Leroy Anderson: Master of the Miniature
Wikipedia article "Leroy Anderson".
漢寶德 的書法不以哪種字體流派的傳承自居，他以隸書為主要基礎，再加以變化出個人的風格。書法之於漢寶德，就像在玩一場筆、墨、水、紙之間的遊戲，展現的是他個 人的藝術涵養和美感品味的體會。也許出自漢寶德深厚的建築學養背景，他認為：「書法是生動的建築，建築是立體的書法。」「書法是很有趣的紙上運動，很能滿足人內心潛在的塗鴉欲望。」漢寶德說，他從五十五歲才開始學寫字，一開始決定從隸書著手，因為橫平豎直，要能靜下心來，安頓好身體和精神，才能寫得像樣。「剛開始那幾年，老寫不好，我檢討原因，覺得是雜事纏身，不免心浮氣躁。」
Niki de Saint Phalle, a Franco-American artist internationally known for her colorful, monumental, cartoonlike sculptures and environments, died on Tuesday in San Diego, Calif. She was 71.
The cause was pulmonary failure after an illness of several months, said Harry Mathews, the writer and her first husband.
A heroine to feminism before the modern movement even emerged, Ms. de Saint Phalle first made her mark in Paris in the early 60's when she was associated with the Nouveaux Réalistes, a group of avant-gardists that included the sculptors Christo, Arman and Jean Tinguely. Their antic, absurdist works challenged conventional ideas about art-making in ways that echoed the earlier Dada movement.
Ms. de Saint Phalle became notorious for what she called ''target paintings,'' at which darts were thrown, and then for actual ''shooting paintings'' and sculptures. In galleries, she would use a .22-caliber rifle to shoot at plaster sculptures in which she had embedded bags of paint, causing color to splatter all over.
Ms. de Saint Phalle went on to produce a far different kind of art, an amalgam of Pop, Surrealism, Folk and outsider art that she prolifically realized in sculptures, paintings, prints and large public installations. Inspired in the mid-60's by a visit from the wife of Larry Rivers, Clarice Rivers, who was then pregnant, Ms. de Saint Phalle created the first of what would become an extensive population of ''Nanas.'' (Nana is a mildly rude French term for woman, comparable to broad.) They were bulbous, archetypal maternal figures like Mexican piñatas painted in bold colors and decorated with crisp, cartoon outlines.
In contrast with the aggressive Conceptualism of her early performance works, the art for which she became best known seemed to flow from an endlessly fertile, visionary imagination.
The Nanas gave birth to legions of fanciful humanoids, animals, plants and monsters and a trend away from the refinement of individual objects toward the creation of whole, fantastic worlds that would be most fully achieved in ambitious public works like Surrealistic amusement parks. Made of cement and produced on a gigantic scale, the Nanas became houses that visitors could enter, and surrounding grounds became teeming, part-organic, part-architectural mazes. At once avant-garde and populist, Ms. de Saint Phalle's art had the unusual ability to appeal to a wide range of viewers, from art-world professionals to children.
In the late 1970's, on acreage in southwestern Tuscany made available by wealthy friends, Ms. de Saint Phalle began her most ambitious project, a sprawling sculpture garden featuring 22 large sculptures based on the fortune-telling Tarot cards. With its wildly grotesque forms decorated by ceramic tiles, glass and mirrors, it calls to mind the architecture of Antonio Gaudí, whose work made a lasting impression on Ms. de Saint Phalle when she first encountered it in the 1950's. Financing it in part through the sale of a perfume called Niki de Saint Phalle, which she created for the Jacqueline Cochran company, Ms. de Saint Phalle worked on the Tarot Garden for 20 years. It opened to the public in 1998.
Catherine Marie-Agnès Fal de Saint Phalle was born into a wealthy family on Oct. 29, 1930, at Neuilly-sur-Seine, a Paris suburb, but was partly raised in New York, where her parents moved after the crash of 1929, and educated at the Brearley School, among several others. She told of being thrown out of Brearley for painting the fig leaves on the school artworks red.
