2016年1月31日 星期日

Roger Fry, OmegaWorkshops

https://en.wikipedia.org/wiki/Omega_Workshops


《弗莱艺术批评文选》


作者:
沈语冰
分类:
其他   译作
发表于:
《弗莱艺术批评文选》江苏美术出版社 2010年7月
作品描述:
本书首次在中文中将罗杰·弗莱的重要论文汇于一集。这些论文再现了这位伟大的批评家长达40年的艺术生涯,覆盖了他对后印象派极富影响的辩护,对艺术教育、博物馆业、建筑、艺术设计的多样兴趣,以及将形式主义、现代主义理论从学院化、教条化的倾向中拯救出来的努力等广泛主题...
2人
2011-02-13 01:03:36
本书首次在中文中将罗杰·弗莱的重要论文汇于一集。这些论文再现了这位伟大的批评家长达40年的艺术生涯,覆盖了他对后印象派极富影响的辩护,对艺术教育、博物馆业、建筑、艺术设计的多样兴趣,以及将形式主义、现代主义理论从学院化、教条化的倾向中拯救出来的努力等广泛主题。本书既提供了一个从现代艺术批评最卓越的实践者的角度来考察其理论基础的机会,也提供了一个检验有关艺..
2011-02-14 07:26:33
沈语冰 内容提要:本文是作者为《弗莱艺术批评文选》中文版(江苏美术出版社,2010年)所撰写的译者导论的第一部分。它讨论弗莱围绕两届后印象派画展所撰写的一系列辩护文章,这些文章系统地发展了他的形式主义批评方法,从而为现代主义艺术理论奠定了基础。第二部分“形式主义者如何介入生活:罗杰•弗莱和他的时代”则联系弗莱的中期写作,着重论证弗莱作为一个形式主义者介入各...
2011-02-14 07:27:00
形式主义者如何介入生活:罗杰·弗莱与他的时代 沈语冰 [提要]本文是作者为《弗莱艺术批评文选》中文版所撰写的译者导论的第二部分。第一部分“后印象派画展与现代主义批评理论的奠基”,讨论弗莱围绕两届后印象派画展所撰写的一系列辩护文章,这些文章系统地发展了他的形式主义批评方法,从而为现代主义艺术理论奠定了基础。第二部分(即本文)则联系弗莱的中期写作,着重论证...
2012-07-06 00:27:21
对形式主义美学的再认识:论罗杰·弗莱的晚年思想 沈语冰 内容提要:本文是作者为《弗莱艺术批评文选》中文版(江苏美术出版社,2010年)所撰写的译者导论的第三部分。第一部分“后印象派画展与现代主义批评理论的奠基”,讨论弗莱围绕两届后印象派画展所撰写的一系列辩护文章,这些文章系统地发展了他的形式主义批评方法,从而为现代主义艺术理论奠定了基础。第二部分“形式主义者...
2011-02-14 07:24:25
沈语冰 罗杰·弗莱(1866-1934),英国著名艺术史家和美学家,20世纪最伟大的艺术批评家之一。早年从事博物馆学,属于欧洲顶级鉴藏圈子的鉴定大师,后来兴趣转向现代艺术,成为后印象派绘画运动的命名者和主要诠释者。他提出的形式主义美学观构成现代美学史的主导思想。著有:《贝利尼》(1899)、《视觉与设计》(1920)、《变形》(1926)、《塞尚及其画风的发展》(1927)等。 ...
2011-02-24 18:17:41
伦勃朗被称为绘画中的莎士比亚。这是那种能产生轻微但却清晰的令人作呕感觉的说法之一。最糟糕的是,其中还真有些道理。不管怎么说,人们是带着某些会激怒莎士比亚的批评家们的混合情感来趋近伦勃朗的。人们来到了一个早已充塞着祭品的神龛,其中多是令人怀疑的趣味,而人们对这一神明的看法则因为大量先前崇拜者的痕迹而受到轻微的打扰与模糊。人们最好忘掉它们,甚至抗拒一下微妙的诱惑... (9回应)
2012-11-01 12:28:06
《弗莱艺术批评文选》是“艺术理论与批评译丛”的开篇,我对它曾经寄以厚望,它也确实没有令我失望。以它为代表的译丛各卷,正在艺术界发挥积极影响。此书,连同前两年出版的评注本《塞尚及其画风的发展》(罗杰·弗莱著,沈语冰译注,广西师范大学出版社,2009年版),持续成为业界的热门读物,还得到了80多岁高龄的钟涵先生的关注。蒙其不弃,我2011年5月在其主持的造型研究所作了题为..




