2017年9月19日 星期二

Bruegel, Unseen Masterpieces. Partners



“In a unique way Bruegel, like Leonardo, Arcimboldo, or Rabelais, visualizes the fascination for metamorphosis and change that were so characteristic of the sixteenth century – but at the same time so timeless.”
Tine Meganck
PhD, Art Historian


https://www.google.com/culturalinstitute/bruegel/


10點鐘的晨禱

Nearly 450 years on, the art of Netherlandish artist Pieter Bruegel the Elder continues to fascinate and inspire. Bruegel / Unseen Masterpieces / - a virtual experience that unites major museums' collections with new technology - brings the hidden details and stories of the artworks to life. Immerse...
GOOGLE.COM

Our Partners

Bruegel / Unseen Masterpieces / is the result of a partnership between major international museums.


Royal Museums of Fine Arts of Belgium
Bruxelles, Belgium



Museum of fine arts
Bundapest, Hungary



Statens Museum for Kunst
Copenhague, Denmark



Royal Collection Trust
London, United Kingdom



The Frick Collection
New York, United States



The Metropolitan Museum of Art
New York, United States



Museum Boijmans van Beuningen
London, United Kingdom



Staatliche Museen / Gemaldegalerie
Berlin, Germany







黃聲遠--田中央工作群

原來這個獎這麼難拿,謝謝田中央用建築讓世界看到台灣!
黃聲遠建築誘發人與人連結 獲吉阪隆正賞
http://m.cna.com.tw/news/acul/201709180250.aspx
⋯⋯


黃聲遠 : 這個獎獻給一起奮鬥的人
http://m.cna.com.tw/news/acul/201709180317.aspx

(中央社記者鄭景雯台北18日電)「吉阪隆正賞」今天公布第4屆得獎者,由台灣建築師黃聲遠、田中央工作群獲獎。得獎原因是黃聲遠與事務所成員一起…
CNA.COM.TW|作者:中央社新聞粉絲團

D.H. Lawrence's paintings. "Corot" by D.H. Lawrence. Jean-Baptiste-Camille Corot, "A View near Volterra," 1838,

 作者:  Sagar, Keith M
 書名:  D.H. Lawrence's paintings
 索書號: ND497.L37 S24 2003
 條碼 : 3125748
 總圖2F藝術資料區

DH Lawrence's work as an artist has long been eclipsed by his fame as a writer but he was a keen painter all his life. In 1929 his work was exhibited at the Warren Gallery in London and attracted much attention before the gallery was raided by police and thirteen of Lawrence's paintings seized. He was finally allowed to reclaim them but only on the undertaking that they would never be exhibited again. For years, Lawrence's work has been all but lost. A fine limited edition of reproductions was published by the Mandrake Press to coincide with the exhibition but immediately became a rare collectors' item. Few people have seen the originals as many are now lost and the only collections are in New Mexico and Texas. "DH Lawrence's Paintings" contains high-quality color reproductions of more of his paintings than any previous publication, including some that have never been published before. It also brings together, for the first time, everything Lawrence wrote about art, including three essays and extracts from many letters and poems. Keith Sagar's comprehensive commentary places the paintings in the context of Lawrence's extraordinary life and work.


A D.H. Lawrence Handbook

By Keith M. Sagar


The art of D.H. Lawrence



by Sagar, Keith M





Publication date 1966


Topics Lawrence, D. H. (David Herbert), 1885-1930


Publisher Cambridge, C.U.P.






