2015年8月31日 星期一

Jacques-Louis David (French, 1748–1825)

Happy birthday to Jacques Louis David, born this day in 1748. David championed a style of rigorous contours, sculpted forms, and polished surfaces. Learn more about his role in art history and view a slideshow: http://met.org/1fIt0YB
Jacques Louis David (French, 1748–1825) | The Death of Socrates | 1787

Join us Friday night at 6 p.m. for the free special lecture by Thomas E. Crow. Crow will discuss Jacques-Louis David’s exile and subsequent artistic rejuvenation through the tragic “Anger of Achilles,” in the Kimbell’s collection.

雅克-路易·大衛(Jacques-Louis David)名畫《馬拉之死》(Mort de Marat)是一個凶殺案現場,但浴缸里卻看不到馬拉。

  1. Jacques-Louis David
  2. Jacques-Louis David was an influential French painter in the Neoclassical style, considered to be the preeminent painter of the era. Wikipedia
  3. BornAugust 30, 1748, Paris, France
  4. DiedDecember 29, 1825, Brussels, Belgium
  5. PeriodNeoclassicism

Jacques-Louis David died ‪#‎onthisday‬ in 1825. Here’s his portrait of Brutus http://ow.ly/G70vX

Rothko /The Power of Art - 《羅斯科傳》Mark Rothko, A Biography

In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than 20 years. In the 1930s Rothko painted mostly street scenes and interiors with figures. Rejecting conventional modes of representation, he stressed an emotional approach to the subject--an approach he admired in children's art--and adopted a style characterized by deliberate deformations and a crude application of paint.

Mark Rothko

Early in his career, Rothko was encouraged by the artist Max Weber (with whom he briefly studied at the Art Students League in New York in the mid-1920s) to work in a figurative style reminiscent of Cézanne. Rothko’s early work resembles nothing of the style for which he is renowned. ‪#‎Rothko‬ ‪#‎ArtAtoZ‬


Untitled (three nudes)

Mark Rothko


National Gallery of Art

In the late 1920s, Rothko met the modernist painter Milton Avery (1885-1965), whose simplified and colorful depictions of domestic subjects had a profound influence on Rothko's early development, particularly his application of paint and treatment of color. Avery's home became a meeting place for artists, who attended weekly life drawing sessions there. Rothko was in regular attendance. This is a profile portrait of Rothko, smoking a pipe, by Avery. The informality of the image speaks to the close friendship and mutual respect and admiration shared by the two artists.

‪#‎Rothko‬ ‪#‎ArtAtoZ‬

Milton Avery, "Rothko with Pipe," 1936, drypoint, brown-black ink on woven paper, National Gallery of Art, Ailsa Mellon Bruce Fund


In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than 20 years. In the 1930s Rothko painted mostly street scenes and interiors with figures. Rejecting conventional modes of representation, he stressed an emotional approach to the subject--an approach he admired in children's art--and adopted a style characterized by deliberate deformations and a crude application of paint.

‪#‎Rothko‬ ‪#‎ArtAtoZ‬



Street Scene
Mark Rothko

Yale University Press

For you Rothko fans out there.

How Marcus Rothkowitz Became Mark Rothko | Yale Press Log

Annie Cohen-Solal offers a detailed portrait of Mark Rothko, born Marcus...


Kimbell Art Museum

We continue our “Masters Sculptors and Painters” film series this Sunday at 2 p.m. in the Kahn Auditorium with the free screening of “Rothko’s Rooms,” which chronicles the life and work of American abstract artist Mark Rothko.

Where would you hang your ‪#‎Rothko‬? Check out our @TateShop custom prints http://ow.ly/HYodW

MoMA The Museum of Modern Art

On the final night of Hanukkah, wishing you peace and blessings.http://bit.ly/1wEeYNB

[Mark Rothko. "No. 10." 1950]

(Alfredo Aldai/epa/Corbis)
(Alfredo Aldai/epa/Corbis)

What does a Rothko sound like?
By Robert Cottrell
From The Browser

*****It has been a deliberately slow, painstaking process, but 18 months after Mark Rothko's Black on Maroon was vandalised with quick drying and theoretically indelible graffiti ink Tate Modern has revealed the successful results of one of its most difficult restoration projects
Team of experts took 18 months to remove ink on vandalised works and restore 1958 canvas Black on Maroon
The Guardian|由 Mark Brown 上傳

 此節目引用引多 Rothko 自己的情境說法. 很好.
 Rothko最佩服 林布蘭和Turner.....
 2006  The Power of Art - Rothko
 Simon Schama's J.M.W. Turner / Turner began his ca...