ロジャー・フライ


ロジャー・フライの自画像
ロジャー・フライRoger Eliot Fry1866年12月14日 - 1934年9月9日)は、ロンドン生まれの、イギリス画家・芸術批評家で、またブルームズベリー・グループの一員であった。

生涯[編集]

彼は、ケンブリッジ大学のキングス・カレッジに学び、そこでケンブリッジ使徒会Cambridge Apostles)の一員に迎えられる。彼は最初の試験を自然科学で合格した後、パリとイタリアに赴き、そこでイタリア美術を勉強した。その後、彼は最終的には風景画家となった。
1910年、彼はブルームズベリー・グループのメンバーたちと共に、ポスト印象派の展覧会をロンドンで企画する。この企画は、フライが愛情を抱いていたオットリン・モレルがこれを後援した。1913年には、「オメガ・ワークショップ」(Omega Workshop)という一種のデザイン工房を設立。ここに、ヴァネッサ・ベルダンカン・グラントも所属した。ダンカン・グラントは、当時ヴァネッサ・ベルの恋人だった。
ヴァネッサの妹で、作家ヴァージニア・ウルフが彼の評伝を書いている。『ロジャー・フライ伝』(宮田恭子訳、みすず書房 1997年)。


Roger Fry
River with Poplars, circa 1912, Tate Gallery.
Enlarge
River with Poplars, circa 1912, Tate Gallery.
Roger Eliot Fry (14 December 18669 September 1934) was an English artist and critic, and a member of the Bloomsbury group. Despite establishing his reputation as a scholar of the Old Masters, as he matured as a critic he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. The first figure to raise public awareness of modern art in Britain, he was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin... In so far as taste can be changed by one man, it was changed by Roger Fry".

Life

Born in London, the son of the judge Edward Fry, he grew up in a wealthy Quaker family. Before going up to Cambridge Fry was educated at Clifton College. Fry studied at King's College, Cambridge, where he was a member of the Cambridge Apostles. After taking a first in the Natural Science tripos, he went to Paris and then Italy to study art and eventually he specialised in landscape painting.
In 1896, he married the artist Helen Coombe and they subsequently had two children, Pamela and Julian. However, Helen soon became seriously mentally ill. In 1910, she was committed to a mental institution, where she remained for the rest of her life. Fry took over the care of their children on his own.
In 1911, Fry began an affair with Vanessa Bell, who was then experiencing a difficult recovery from the birth of her son Quentin. Fry offered her the tenderness and care she felt was lacking from her husband, Clive Bell. They remained lifelong close friends, even though Roger's heart was broken in 1913 when Vanessa fell in love with Duncan Grant and decided to live permanently with him.
After short affairs with such artists as Nina Hammett and Josette Coatmellec, Roger too found happiness with Helen Maitland Anrep. She became his emotional anchor for the rest of his life, although they never married (she too had had an unhappy first marriage, to the mosaicist Boris Anrep).
Fry died very unexpectedly due to a fall at his home. His death caused great sorrow among the members of the Bloomsbury Group, who loved him for his generosity and warmth. Vanessa Bell decorated his casket before he was buried at Kings College Chapel in Cambridge. Virginia Woolf, Vanessa's sister, novelist and a close friend of Roger as well, was entrusted with writing his biography, that was published in 1940.

