2017年12月31日 星期日

Wim Wenders: Einmal. Bilder und Geschichten.《一次:》,


What about the State Library of Berlin, a ‘60s design by Hans Scharoun where angels read the patron’s thoughts in Wim Wenders’ Wings of Desire?


Einmal. Bilder und Geschichten.
Wim Wenders: Einmal. Bilder und Geschichten. Verlag der Autoren, Frankfurt a. M. 1994. 4. Auflage, Schirmer/Mosel-Verlag, München 2015,

Once. Pictures and stories.1994
一次  台北:田園城市,2005 作者:文.溫德斯  Wim Wenders 譯者:崔嶠、呂晉

翻讀Wim Wenders: Einmal. Bilder und Geschichten (1994年 Once. Pictures and stories.1994)的翻譯本《一次:》知道是獻給小津的攝影師 Yuharu Atsuta (1904~92)的,嘆聲氣。翻莫斯科紅場旁的棚屋之 故事....... ,



The Yorkshire Sculpture Park in Wakefield exhibition will be a kind of homecoming for Tony Cragg.

感動!
Tony Cragg on 'Brilliant Ideas'
Brilliant Ideas
December 27th, 2017, 4:35 AM GMT+0800
Turner Prize-winning sculptor Tony Cragg has a huge international reputation and has represented Britain at the Venice Biennale, but home is in Wuppertal, Germany where he’s lived and worked since 1977. Tony has lived and worked in Germany for 40 years but hasn’t had a major exhibition in his native UK for decades, until now. The Yorkshire Sculpture Park in Wakefield prepares for his largest exhibition to date. This exhibition will be a kind of homecoming for Tony. He was born in Liverpool in 1949 but grew up in various places throughout Britain as a result of his father’s engineering job. (Source: Bloomberg)

https://www.bloomberg.com/news/videos/2017-12-26/tony-cragg-on-brilliant-ideas-video

2017年12月29日 星期五

Korean collections, from the golden bronzes of the 6th century to the screens of the Choson period (1392-1908)


National Museum of Asian Arts - Guimet
A detour to the quiet Morning Country?

Come and discover the treasures of our Korean collections, from the golden bronzes of the 6th century to the screens of the Choson period (1392-1908).

More information about Korean collections:

Un détour par le Pays du Matin calme ?
Venez découvrir les trésors de nos collections coréennes, des bronzes dorés du VIe siècle aux paravents de l'Époque Choson (1392-1908).
Plus d'informations sur les collections coréennes : http://www.guimet.fr/collections/coree/
📷 Stéphane Ruchaud


2017年12月28日 星期四

Sergei Pavlovich Evangulov (1893-1986)



Согласно народному календарю, 27 декабря (по новому стилю) - Филимонов день, когда "выходят ехидны, кикиморы и жалятся у оконниц, а нетопыри ухают, белесоватые глазницы пучат".
Евангулов С.П. | Эскизы-варианты скульптур "Кикимора" и "Пряха" | 1984 г.
Сергей Павлович Евангулов (1893-1986) - заслуженный художник РСФСР, скульптор малых форм, мастер художественной резьбы.



According to the folk calendar, on December 27 (according to a new style) - Filimonov is the day when "echidna, kikimoras come out and sting at the windows, while the batters are moaning, whitish eye sockets are whipped."

Evangulov S.P. | | Sketches-variants of sculptures "Kikimora" and "Pryakha" | 1984

Sergei Pavlovich Evangulov (1893-1986) - Honored Artist of the RSFSR, sculptor of small forms, master of artistic carving.


根據民間的日曆,12月27日(根據一個新的風格) - Filimonov是“針鼴,kikimoras出來,刺在窗戶,而打擊者呻吟,白色的眼窩被鞭打的一天。

Evangulov S.P. | | 草圖 - 雕塑“Kikimora”和“Pryakha”|的變種1984年

Sergei Pavlovich Evangulov(1893-1986) - RSFSR榮譽藝術家,小型雕塑家,藝術雕刻大師。

2017年12月27日 星期三

stenciling. Pochoir (French: “stencil”),

Pochoir | art | Britannica.com

https://www.britannica.com/art/pochoir
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Learn about this topic in these articles: stenciling. In stenciling. Pochoir (French: “stencil”), as distinguished from ordinary stenciling, is a highly refined technique of making fine limited editions of stencil prints. It is often called hand colouring, or hand illustration. The 20th-century artists Pablo Picasso and Joan Miró made prints in this technique for book… Read More. Related Topics. cliché-verre · graphic art · Joan Miró · monotype · Pablo Picasso · printmaking · rubbing · stenciling · art.

Pochoir | Definition of Pochoir by Merriam-Webster

https://www.merriam-webster.com/dictionary/pochoir
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Define pochoir: a stencil process for making colored prints or adding color to a printed key illustration.

Pochoir - Smithsonian Libraries - Smithsonian Institution

www.sil.si.edu/ondisplay/pochoir/intro.htm
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Introduction by Stephen H. Van Dyk and Carolyn Siegel. Select Resources About Pochoir. The Cooper-Hewitt National Design Museum Library, Smithsonian Institution Libraries, has a rich collection of vibrantly colored illustrated books and periodicals that were created using the pochoir stenciling process. The pochoir process, characterized by its crisp lines and brilliant colors, produces images that have a freshly printed or wet appearance. This display provides a brief history and ...