------




"Corot" by D.H. Lawrence
The trees rise taller and taller, lifted
On a subtle rush of cool grey flame
That issuing out of the east has sifted
The spirit from each leaf's frame.
For the trailing, leisurely rapture of life
Drifts dimly forward, easily hidden
By bright leaves uttered aloud; and strife
Of shapes by a hard wind ridden.
The grey, plasm-limpid, pellucid advance
Of the luminous purpose of Life shines out
Where lofty trees athwart-stream chance
To shake flakes of its shadow about.
The subtle, steady rush of the whole
Grey foam-mist of advancing Time
As it silently sweeps to its somewhere, its goal,
Is seen in the gossamer's rime.
Is heard in the windless whisper of leaves,
In the silent labours of men in the field,
In the downward-dropping of flimsy sheaves
Of cloud the rain-skies yield.
In the tapping haste of a fallen leaf,
In the flapping of red roof smoke, and the small
Footstepping tap of men beneath
Dim trees so huge and tall.
For what can all sharp-rimmed substance but catch
In a backward ripple, the wave-length, reveal
For a moment the mighty direction, snatch
A spark beneath the wheel!
Since Life sweeps whirling, dim and vast,
Creating the channelled vein of man
And leaf for its passage; a shadow cast
And gone before we can scan.
Ah listen, for silence is not lonely!
Imitate the magnificent trees
That speak no word of their rapture, but only
Breathe largely the luminous breeze.
*


French artist Jean-Baptiste-Camille Corot traveled extensively in Italy during his life, including a one-month stay in the small town of Volterra. Painted as a memory of the Italian countryside he visited, this work of art shows a lone hunter riding towards a wooded hilltop. Prominently placed in the foreground is the trunk of a tree, sawn off at the bottom and splintered at the top. The light of late afternoon warms the scene, casting long shadows across the path.
Imagine you are sitting on one of the boulders along the road. Describe the feel of the sun and the smells around you.
Jean-Baptiste-Camille Corot, "A View near Volterra," 1838, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection

2017年9月17日 星期日

Albert Speer 父(1905-81.9.1 )子 (1934-2017.9.15)


貝托爾德·康拉德·赫爾曼·亞伯特·史佩爾Berthold Konrad Hermann Albert Speer,1905年3月19日-1981年9月1日)是一位德國建築師,在納粹德國時期成為裝備部長以及帝國經濟領導人,在後來的紐倫堡審判中成為為主要戰犯。

生平

史佩爾生於德國曼海姆。1930年在柏林第一次參加納粹黨的大會後很快入黨。他的一切幾乎都建立在和希特勒之間那種親密的私人關係上,他當時在納粹黨裡面資格很淺,可是希特勒選中他當帝國裝備部部長,以供應戰爭所需的大量物資。可是他自己卻有獨特的興趣和目標,他對柏林進行了重新的規劃和設計,他的宏偉的設計必須符合一個作為全歐洲甚至全世界唯一首都的地位,當然也必須是超越羅馬和超越巴黎的。
作為希特勒的裝備部長,他在1942年接受了新的任務,為了幫助希特勒管理帝國經濟,他和希姆萊一起加強了強制勞動,逼迫大量的戰俘猶太人等在極其惡劣的勞動條件下從事非人的重體力勞動。越來越多的文件資料顯示,當時他在戰俘營和集中營等事件中扮演了極其不光彩的角色。
紐倫堡審判中他被定為一級戰犯,但沒有判以死刑。戰後,他與情婦一起前往英國倫敦接受訪問時中風去世。
戰後他寫下了《第三帝國內幕》一書,是他本人的回憶錄,也是研究納粹德國的重要史料。
他的兒子小亞伯特·斯佩爾也是著名的都市計畫設計師,是著名的都市計畫設計所「史佩爾設計所」的擁有者和主設計師,主持設計規劃了諸如上海安亭新城等大型城規項目。