失根記。場所的光華。 《羅斯科傳》
James Breslin 著《羅斯科傳》張心龍 冷步梅 合譯,台北:遠流出版社,1997
James Breslin, Mark Rothko, A Biography (Chicago: University of Chicago Press,
中文本計 608頁。如果翻譯加注(無,不過,它附原文,方便自己動手查),可能要再加 50頁。有人名和其主要作品之索引,更方便的是Amazon 網站可以全文索引,譬如說,中文索引不收的Barnes (費城外著名的美術藏品基金會;姓)等等。遠流出版社網站有些資料如目錄、「精彩內容」等等。

原書或許是版權關係,重要作品「斯格蘭大廈的壁畫」之圖,並沒將之收入 不過這在網路上可以找到。本書(中文)未標作品尺寸。
我認為引 Simone Weil之言:To be rooted is perhaps the most important and least recognized need of the human soul.
超越也者,移植也者,異世界之闡釋: Rothko 喜歡前置詞 trans- 的字眼:transcend(這字本書用得相當多) translate transplant 等等( p.23, Dore Ashton noticed Rothko's fondness for words that have the prefix "trans," words like "transcend," or "translate," or "transplant."66 In Latin, the preposition "trans" means "across, to or on the farther side of, beyond, over." The English prefix suggests ..."

我認為將 a place 翻譯成「空間」不好。
"... projects he began to produce in 1958, Rothko could fill the walls of a room with such works, he would transplant himself (and others) into an environment where he did feel at home. "I have made a place." "
作品前我們面對的是孤絕、空虛、失落。 ……用作品來填滿房間的牆壁。
wall of light 似非"牆面上的光 "
Since by the end of the decade Rothko would be creating what have aptly been called "walls of light" whose declared purpose was the embodiment of tragic emotion, those remarks are very significant. ( p.359 13)
(13.) This expression was coined by Hubert Crehan in "Rothko's Wall of Light: Exhibition at Art Institute of Chicago," Arts Digest, Nov. 1, 1954, p. 19.

「休斯頓教堂」一章,現在多稱為「羅斯科小教堂」( The Rothho Chapel)。
"... you to a foyer, with a desk along the opposite wall, where you can buy postcards, slides, copies of Susan Barnes's The Rothho Chapel, An Act of Faith, or, on the way out, you can inscribe your thoughts about the chapel ..."

比較有趣的提到 The Rothho Chapel, An Act of Faith這本書。

An Act of Faith 是西方的專名,值得有心的人沉思。
(faith:喩(1)信德;信仰;信條;信理;信奉:指人答覆天主愛的邀請,讓祂作心中的主人,並願意按照祂的旨意行事;拉丁文為 fides;是天主所賜三超德之一,其它二德是望德 hope、愛德 charity。(2)信心;信任。
faith, act of:(1)信心行為;啟發信德。(2)信德頌:習用祈禱文之一。)

act of faith
Behavior that shows or tests a person's religious or other convictions, as in Rock climbing with a new, inexperienced partner was a real act of faith. The term is a translation of the Portuguese auto da fé, which referred to the sentencing and execution of heretics (often by burning at the stake) during the Inquisition, when punishing heresy was thought to constitute an assertion of faith. In modern times it is used for more benign circumstances. [Early 1700s]

au·to-da-fé n., pl. au·tos-da-fé
Public announcement of the sentences imposed by the Inquisition. /The public execution of those sentences by secular authorities, especially by burning at the stake.
[Portuguese auto da fé : auto, act + da, of the + fé, faith.]

其他還有書名 False Security p.188 )是雙關語,我們可以了解美國在1920-30年代在證券市場和消費者研究等都很澎拜。

其他還有許多地名,如,『聖經中的犧牲以撒處』、紐約的 Horn & Hardartis a company that came to prominence as the proprietors of the first automat in New York City. Au·to·mat 1903 A trademark used for automated restaurant services in which food is dispensed from vending machines. )等等 都可以更深入了解。

2015年8月30日 星期日

Why the ‘Barcelona’ Pavilion is a modernist classic (Jonathan Glancey )

Design Icons

Why the ‘Barcelona’ Pavilion is a modernist classic

National pride
The German Pavilion was commissioned to represent Germany at the 1929 International Exhibition in Barcelona. (Corbis)
Mies van der Rohe’s German Pavilion in Barcelona is one of the most influential modernist buildings of the 20th Century, argues Jonathan Glancey.

