said Ms. Bettridge, who aimed the light in the living room at 15 degrees. “Here we are washing the wall to get a wide spread of even, soft light.”
The hallway, left, was too narrow for that approach, so Ms. Bettridge inserted track lighting in the center of the ceiling and pointed the lighting in two directions. Mr. Lavenstein designed the dining room to open onto the same narrow hallway, and frame a lithograph by Susan Rothenberg in the hallway, extending the room and making the art more important.
The clients were willing to drop the dining room ceiling six inches to conceal structural beams, which allowed the use of recessed lighting. Ms. Bettridge used Edison Price quartz wall washers. Each lamp has a small, tightly wound filament and a reflector. The reflector provides an even wash from the top to the bottom of the wall. (Washers are $260 each.) For the kitchen ceiling Ms. Bettridge used Leucos recessed lights with a translucent glass trim, and inserted MR16 low-voltage incandescent lamps. The light illuminates the glass trim and puts light onto the ceiling and floor. Under the cabinets for task lighting she placed incandescent tubular lamps.
It’s only in the kitchen that the Aledorts have no art. After all, food splatters.
| ||2004年に99歳を迎えた片岡球子の白寿を記念して、画業80年余を振り返る展覧会。 歴史上の人物を大胆に描いた「面構（つらがまえ）」シリーズや赤い富士などが有名な山シリーズから50点を紹介。強すぎるとまで言われた画家の個性が花開 いていく軌跡を見ることができます。|
Among the works of Japanese-style painter Tamako Kataoka, who died on Jan. 16 at age 103, is a painting of ukiyo-e artist Keisai Eisen (1791-1848). In it, Eisen, surrounded by his bijinga (woodcuts of beautiful women), appears relaxed. The easy way with which he wears his colorfully striped kimono suggests he was a man about town. The hard surface of the white sake cup he holds in his right hand stands out. The painting is so buoyant that it is hard to believe it was done when the artist was 86.
As a young and fledging artist, Kataoka often faced rejection when she entered her works for such exhibitions as Teiten and Inten, organized by prestigious art academies.
Looking back at the time when she was dubbed "the goddess of rejection," Kataoka told students at her alma mater Joshibi University of Art and Design: "When exhibitions drew close, everybody started avoiding me as we passed each other. It was frustrating. I thought to myself I won't let them beat me." ("Kataoka Tamako: Kokoro no Tabiji" (Tamako Kataoka: Journey of the heart) by Shigeo Okuoka)
Kataoka started on her "Tsuragamae" (facial look) series of historical figures after she turned 60. The faces of warriors, high priests and painters, sometimes depicted with humor, look more human than the portraits that appear in history textbooks. Kataoka painted her subjects visualizing how they would think and act if they were alive today, she said.
Around the time her free style of painting won her recognition in the art world, she received a word of "advice" from the master painter Taikan Yokoyama (橫山大觀 1868-1958) just before his death. It is quite thought-provoking. Clinking a sake cup with a finger of his right hand, Taikan, who was a hearty drinker, is said to have told Kataoka: "You are not a full-fledged painter unless you can draw this sound."
That is why she squarely faced her subjects from the inside whether they were people or mountains. When she clinked a sake cup she drew that way, she could hear the sound of porcelain in her mind.
"My Mount Fuji is not an ideal mountain but a mountain that is always alive. The stranger its form, the better," she said when she was 95. She never tried to accommodate herself to the times saying, "I want to paint as if I am on a rampage."
Incidentally, an exhibition of Taikan's works to commemorate the 50th anniversary of his death opened Wednesday in Tokyo.
Taikan remained a master painter through and through while Kataoka was a late bloomer who stayed active for a long time. They both contributed to the advancement of traditional Japanese painting. Shall they drink to their lives together with the subjects of Kataoka's "Tsuragamae" series?
--The Asahi Shimbun, Jan. 23(IHT/Asahi: January 28,2008)
張貼者： hanching chung 位於 下午 5:15
Logo Design Workbook: A Hands-On Guide to Creating Logos (Design Workbook)
This book will be the first in a series of practical and inspirational workbooks that will cover all the fundamental areas of the graphic design business. Each book will provide the reader with a range of content about the featured subject providing a number of tools to help them make better designs. This series will go beyond our traditional showcase books yet remain succinct and to the point so designers are able to get the information they need quickly and easily.
This book/series will offer the reader ideas and inspiration by featuring hundreds of real life logos from around the world that have succeeded for their clients, as well as hardworking content focused on the basics including: - Choosing colors - Choosing the right typeface - Size matters - How to incorporate logos on products and collateral - Common mistakes in logo design - What makes a logo successful
Scattered throughout the second portion of the book will be profiles/interviews with prominent logo designers as well as sidebars which examine the evolution of many well known logos as well as some historical logos that have shaped graphic design.
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|Humble Masterpieces: 100 Everyday Marvels of Design:|
|作者／ Antonelli, Paola|
出版社／ THAMES & HUDSON LTD.
這些由設計師Paola Antonelli重新賦予這些日常用品新的意義與想法。書中不僅以照片重現這些令人驚豔的設計作品，除此之外，書中也提供了相當多的內容篇幅討論這些與 我們息息相關的家飾品的起源與常識。設計與日常生活的完美結合在此又添一例。Humble Masterpieces書中的作品，在2004年的紐約現代美術館MoMA還有相關的展覽。
【95年5月好讀推薦】偉大的設計不一定在美術館才能看到，如同書封上這只迴紋針，優雅而簡潔，卻因充斥在生活中而被人忽略。本書列舉了一百項日常生活用 品，如茶包、髮夾，希望透過特寫攝影讓讀者能以獨特的角度觀看。另以文字介紹該設計的起源、發展過程、設計的獨到之處，讓人能用另一種全新的眼光來看待平 凡的日常生活。
Jean-Baptiste Pigalle Voltaire nu美國紐約大都會博物館有
He was born in Paris, the seventh child of a carpenter. Although he failed to obtain the
His earlier work, such as Child with Cage (model at Sèvres) and Mercury Fastening his Sandals (Berlin, and lead cast in Louvre), is less commonplace than that of his more mature years, but his nude statue of Voltaire, dated 1776 (initially in the Institut de France, purchased by the Louvre in 1962), and his tombs of (c. 1764) (Notre Dame de Paris) and of Marshal Saxe, completed in 1777 (Saint-Thomas Lutheran church, Strasbourg), are good examples of French sculpture in the 18th century.