設計大師、納粹後代—德國建築巨匠施佩爾去世

他是第三帝國御用建築師、希特勒重臣之子,他是聞名世界的建築設計和城市規劃大師。阿爾伯特‧施佩爾週五在法蘭克福去世,享年83歲。在其漫長職業生涯中,施佩爾曾與中國有過很多關聯。
(德國之聲中文網)阿爾伯特‧施佩爾1934年出生於柏林,與其父親同名(Albert Speer,因此也有人稱其為"小阿爾伯特‧施佩爾")。他的父親曾是納粹時代高官,在希特勒手下擔任過首席建築師和軍備部長。1964年,阿爾伯特‧施佩爾在法蘭克福設立自己的建築師和城市規劃事務所,在世界各地開展業務,並曾多次獲獎。此外,他還在凱澤斯勞滕理工大學擔任城市和地區規劃教授長達25年。
根據其事務所AS+P的說法,施佩爾最為重要的手筆包括為中國多座新建城市進行設計規劃,另外2000年漢諾威世博會也是他的得意之作。除此之外,沙烏地阿拉伯首都利雅德的外交領館區和尼日利亞首都阿布賈的內城規劃也是來自施佩爾的創意。2010年開始,他參與埃及港口城市亞歷山大的戰略規劃。2022年卡塔爾世界盃足球賽也力邀施佩爾參與規劃設計。
在德國國內,施佩爾在科隆和法蘭克福的城市設計中也留下了自己的印跡,他的事務所也參與了位於法蘭克福的歐洲央行總部和拜仁慕尼黑足球俱樂部園區的建設工程。
2006年,施佩爾曾接受德國之聲中文網專訪,就如何成為建築設計師,以及為何選擇在海外積極從事業務作出了解答。此外,他也提到對於當時仍處於起步階段的中國建築規劃市場的諸多看法。他的AS+P事務所除了在法蘭克福的總部之外,在上海也開設了分支機構。
父親曾任納粹高官
雖然施佩爾的才華舉世公認,但有一點不可否認,其家庭背景也讓他更具媒體吸引力和知名度。施佩爾的父親生於1905年,1931年加入納粹黨。1933年他為紐倫堡帝國黨代表大會進行策劃工作。1937年,希特勒任命這位建築設計師擔任"帝國首都日爾曼尼亞"的工程總監,旨在將柏林改造為"大日爾曼帝國"的首都。1942年,老施佩爾成為納粹第三帝國軍備部長,街道和水利能源事務總監,成為德國戰時經濟的總負責人。
老施佩爾(左二)曾在希特勒手下擔任要職
在戰後的紐倫堡大審判中,施佩爾是少數認罪的被告之一。1946年,紐倫堡法庭以戰爭罪和反人類罪派出老施佩爾20年監禁。1966年,老施佩爾刑滿釋放,此後大部分時間生活在海德堡家中,直到1981年去世。
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DW.COM

  • 日期 17.09.2017
  • 作者 石濤 (綜合報導)

Honoré Daumier: the early lithographs : catalogue raisonne : l'oeuvre lithographie 1830-1837


Image result for Honoré Daumier  Loys Delteil


Honoré Daumierthe early lithographs : catalogue raisonne : l'oeuvre lithographie 1830-1837

Front Cover
Alan Wofsy Fine ArtsMar 29, 2005 - Art - 339 pages
A revision of the 1925 French edition together with new English language descriptions and translations of the titles with thumbnail illustrations. There are now essays in English by Delteil and Gordon Ray. This work also includes the more detailed descriptions from the 1904 Hazard-Delteil catalogue which are now added to the fully illustrated Delteil edition of 1925. Cloth in dust-jacket.

Le Corbusier: Inside the Machine for Living

 Le Corbusier: Inside the Machine for Living: George H. Marcus ...
https://www.amazon.com/Corbusier-Inside....../dp/158093076X
The ideas of Le Corbusier on modern furnishings, modern houses, and modern cities are still, more than three decades after the architect's death, persuasive ...
The ideas of Le Corbusier on modern furnishings,…
AMAZON.COM


Le Corbusier: Inside the Machine for Living: George H. Marcus ...
https://www.amazon.com/Corbusier-Inside-Machin…/…/158093076X
The ideas of Le Corbusier on modern furnishings, modern houses, and modern cities are still, more than three decades after the architect's death, persuasive ...