At 18 she eloped with Mr. Mathews, and two years later the couple moved to France, where she began to paint after a nervous breakdown at age 23. She was mostly a self-taught artist. Her first solo exhibition took place in St. Gallen, Switzerland, in 1956, but she did not begin to show her work regularly until 1961.
Divorced from Mr. Mathews in 1960, she began a relationship with Jean Tinguely, the Swiss sculptor known for his kinetic, mechanical sculptures. They were married in 1971 and she collaborated with him on many projects. Although they lived separately after their marriage, their partnership lasted until his death in 1991. Ms. de Saint Phalle returned to the United States in 1994 to settle in La Jolla, in San Diego, partly because of her frail health.
In addition to producing public works in cities from Jerusalem to San Diego, Ms. de Saint Phalle had many museum exhibitions. The Nassau County Museum of Fine Arts in New York assembled her first American retrospective in 1987, and a larger retrospective was organized by the Kunst und Austellunghalle in Bonn in 1992. In 1994, an institution dedicated to her work, the Niki Museum, opened in Nasu, Japan. In 2000 she won a $140,000 Praemium Imperiale Award given by the Japan Art Association.Ms. de Saint Phalle is survived by a brother, John de Saint Phalle, of Florida; a daughter, Laura Duke, of Paris; a son, Philip Mathews, of New York; three grandchildren and two great-grandchildren.
|《与大师相约五十年 L’art est vivant: un demi siecle de rencontres》|
Coptic art is characterized by a high degree of stylization verging on abstraction. Forms are flattened out, and individual motifs acquire bold simplicity and decorative character. Subject matter represents both Christian and Roman sources. Remains of wall paintings reveal scenes from the Old and New Testaments and images of the Mother and Child. Some of the archaeological sites are El-Bagawat, Oxyrhynchus, Sakkara, Bawit, and Antinoë. Representative examples of Coptic art are in sculpture, textiles, ivory, and illumination. Coptic architecture, as shown in the 5th-century White and Red monasteries near Sohag, showed traces of local Egyptian traditions.
See K. Wessel, Coptic Art: The Early Christian Art of Egypt (1965) and D. L. Carroll, Looms and Textiles of the Copts (1988).
| A Touch of Zen |
Sunday, June 8, 2008, 2:00 pm, Meyer Auditorium
Generally acknowledged as Hu's masterpiece, this blend of mysticism and action elevated the martial arts film to new heights of sophistication. Living in a fortress that is rumored to be haunted, a scholar encounters what he thinks is a ghost, but the situation turns out to be more complicated than that. The film's technical wizardry—especially the oft-imitated but never equaled battle in a bamboo grove—earned Hu comparisons to directors Akira Kurosawa and Sergei Eisenstein. 1971 / 170 min. Mandarin with English subtitles.
Part of the series King Hu: Inspired by Taiwan, presented in conjunction with Yellow Mountain: China's Ever-Changing Landscape. This series is cosponsored by the Taiwan Economic and Cultural Office in the US. Additional Taiwanese films are shown on May 30 and 31 at TECRO's Twin Oaks estate in Washington. For more information, click here. 雙橡 園之蒼涼故事
| Dragon Gate Inn|
Friday, June 6, 2008, 7:00 pm, Meyer Auditorium
Directors as diverse as Ang Lee and Tsai Ming-liang have paid tribute to this iconic martial arts film. Its astonishing fight sequences, which were inspired by the rhythms of Beijing Opera, set a new standard for the genre, and its heroine, a no-nonsense fighter capable of dispatching dozens of enemies with her sword, spawned legions of imitators. 1967 / 111 min.
Mandarin with English subtitles.
Part of the series King Hu: Inspired by Taiwan, presented in conjunction with Yellow Mountain: China's Ever-Changing Landscape. This series is cosponsored by the Taiwan Economic and Cultural Office in the US. Additional Taiwanese films are shown on May 30 and 31 at TECRO's Twin Oaks estate in Washington. For more information, click here.