Career

In the 1900s, Fry started to teach art history at the Slade School of Fine Art, University College London. In 1906 Fry was appointed Curator of Paintings at the Metropolitan Museum of Art in New York. This was also the year in which he "discovered" the art of Paul Cézanne, beginning the shift in his scholarly interests away from the Italian Old Masters and towards modern French art. In 1910, Fry organised the exhibition Manet and the Post-Impressionists (a term which he coined) at the Grafton Galleries, London. Despite the derision with which the exhibition was met, Fry followed it up with the Second Post-Impressionist Exhibition in 1912. It was patronised by Lady Ottoline Morrell, with whom Fry had a fleeting romantic attachment. In 1913 he founded the Omega Workshops, a design workshop whose members included Vanessa Bell and Duncan Grant. In 1933, he was later made the Slade Professor at Cambridge, a position that Fry had much desired.

Works

  • Vision and Design (1920)
  • Transformations (1926)
  • Cézanne. A Study of His Development (1927)
  • Henri Matisse (1930)
  • French Art (1932)
  • Reflections on British Painting (1934)

References

  • Virginia Woolf, Roger Fry: a biography (1940) ISBN 0-15-678520-X
  • Frances Spalding, Roger Fry, art and life (1980) ISBN 0-520-04126-7

External links

Fry was born into a Quaker family and was educated at the University of Cambridge for a career in science. His interest in art grew, however, and he studied painting in Italy and also began to lecture on art. His first book, Giovanni Bellini, was published in 1899. Thereafter he published art criticism, and in 1905 his edition of Joshua Reynolds's Discourses was published.
Fry first came into contact with the work of the French painter Paul Cézanne in 1906, and the experience changed the course of his life. He began to publish articles on the works of Cézanne, Paul Gauguin, Henri Matisse, and Vincent van Gogh, for in these painters he saw a merging of the structural understanding of the classical artists with the colour explorations of the Impressionists. Upon his return to London, Fry became associated with the Bloomsbury group. In November 1910 he organized for the Grafton Galleries the first of two painting exhibitions that were to revolutionize aesthetics in England. The uproar over “Manet and the Post-Impressionists” was considerable; it removed Fry from the ranks of traditional and academic critics and propelled him into the vanguard of art criticism. A second exhibition of a similar nature opened in October 1912.
In 1913, following a precedent that had been set by William Morris and the Arts and Crafts Movement, Fry organized a group of young artists into a collective called the Omega Workshops. The goal of the collective was to infuse the innovative aesthetic of Post-Impressionism into the design of everyday functional objects (such as drapery, furniture, and china). The bright colour and ornamental pattern used by these artists marked a fresh departure from the more restrained design of the Arts and Crafts Movement. Omega remained in operation until 1919.
Fry continued to lecture, travel, and paint throughout his life. His legacy is a body of art criticism and theory that includes Vision and Design (1920), Transformations (1926), Cézanne (1927), Henri Matisse (1930), and several other collections of lectures. He also wrote the Britannica Classic on Paul Cézanne. In 1933 he was appointed Slade Professor of Fine Art at Cambridge.

Additional Reading

Virginia Woolf, Roger Fry, ed. by Diane F. Gillespie (1995, reprinted with corrections; first published 1940); Donald A. Laing, Roger Fry: An Annotated Bibliography of the Published Writings (1979); Frances Spalding, Roger Fry: Art and Life (1980).



December 14, 1866, London, England
died September 9, 1934, London

Photograph:Self-portrait by Roger Fry, oil on canvas, c. 1928; in the Courtauld Gallery, London.Self-portrait by Roger Fry, oil on canvas, c. 1928; in the Courtauld Gallery, London.
© Courtauld Gallery, London, UK



100 curators from across the Museum to talk about 100 works of art that changed the way they see the world.