For more than half a century, the ‘Barcelona Pavilion’ haunted the imagination of modern architects worldwide. Here was one of the most enticing, beautiful and refined buildings of all time, and yet it had stood for no more than a few months before it was pulled down. All that was left, from 1930, of this exquisite structure by the great German architect Ludwig Mies van der Rohe (1886-1969) were drawings and photographs.
Even then, these were enough to inspire imperfect lookalike designs over several decades in the guise of new houses and art galleries. The reason this beautiful pavilion with its geometric arrangement of shimmering glass and marble planes – its slimline roof supported by eight of the slenderest chromed-steel columns– had been so short lived was that it had been nothing more, if nothing less, than a temporary exhibition space.
Set high on Montjuic, a hill overlooking the harbour of Barcelona, the pavilion was visited by hundreds of thousands of people. It was commissioned by the Weimar Republic; and its job was to advertise a new, progressive, democratic and modern Germany, a decade on from the Treaty of Versailles and the carnage of World War I. And, yet, this vision of the future was no starkly functional ‘machine for living’. No: the German Pavilion, to give Mies’s 1929 triumph its proper name, was realised in rich and stunning materials: four shades of tinted glass, along with marble, onyx, chromed steel and travertine.


trav • er • tine


on • yx
ɑ'niks | ɔ'n-
onyxes (複数形)
1 [U][C]《宝石》縞瑪瑙(しまめのう), オニキス.
2 [U]黒色.
━━[形]黒い, 漆黒の.

Out of this world
Set on a travertine plinth, its gleaming, offset walls created subtle spatial illusions enhanced by sunlight, and moonlight, shimmering and sparkling from both the rich building materials and from the rectangular pool that permeated the structure. Walking through the pavilion, with reflections of sun-dappled water playing on the underside of the roof, and breezes wafting through open walls, it was hard to tell interior from exterior. It was built quickly, as you expect of an exhibition stand, and yet the quality of the materials Mies chose meant that the German Pavilion looked as if it would last for decades rather than months. The roof – a thin plane of concrete render over steel – appeared to float over the structure, creating the extraordinary effect of a building that was at once substantial and ethereal.
This dreamlike sensation was reinforced by the fact that there was nothing to see inside beyond the architecture itself, save for a single sculpture of a female nude - Alba, or Dawn, by the German artist George Kolbe - and the architect’s new leather and chrome steel Barcelona chairs. While other nations worked hard to show what they were made of through rich and eclectic displays of art and design, Weimar Germany chose to represent itself through this minimalist and ethereal pavilion alone.

Master builder
Mies went on to great heights. Alongside Le Corbusier, Frank Lloyd Wright and Alvar Aalto, he has long been considered one of the masters of 20th Century Modern architecture. Germany, however, was under Nazi rule within just three years of the closure of the 1929 Barcelona Expo. Despite trying to win commissions, Mies was considered anathema by the new regime. The last principal of the Bauhaus – closed, under government pressure, in 1933 – he went to the Institute of Technology (ITT), Chicago, four years later, where he created a school of thought and design. A US citizen from 1944, he produced such magnificent buildings as the seemingly timeless bronze-clad Seagram Tower (1958) on New York’s Park Avenue. His cool, rational architecture – “less is more” he said, famously – was adopted by young modern architects worldwide, initially perhaps for the better, but as the quality dropped with quantity, for the worse. Less had become a bore.
The memory of the Barcelona Pavilion, however, lived on. It had demonstrated how beautiful and lyrical modern architecture could be. And, as modernism came increasingly under attack in the 1970s and 80s – accused of ugliness and even brutality – the aesthetic and cultural value of the pavilion only grew. In 1983, the Fundacio Mies van der Rohe was set up in Barcelona with the aim of recreating the legendary pavilion. Compelling, captivating and utterly enchanting, the replica opened in 1986. And, partly as a result, there was indeed a revival of purist modernism in Europe and the United States in the late Eighties and through the following decade.
Nothing, though - no prince, no planning authority, no public inquiry – could ever deny the beauty of, nor dent the reputation of the Barcelona Pavilion. Today, the perfect replica is open to the public everyday, a design as exquisite in its own modern way as a Greek temple, and so very happily sited in what – certainly in terms of architecture, design and urban planning – is, by common consent, one of the world’s greatest cities.
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例如首發的包浩斯經典椅──《巴塞隆納椅》(Barcelona Chair),此椅的設計精髓不瞞你說其實就在於椅腳,但此椅究竟是O型腿、X型腿、還是M字腿呢?還有還有,《巴塞隆納椅》身為包浩斯家具的代表作,但設計師密斯凡德羅其實在製造過程中嚴重犯了包浩斯設計的大忌!究竟設計師犯了什麼錯誤?而《巴塞隆納椅》又有哪3個設計亮點?椅子控們快跟著小編一起來破解《巴塞隆納椅》的設計重點吧!http://goo.gl/cEYvHm