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

2017年12月26日 星期二

Bjarke Ingels: Different Angles. BIG extends audemars piguet HQ.......設計邦



TASCHEN 分享了 Louisiana Channel 的貼文
“It would be a waste if I didn’t do something that had to do with drawing.” Check out the Louisiana Channel on our pal, Bjarke Ingels (BIG) 👉 http://fal.cn/q-om
Louisiana Channel 分享了 1 條連結
In this extensive video, the renowned Danish architect Bjarke Ingels gives us insight into his inspiring architectural mind-set and comments on the importance of playing as a “non-scripted form of human expression that opens for discovery.”
CHANNEL.LOUISIANA.DK


設計邦http://www.designboom.cn/



designboom cn - designboom magazine | your first source for architecture, design & art news

www.designboom.cn


alfredo brillembourg 于1961年生于纽约。他在哥伦比亚大学学习建筑,而后就读于委内瑞拉中央大学。1993年他在委内瑞拉的加拉加斯创办了 U »


http://www.designboom.com/architecture/big-audemars-piguet-spiraling-landform-switzerland-06-13-2014/
BIG extends audemars piguet HQ with spiraling landform in switzerland
original content
jun 13, 2014
BIG extends audemars piguet HQ with spiraling landform in switzerland

BIG extends audemars piguet HQ with spiraling landform in switzerland
all images courtesy of BIG



for an extension to its historic headquarters in le brassus, switzerland, luxury watchmaker audemars piguet has commissioned a design team lead by BIG, with collaboration from HG merz, luchinger & meyer, and müller illien. the 2,400 sqm museum addition, called ‘la maison des fondateurs’ (the home of the founders), is composed as a spiraling and interweaving building form which blends with the landscape. its arrangement is based on a linear sequence of experiences which present a story to visitors. serving as a new attraction to the overall complex, the coiling pavilion properly represents the brand by blending its historic legacy with its independent and avant-garde spirit.
BIG audemars piguet museum la maison des fondateurs designboom
the spiraling form creates a continuous sequence of galleries



the particular form solves the programmatic dilemmas of the facility. the narrative structure of the visitors’ experience requires a continuous circulation, while the logistics and operations of workshop spaces also necessitate an interconnected relationship. by creating two spiraling forms which weave between one another, the three watch making studios are able to be immediately adjacent to one another, while surrounded by the connected galleries.
BIG audemars piguet museum la maison des fondateurs designboom
the linear museum experience wraps the outside of the spiraling form



the roof form of the pavilion is a continuous element, composed of a steel structure clad in brass. in plan, it reads as a unified whole, but is discontinuous in section to allow for daylight and views outward to la vallée de joux.
BIG audemars piguet museum la maison des fondateurs designboom
openings in the landscape provide guestrooms with views of the valley context
BIG audemars piguet museum la maison des fondateurs designboom
the facility includes interconnected watchmaking workshops



in describing the project, bjarke ingels states, ‘watchmaking, like architecture, is the art and science of invigorating inanimate matter with intelligence and performance. it is the art of imbuing metals and minerals with energy, movement, intelligence and measure – to bring it to life in the form of telling time. unlike most machines and most buildings today that have a disconnect between the body and the mind, the hardware and the software, for the maison des fondateurs we have attempted to completely integrate the geometry and the performance, the form and the function, the space and the structure, the interior and the exterior in a symbiotic hole‘.
BIG audemars piguet museum la maison des fondateurs designboom
a wide spiraling stair matches the building’s gesture
BIG audemars piguet museum la maison des fondateurs designboom
the roof form of the pavilion is a continuous element, composed of a steel structure clad in brass
BIG audemars piguet museum la maison des fondateurs designboom
the sloping gesture loosely relates to the hilly context
BIG audemars piguet museum la maison des fondateurs designboom