It’s Inspire Your Heart With Art Day! Watch as 100 curators from across the Museum to talk about 100 works of art that changed the way they see the world. http://met.org/1RRBbTI
Alexander McQueen (British, founded 1992) | Alexander McQueen (British, 1969–2010) | Ensemble | spring/summer 1999

John Marin,Thomas Eakins (American, 1844–1916)


Happy birthday to Thomas Eakins, born on this day in 1844. Eakins was in the vanguard of young painters who would shift the focus of American art from landscape to the figural subjects favored by the European academies. Learn more about the artist and view a slideshow of works: http://met.org/1KisIFH
Thomas Eakins (American, 1844–1916) | The Artist's Wife and His Setter Dog | ca. 1884–89





What do you think of when you hear the word "pathetic?"
During Thomas Eakins's lifetime, "pathetic" was synonymous with moving, poignant, or touching—lacking today's negative connotation. The pathetic song, a popular type of melody in 1860s and 1870s America, told tales of woe, such as death or tragic circumstances befalling innocent women or children. Recited by the singer as autobiographical, such ballads often moved audiences to tears.
In this picture, an earnest young singer is accompanied by a pianist and cellist. She concentrates on holding a note of her tune. How has Eakins chosen to convey the mournful tone of the woman’s song?
"Singing a Pathetic Song" is on view in the West Building, Gallery 69:http://1.usa.gov/1N70BYF
Thomas Eakins, "Singing a Pathetic Song," 1881, oil on canvas, National Gallery of Art, Washington, Corcoran Collection (Museum Purchase, Gallery Fund), 2014.79.19


National Gallery of Art
The Gallery’s “Picture This” tours make the collection more accessible to adult visitors with visual impairments. Tomorrow, June 24 and Saturday, June 27 at 1:00 p.m., explore American sport in paintings by Eakins and Homer.
Thomas Eakins, "The Biglin Brothers Racing," 1872, oil on canvas




When the Woolworth Building was completed in 1913, it was the tallest building in the world and an important symbol of the modern age. John Marin made numerous drawings, etchings, and watercolors of the building over the course of several years. In “Woolworth Building, No. 28,” the weight of color and form across the lower register of the work allows the tower to soar, while Marin’s energetic brushwork in the sky draws further attention to this architectural achievement.
John Marin, “Woolworth Building, No. 28,” 1912, watercolor over graphite

'Blook' madness: inside the world of 'bogus books'


From book-shaped biscuit tins to literary handbags, blooks (an abbreviation of "book-look") are a little quirky, but entirely delightful.

An exhibit at the Grolier Club in Manhattan this month explores the things that look like books, but aren’t
THEGUARDIAN.COM

2016年1月30日 星期六

形式的起源 Origins of Form: The Shape of Natural and Man-made Things: Why They Came to Be the Way They Are and How They Change

形式的起源:萬物形式演變之謎,自然物和人造物的設計美學×科學探索

Origins of Form: The Shape of Natural and Man-made Things: Why They Came to Be the Way They Are and How They Change

  • 原文作者:Christopher Williams
  • 譯者:甘錫安
  • 出版社:臉譜  2015
  • 萬物的世界,一切皆非理所當然――――
      尺寸的極限 × 材料的可能 × 元素的關聯 × 機能與設計的仿生美學

      三角形、方形、圓形為什麼最常出現?
      雞蛋的形狀和雨滴的形狀有何關聯?
      什麼樣的物件可能存在或不可能存在?
      什麼樣的建築應該建造或不應該建造?
      永續長存的形式的共通要素是什麼?

      ◎自然的物、人造的物,各種各樣的物如何成為今日的形式?