The Metropolitan Museum of Art, New York 
The "Gazette du bon ton" was published from November 1912 to summer 1915 and from January 1920 through December 1925. The complete run consisted of twelve volumes. The "Gazette" featured elegant fashions of pre- and postwar France by leading designers, utilizing the technique that revolutionized fashion illustration—pochoir, or stenciling by hand with watercolor. Contributing artists included Georges Lepape, Pierre Grissaud, H. R. Dammy, Georges Barbier, Strimpl, Maggie, and Guy Arnoux.
Featured Artwork of the Day: Gazette du bon ton: arts, modes et frivolities | 1912–15 and 1920–25 | French http://met.org/2iyC0aP

lustreware



Lustreware - Wikipedia

https://en.wikipedia.org/wiki/Lusterware
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Lusterware or Lustreware is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence, produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", reduction kiln, which excludes oxygen. Contents. [hide]. 1 Pre-modern wares; 2 English and American lustreware; 3 See also; 4 Notes; 5 References; 6 External links. Pre-modern wares[edit]. The first use of lustre decoration was as painting on glass.

ラスター彩
ラスターさい
ラスター彩とは、焼成した白い錫の鉛釉の上に、銅や銀などの酸化物で文様を描いて、低火度還元焔焼成で、金彩に似た輝きをもつ、9世紀-14世紀のイスラム陶器の一種。ラスターとは、落ち着いた輝きという意味。 中国建窯の、曜変・油滴・禾目などの天目茶碗は、この影響を受けて作られ、ラスター現象が見られる。ウィキペディア




Modigliani: Fevered Life, Pure Line by Jenny Uglow: Modigliani VR: The Ochre Atelier behind-the-scenes

The New York Review of Books

"The curators of two exhibitions of Modigliani's work insist that they are offering a corrective to the myth of the artist’s life as a wild, reckless, self-destructive ride," writes Jenny Uglow. "But can we separate the two, the life from the myth?"

These sensual images, with curving shoulders, breasts, and thighs outlined in black, with clever references to both old masters and contemporary styles, were a bald commercial venture. But these nudes overcome the cynical…
NYBOOKS.COM

Jenny Uglow

A single Modigliani portrait or nude is strikingly beautiful—the elongated face, the tilted head, the lithe pose. Yet when a host of them crowds together, as they do in a major retrospective currently at the Tate Modern, the initial impact is oddly diluted.
 Surrounded by portraits from his first years in Paris, my first response was, “Surely they couldn’t all have had V-shaped eyebrows and sunken, oval eyes?” The mannerisms display a young man out to make a mark, to signal his presence in an immediately recognizable style. It’s irresistible to quote Jean Cocteau, who left Amedeo Modigliani’s portrait of him in the studio because, he claimed, he couldn’t afford the cab-fare to take it home. “It doesn’t look like me,” he said. “But it does look like Modigliani, which is better.”   

Princeton University Art Museum/Art Resource NYScala, Florence/Tate Amedeo Modigliani: Jean Cocteau, 1916; click to enlarge To emphasize the sameness of the portraits, though, is to ignore the subtle modulations, the rough backgrounds that let the figure stand out, the urgent quest for expression, perhaps a striving to understand the nature of identity itself. Sometimes, Modigliani suggests the spirit of his subjects so acutely that we can almost hear them talking, as in the portraits of his dapper, nervy patron, Paul Guillaume. And in the Tate show, two people escape his formula altogether, as if their personalities were too large to fit the frame. One is an unrecognizable, bubble-faced Picasso, the other a marvelously forceful Diego Rivera, filling the canvas with rolling energy. 

 A Sephardic Jew, born into a trading family in Livorno, Modigliani was often ill, suffering from tuberculosis in childhood. In his teens, he studied art and paid visits to Venice, Florence, and Siena, and read Baudelaire and Mallarmé, Nietzsche, and Bergson. Restless and bored, he dreamed of Paris, home of the daring Cubists and Fauves. He arrived there in 1906, aged twenty-one, two years after Picasso, Matisse, and Brancusi, and headed straight for the legendary bohemian village Montmartre. There, he found a patron in the doctor and collector Paul Alexandre, and shared studio space with other artists in the rue du Delta. (A fine portrait of Paul’s brother, Jean Alexandre, with a sweet-faced nude on the back of the canvas, is like an image of the dress and undress of this milieu.)  

 Richard Nathanson/Photo by Prudence Cuming Associates, London/The Jewish Museum, New York Amedeo Modigliani: Female Nude with a Lighted Candle and Chandeliers, inspired by Anna Akhmatova, circa 1911; click to enlarge An evocative montage of photographs and film brings Montmartre before us and shows Modigliani on the move in 1909, when he followed Brancusi across the city to Montparnasse. With its famous cafés of La Rotonde, Le Dome, and La Closerie des Lilas, and the collective studios of La Ruche (the beehive), Montparnasse was a crossroads of ideas and aesthetic movements, consciously cosmopolitan. Modigliani’s early works, with their rough brushwork and bright colors, show how he had studied Cézanne and Toulouse-Lautrec, while his pale-visaged women betray their Symbolist heritage.  