Frans Masereel 1889-1972:The First Woodcut Novelist

羅曼·羅蘭原著《約翰·克利斯朵夫》(傅雷譯)是我初二讀的第一本大河小說。約45年過去,看到《約翰·克利斯朵夫》(濃縮本),梁祥美譯,台北:志文,2004(49幅由 F. 馬塞瑞爾畫的插圖)。
我認識這位木刻名家,去大搜索,發現原插畫竟然有666幅呢。
有些印1500張..... 我希望有機會找到這附666張木刻的版本!



The Metropolitan Museum of Art, New York

A librarian in Watson Library highlights one of her favorite artists: Frans Masereel, a Belgian graphic artist who is considered by some to be the creator of the woodcut novel.






Frans Masereel: The First Woodcut Novelist


Associate Museum Librarian Tamara Fultz discusses the gorgeous woodcuts of Frans Masereel


METMUSEUM.ORG

Frans Masereel: The First Woodcut Novelist
August 23, 2017


Tamara Fultz, Associate Museum Librarian, Thomas J. Watson Library





Frans Masereel, Landschaften und Stimmungen: 60 Holzschnitte (Munich: K. Wolff, 1929).


What defines our attraction to a particular artist? Education and experience can offer us opportunities to see an artist's work, but whether we like or truly appreciate it is dependent on individuality and personal taste. In my own work, I get to see a wide variety of art in books—from ancient to contemporary—and there are always some artists that I prefer over others. This post is a reflection on one of my favorites: Frans Masereel (1889–1972).


Masereel, a Belgian graphic artist, is considered by some to be the creator of the woodcut novel. There is a certain warmth and linear clarity to woodcuts that I find appealing: everything from the woodcuts of Albrecht Dürer (1471–1528) to the woodblock prints of Japanese artists in the ukiyo-e style. Masereel's woodcut novels fascinate me because in each one he creates a narrative using strictly images, no text—although there may be an introduction by Thomas Mann or some other great contemporary. For a modern-day equivalent to this kind of work, you might be familiar with the graphic novelist Eric Drooker, whose artwork in Flood! was heavily influenced by the novels of Masereel.


Thomas J. Watson Library has a number of Masereel's woodcut novels. Below are some images that I will let speak for themselves, just as Masereel would have done.





Frans Masereel, Landschaften und Stimmungen: 60 Holzschnitte (Munich: K. Wolff, 1929).





Frans Masereel, La Sirène: Vingt-Huit Bois Gravés (Paris: P. Verms [Coulouma], 1932).





Frans Masereel and Thomas Mann, Jeunesse (Zurich: Oprecht, 1948).





Frans Masereel and Thomas Mann, Jeunesse (Zurich: Oprecht, 1948).


Department: Thomas J. Watson Library



布蘭肯貝赫,比利時,1889年 - 法國阿維尼翁,1972年



圖形藝術家,木雕刻師,插畫



工作為報紙和雜誌的插畫,Masereel在1917年遇到了茨威格在瑞士時,他被連同來自歐洲各地的知識分子爭取和平。



“一個堅實的,甜的身影,眼鏡後面的一個嚴重的樣子,像維爾哈倫,只穿著厚衣服燈芯絨,在勞動者的風采。吸引我的是他從第一分鐘......“”奇妙,我特別喜歡他的認真的態度,他聽的方式。沒想到從別人這麼多......“”......安慰[在這些艱難的日子]:那麼清澈,純淨,這樣很好。我知道有我周圍的幾個人,我的愛。他只是善良,能源,最精彩的結合。“



儘管他的堅硬,粗糙的外觀,Masereel是出現在日記中最可愛的人物。他在信Friderike他沒有掩飾他對這場轟轟烈烈的藝術家的感情,滿腦子善良。



Masereel由威爾·艾斯納和藝術斯皮格曼口徑的藝術家們認為通過他的大集合“中篇無字”,和平主義十字軍東征過程中產生的發明了圖形小說。該集團圍繞兩個報紙,德棉,由善變Guilbeaux(共產黨員誰轉化為反共)和La弗耶,其中Masereel發表了關於戰爭的恐怖日常木刻成立走到了一起。