      無論是一個原子在大氣運動中的路徑,或者工匠工具的演變,
      或是森林中、河岸邊一棵樹的生長,
      都有其形式的成因和變遷發展的故事。
      透過「形式」的演化,一切事物有了連結。

      鍛鐵與茂盛生長的樹有相似之處,鐵橋與兀鷹中空的翅骨相仿,
      植物葉片生長的形式與鹿角的曲線形狀相近。
      在綿長的時間尺度中,動物植物、液體固體、山脈地景、玻璃鋼鐵……
      一個物件該有多大多小、什麼樣的材料可以做出怎樣的物件、
      物件的形式與它的機能及它的設計之間的關係是什麼、
      一個物件的使用會如何改變物件本身、哪些定律影響物件的發展,
      種種問題都有了最適解答。

      本書以「形式」為中心,探索萬物形式的根源和演化,包羅領域含括設計理論、力學、結構和材料領域、地質學、生物學、人類學、古生物學、形態學。

      清晰易讀的闡釋說明、流暢優美的敘事、精繪細製的美麗插圖,帶領讀者領略這個充滿魅力的主題,開闊視野,而我們也能知道我們的世界如何成為今日的樣子。

      ◎對我們所在世界的獻禮――――「被埋沒的珍寶……令人深深著迷」

      樹木高度受哪些因素限制?大型船隻或辦公大樓為何比小型船隻或一般大樓效率更高?人類的胸廓與飛機、野牛與懸臂橋之間有何共通點?我們應該如何規畫,讓物件不會因使用而磨損,而且越用越好?本書作者提出對三度空間形式最具影響力的八種基準,分為八大主題,每個主題各構成一章,以完全不同的角度探索各種形式從何而來、往何處去,並仔細觀察及比較自然生成的產物和人工製作的物件。

      本書激發讀者開始觀察周遭環境,拋開以往對人類環境中的形式演變的成見和漠不關心,並告訴讀者更好的設計方式。作者以實際且直截了當的筆觸,搭配特別為本書繪製的精美插圖,提供關於「形式」的整體知識和了解。

      對學生、設計師、建築師來說,本書是價值非凡的作品;每一個關心自己所在世界的人,也可藉由本書踏入這個令人著迷的主題。

    ★專業審訂與推薦:

      呂良正 國立台灣大學土木工程學系教授兼系主任、康乃爾大學理論與應用力學博士
      劉曼君 中華工程教育學會(IEET)辦公室主任、克萊蒙研究大學高等教育政策與行政管理博士

    ◎對本書的讚譽

      「形勢比人強?原意用在形容我們面對的處境,但用在萬物的形式(FORM)上也行得通,也就是形式比人強。萬物都是演化而來,其形式或形狀某方面來說都是最佳最強的!近年來流行的仿生學就是由生物的強項上獲得啟發,進而用於產品的開發與設計。本書深入淺出探討自然物和人造物的形式,把原本看似不相關的東西串連起來。萬物運行是否有統一定理可茲遵循?本書也許可以給我們部分答案……」――呂良正 國立台灣大學土木工程學系教授兼系主任、康乃爾大學理論與應用力學博士

      「作者以平易又流暢的文字,勾勒出天然和人造物質的形式及其形成原理,生動又饒富趣味,自然又蘊含深刻哲理;不知不覺中,讀者被鼓勵以不一樣的眼光反思我們的自然環境和周遭的事物,讓我們體悟到,大多數存在的物質確實已是文明演變下的最佳型態了。但就在這當下,作者又巧妙地提醒:現今所見的可能都是暫時的型態,人類文明的演變讓未來充滿了機會和可能性!」――劉曼君 中華工程教育學會(IEET)辦公室主任、克萊蒙研究大學高等教育政策與行政管理博士
     

    作者介紹

    作者簡介

    克里斯多福•威廉斯Christopher Williams


      畢業於紐約普瑞特藝術學院(Pratt Institute),後就讀海德堡大學,安提亞克學院(Antioch College)設計理論博士。

      教授設計理論多年,並撰寫許多相關文章,曾於多所院校教授設計和建築,包括加州大學洛杉磯分校、克里夫蘭藝術學院、加拿大亞伯達大學(University of Alberta)、康乃爾大學設計暨環境分析系,亦於洛杉磯南加州建築學院(Southern California Institute of Architecture)授課。