Soon, though, like many of his peers, Modigliani looked further afield, becoming fascinated by primitivism, African masks, Egyptian statues, and the “Khmer” Buddhas of Cambodia. Encouraged by Brancusi, he turned back to an early love, sculpture, carving directly from the limestone and sandstone blocks that lay scattered around Paris building sites. Seven of his stone heads, with their elongated, simplified form, appeared among the Cubist paintings at the Salon d’Automne in 1912. The selection of sculpted heads at the Tate—monumental, graceful, eerily calm—are balanced by his drawings of caryatids, exploring the poetics of strength, the body as architecture, or, as he put it “columns of tenderness.” 

 In the concurrent exhibition “Modigliani Unmasked,” at the Jewish Museum in New York, an array of caryatid sketches are accompanied by stylized drawings of heads whose facial geometry seems almost obsessively serene, an unobtainable ideal. The curators of both shows insist that they are offering a corrective to the myth of the artist’s life as a wild, reckless, self-destructive ride. But can we separate the two, the life from the myth? If anything, the Tate’s chronological arrangement highlights the biography, and the contrast between the purity of his line and the chaos of his life. This raises the hoary question of whether knowledge of an artist’s flaws somehow devalues the art. In Modigliani’s case, I don’t think this is the case. True, he wilfully, proudly, acted out the Modernist role of suffering artist; he priapically objectified the female body; he embraced the cultural appropriation of “primitive” art without a flicker of unease. His days were drowned in absinthe and hashish—when drunk, he yelled wild bursts of Dante and Villon and Ducasse’s mad, ferocious Chants de Maldoror (a favorite of the Surrealists a decade later). Friends watched him explode with violence or hurl himself against a wall in despair. But oh, how he worked.  

modigliani-seance The Jewish Museum, New York Amedeo Modigliani: Portrait of a Woman Taking Part in a Spiritualist Séance, circa 1906 


He could paint a portrait in an intense few hours. Several of the drawings on view in New York show his rapid quest to catch a pose—the cellist leaning over his instrument; Paul Alexandre standing stiff against the light in the studio; the tall, beautiful poet Anna Akhmatova, who arrived in Paris in 1910 and became his lover, resting on her couch. Another, more turbulent affair was with the writer Beatrice Hastings, whose portrait stands out at the Tate, with her dark hair, pursed lips and refined, independent stance. But a cooler fascination with the female body shows in the quick, mobile sketches of nudes in the New York show, and in the extraordinary array of nude paintings in London. These sensual images, with curving shoulders, breasts, and thighs outlined in black, with clever references to both old masters and contemporary styles, were a bald commercial venture. The Polish poet Léopold Zborowski, Modigliani’s dealer from 1916, suggested the scheme, provided materials, lent his room as a studio, and kept the finished paintings, paying the artist fifteen francs a day and the models five (a good wage compared to that of a factory girl). But these nudes overcome the cynical appeal to a male gaze. Their bodies are idealized, smooth shapes of sex, but their faces are those of individual women: some gaze out frankly, or peer teasingly, from beneath long lashes; others close their eyes or let their heads loll wearily, as if bored with the whole affair. The smart Algerian model, Almaisa, keeps her necklace; the upright Elvira has a self-contained dignity. It is as though Modigliani himself found peace in their calm stillness, away from his fevered life, away from the mass death and ravages of the war.   


Private Collection/Tate Amedeo Modigliani: Beatrice Hastings, 1915; click to enlarge 

In December 1917, a local policeman, shocked by the display of pubic hair, demanded that the nudes in Modigliani’s only solo exhibition in his lifetime be taken down, effectively closing the show. Four months later, he left a Paris battered by artillery fire for the south of France. The friends who went with him included the painter Chaïm Soutine and Modigliani’s young partner, Jeanne Hébuterne. He painted her over and over, with her auburn hair and pale, blank eyes; and after their daughter, also named Jeanne, was born, this seemed, at last, a more settled commitment.  


In the Midi sun, Modigliani painted flat, yet expressive portraits of friends, local peasants, and working girls and their children, and, unusually, tried his hand at Cézanne-inspired landscapes. But Paris drew him back. In 1919, he took a studio on the rue de la Grande Chaumière in Montparnasse: a brilliant virtual-reality installation with headsets at the Tate lets us enter this space, with its bare boards and filtered sunlight, ashtrays and mugs and half-finished canvases. But by now, Modigliani was seriously ill: he died of tubercular meningitis in January 1920, aged thirty-five. Two days later, heavily pregnant with their second child, Hébuterne committed suicide. The deaths enshrined the myth. Yet, above the torment, Modigliani’s paintings soared into the future, sinuous, and full of grace.


Modigliani VR: The Ochre Atelier behind-the-scenes

https://www.youtube.com/watch?v=CdYLscE6kE0&feature=push-u&attr_tag=D2i3ECre0mygbIjH-6