中心人物是羅曼·羅蘭,誰贏得了諾貝爾文學獎於1915年出席會議的還有俄國的革命者,如列寧和托洛茨基,等待沙皇秋天,愛爾蘭人詹姆斯·喬伊斯寫的英文,但強烈的反英的精神,作曲家費魯喬布索尼等等。

羅曼·羅蘭原著《約翰·克利斯朵夫》(傅雷譯)是我初二讀的第一本大河小說。約45年過去,看到《約翰·克利斯朵夫》(濃縮本),梁祥美譯,台北:志文,2004(49幅由 F. 馬塞瑞爾畫的插圖)。
我認識這位木刻名家,去大搜索,發現原插畫竟然有666幅呢。
有些幅印1500張..... 我希望有機會找到這附666張木刻的版本!

Masereel所示的紀念讓·克里斯托夫,由羅蘭,666木刻,也茨威格的中篇小說和平主​​義者強迫,利用斯特凡和Friderike的數字為型號為兩位主角。有關完整的作品在俄羅斯(1926年)的集合,他創造已被轉載數百次,這一天茨威格的忠實寫照。他還說明其他偉大的作家,如左拉和托馬斯·曼的作品。



在接下來的23年來,他們在巴黎,尼斯,奧斯坦德和薩爾茨堡非常接近,直到1940年時,茨威格離開歐洲去新大陸。甚至一度安全的在大西洋的另一邊,試圖茨威格痴迷於獲得Masereel入境簽證巴西,阿根廷,哥倫比亞和美國。一切都是徒勞:也許是因為他太痛苦和沮喪。



在德國佔領他在小城鎮藏在法國鄉村。他不是猶太人,也不是共產黨,他的社會主義是從羅蘭的沒有什麼不同。他們都沒有被蓋世太保追捕。在茨威格的回憶錄,他在三個場合說過,他的散文首先收集,Begegnungen麻省理工學院Menschen,BüchernUNDStädten[遭遇的人,書籍與城市]茨威格包括一塊約Masereel。



他刻畫在他們的現代文明隔絕的人,而在同一時間提供了行動的可能性。在他的木刻作品的製作,他等系列作為一個男人的激情(1918年)的25張圖片,80工程漢堡和臉部週期的100市(1925年)。從1947年到1951年,他在藝術和工藝的薩爾布呂肯最近創辦學校領導繪畫班。在瑞士,1953年他創辦了Xylon公司 - 木材雕刻的國際協會。第二次世界大戰的結束和1968年間,他發表了一系列代表某一主題的變化版畫。他是眾多展覽的主題和藝術的幾個學院的成員。他的名字出現在機構,如法朗士·麥綏萊勒中心,在卡斯特萊,比利時和Masereelsfonds,促進它最初是關聯到比利時共產黨,這在當今具有獨立進取處置弗拉芒語實體的負責人。



地址上市:30街宮3 Faucons,阿維尼翁。


http://www.casastefanzweig.org.br/agenda_en/s18.html
Blankenberge, Belgium, 1889 — Avignon, France, 1972

Graphic artist, wood engraver, illustrator

Working as an illustrator for newspapers and magazines, Masereel met Stefan Zweig in Switzerland in 1917 when he was fighting for peace together with other intellectuals from all over Europe.

“A solid, sweet figure, a grave look behind the spectacles, like Verhaeren, only wears thick corduroy clothes, in the style of a labourer. I was attracted to him from the first minute...” “Marvellous, I especially like his serious manner and the way he listens. I never expected so much from someone...” “...A comfort [in these difficult days]: so clear, pure, so good. I’m aware that there are few people around me that I love. He is nothing but goodness, energy, the most wonderful combination.”