      另著有《必需品的工匠》(Craftsmen of Necessity)一書。現居加州大蘇爾(Big Sur)。

    譯者簡介

    甘錫安


      學業結束後由科學界踏入「譯文界」,現為專職譯者。曾擔任Discovery頻道與資訊雜誌編譯,現仍定期為《科學人》及《BBC知識》等雜誌翻譯。書籍譯作包括《愛因斯坦1905》、《攝影師之心》、《圖解達文西機器人》、《樂觀是一種選擇》等。

      目前住在有山有海有美食的台灣頭基隆,熱愛吸收各類知識,正努力朝「全方位譯人」的目標邁進。最大的心願是知識普及、人人快樂。
     

    目錄

    新版序

    前言

    1 形式與物質
    原子的一生
    物質的三態:氣態、液態、固態
    時間和萬物的漸變
    均化的過程:由高到低和由熱到冷等
    細胞:由內部發展
    晶格結構:由外部發展
    脫水、腐朽、侵蝕、磨損、氧化
    磨損的成因
    表面:近距離與遠距離觀察
    材料的特質
    紋理、木材和鍛鐵
    新材料的製造和形式

    2 壓桿與拉桿:結構元素
    經濟性的必要:以最小成本獲得最大效益
    決定形式的力:張力、壓力、彎曲、剪力、扭轉
    張力結構:輕盈又有柔性
    壓力結構:沉重而堅實
    動物的身體結構
    鳥類:結構統一性的傑作
    細緻的人類結構形式
    三角形、球形和圓頂
    未來的結構:透過柔性提供強度

    3 尺寸
    相對量和絕對量
    極大和動態相似性定律
    大與小的生命模式
    功和運動:尺寸的優點和缺點
    人造的建物和尺寸

    4 機能的形式
    形隨機能但永遠追趕不上
    市場中的選擇過程
    專門化:高度適應的形式
    傳統:滿足機能需求的阻礙
    多功能:通用的形式
    形式、機能和經濟性,為何某些形式歷久彌新?
    跨機能主義:滿足某一需求但不利於另一需求
    貫機能主義:整合互相對立的需求
    機能、時間和變化――萬物都會經歷以下過程:
    平衡:在某段時間內維持不變
    動態:必然發生的改變
    創造:舊蛻變成新

    5 世代:來自過去的影響
    最初的工具
    發現、發明和影響的順序:
    原發突變:經調整的初發現
    自由突變:改良新的發現
    替代:物質的改變
    交叉突變:借用概念
    獨立發現vs.科技擴散
    真正的創造:產出以往不存在的事物
    擴散的終結與跨社會知識的開端
    近親繁殖和遠親繁殖得來的知識
    從獸力到機械力
    剩餘形式:變化後的殘餘

    6 生態表現型效應:環境中的形式
    形式在個別環境中透過使用、生長和發揮機能所產生的變化
    工匠的產品獨特性
    工作坊和磨坊:較為一般化的生產
    工廠系統、大量生產、分工、標準化和互換性
    製造過程只是開端:出自使用者的產品

    7 目的論:世界一家
    物質世界概觀:萬物對相同法則的反應
    統一化原理的視覺化檢視:
    費布那西數列
    黃金分割
    對稱
    流線
    空間分割
    120度交叉
    緊密堆積
    六角網

    8 機率與非理性
    機率的影響
    就機率而言不存在但應該存在的事物
    理論家的地景:產品歷經起伏通過高山和深谷地形的淬鍊不斷演變,受機率影響,最後抵達適用的顛峰

    注釋
    參考書目

(中村) 方眼Note (方格筆記本)

閱讀全文:http://asahichinese.com/article/news/AJ201601300015
點選右上角可轉繁體喔!

孫女的推特文 為爺爺的方格筆記本帶來奇蹟

January 30, 2016
文/攝影: 若松真平
  在東京的一間小印刷廠所親手製作的方格筆記本。雖然申請到專利,但卻因為完全賣不出去而堆積如山的庫存方格筆記本,卻在一夕之間爆紅。
  這是因為,方格筆記本製作者的孫女,於元旦在推特上的一篇投稿。原本僅有7000到8000本的庫存,卻湧入超過3萬本的訂單,就連文具大廠也前來提出合作邀約。
  製作這些方格筆記本的,是位在東京都北區的「中村印刷廠」。會開始製作這本筆記本,是由於附近一間79歲的男性所經營的裝訂業,約在3年前結束營業。72歲的社長中村輝雄向79歲的男性搭話「要不要來我店裡幫忙?」而後那名男性便開始在印刷廠裡打工。
  而中村社長和這名男性耗費2年時間所完成的,便是方格筆記本。不管是翻開哪一頁,中間的部分都不會彎起而是保持平坦狀態。即使不用手壓著,也能漂亮地掀開。影印時,中間不會變黑則是其特徵所在,而公司也就此製作方法申請專利。
  方格筆記本於2014年10月開始販售,但對於不曉得推銷方法的印刷廠而言,筆記本可說是完全賣不出去,以致留有7000到8000本的庫存。
  「明明用看看,就可以知道優點何在。」於是該名男性便將筆記本拿給就讀專門學校的19歲孫女,並表示:「把這個拿給學校的朋友。」
  但是,收下筆記本的孫女心想「學校裡好像沒有需要筆記本的人。但若是給在推特上交流的畫家們,他們應該會很開心吧」。
  於是,她在今年元旦時,隨手於推特上投稿一篇文。
  「這是我爺爺做的筆記本,因為沒有資金所以無法宣傳」、「如果有人想要,可以和我說」。
  推特一發出去之後,馬上就湧入許多的詢問。「感覺從事建築業的人應該會需要」、「念工科的兒子說想要」、「可以在哪裡買?」
  販售該方格筆記本的知名網購平台等處,接連出現售罄的情況。雖然因為湧入多筆訂單而感到開心,但另一方面,小小的印刷廠沒有消化這些訂單的能力。還因為湧入3萬本以上的訂單,導致現在暫時停止販售。
  在推特所投稿的那篇文後約半個月,也就是1月中旬時,文具大廠的負責人造訪了印刷廠,提出希望展開合作的事宜。不僅如此,就連銀行也前來提出貸款的建議。
  對此,孫女表示:「這次的成功是取決於筆記本本身很好與說了『想要用用看』的眾多網友的捧場支持。我不過是事情的中間橋梁,真的非常感謝幫忙推廣的大家。」

2016年1月29日 星期五

Fête des Lumières

Fête des Lumières
2012等年度的回顧也不錯!

陳志誠

國內的北市政府與高雄市政府都曾去參訪過的里昂燈節!
北市燈節如今見之,令人錯愕!因其僵化因循無創造力,或說加入藝術科技!然而竟只是一種與創作無關之應用。國人會說如果不是如此俗媚,則無人可以理解,如果沒有一個故事則國人。。。,對不起,藝術官感感受之五感體系可與語意言思有加乘效用,但是未必然與言語理思系統等同!更何況參觀人次,喜悅融入節慶等,法國燈節有較遜色嗎?

Jacob van Oost the Elder

Jacob van Oost - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Jacob_van_Oost
Jacob van Oost or Jacob van Oost the Elder (1603–1671) was a Flemish painter of history paintings and portraits. He was the most important painter of Bruges in ...


The design of 'Portrait of a Boy aged 11' by Jacob van Oost the Elder concentrates upon the face and its expressions. The colouring is muted, enlivened only by the fur of the muff and the hat:http://bit.ly/1OSzZJX