Notwithstanding his hard, rough appearance, Masereel was the dearest character to appeared in the diaries. In his letters to Friderike he didn’t hide his affection for this vigorous artist, brimming over with goodness.

Masereel is considered by artists of the calibre of Will Eisner and Art Spiegelman to have invented the graphic novel through his large collection of “novellas without words”, produced during the pacifist crusade. The group came together around two newspapers, Demain, founded by the mercurial Guilbeaux (a Communist who converted to anti-Communist) and La Feuille, where Masereel published daily woodcuts about the horrors of war.

The central figure was Romain Rolland, who won the Nobel Prize for Literature in 1915. Also present were Russian revolutionaries such as Lenin and Trotsky, awaiting the fall of the Czar, the Irishman James Joyce writing in English but intensely anti-British in spirit, the composer Ferruccio Busoni and many others.

Masereel illustrated the monumental Jean Christophe, by Rolland, with 666 woodcuts, and also Zweig’s pacifist novella Compulsion, using the figures of Stefan and Friderike as models for the two protagonists. For a collection of complete works in Russian (1926) he created a faithful portrait of Zweig which has been reproduced hundreds of times to this day. He also illustrated the works of other great authors, such as Émile Zola and Thomas Mann.

Over the next 23 years they were very close in Paris, Nice, Ostend and Salzburg, until 1940 when Zweig left Europe for the New World. And even once safe on the other side of the Atlantic, Zweig tried obsessively to obtain for Masereel entry visas for Brazil, Argentina, Colombia and the United States. All in vain: perhaps because he was too anguished and depressed.

During the German occupation he hid in small towns in the French countryside. He wasn’t Jewish, nor a Communist, his socialism was no different from that of Rolland. Neither of them was hounded by the Gestapo. In Zweig’s memoirs he is mentioned on three occasions and in his first collection of essays, Begegnungen mit Menschen, Büchern und Städten [Encounters with People, Books and Cities], Zweig included a piece about Masereel.

He portrayed people in their isolation in modern civilization, while at the same time offering possibilities for action. In his oeuvre of woodcuts he produced series such as 25 Images of a Man’s Passions (1918), the 80 works The Face of Hamburgand the 100 of the cycle The City (1925). From 1947 to 1951, he lead the painting classes at the recently-founded School of Arts and Crafts in Saarbrücken. In Switzerland in 1953 he founded Xylon – International Society of Wood Engravers. Between the end of the Second World War and 1968 he published a series of engravings representing variations on a particular theme. He was the subject of numerous exhibitions and a member of several academies of the arts. His name appears at the head of institutions such as the Frans Masereel Centre, in Kasterlee, Belgium, and Masereelsfonds, an entity promoting the Flemish language which was originally associated to the Belgian Communist Party and which nowadays has an independent progressive disposition.

Address listed: 30 Rue des 3 Faucons, Avignon.

2017年9月16日 星期六

Philippe Starck, S Hotel Juicy Salif

  Philippe Starck

https://en.wikipedia.org/wiki/Philippe_Starck
此Wikipedia項目,難得中文版比英文版詳細。
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Philippe Starck (born January 18, 1949)[1] is a French designer known since the start of his career in the 1980s for his interior, product, industrial and architectural design including furniture.[2][3]
EN.WIKIPEDIA.ORG





Philippe Starck 


https://en.wikipedia.org/wiki/Philippe_Starck
此Wikipedia項目,難得中文版比英文版詳細。
1990年的搾汁機(名為Juicy Salif;外觀看起來像火箭發射器,是為義大利家用品品牌Alessi設計的)

此產品名字,我初以為是Saliva 口水,後來發現不是。
https://fr.wikipedia.org/wiki/Juicy_Salif


 (en) B. Russo et A. De Moraes« The Usability of Iconic Designs a Case Study of Juicy Salif »Proceedings of the Human Factors and Ergonomics Society Annual Meetingvol. 47, no 5,‎ p. 844–847