Art & Design

Steles（Keith Wilson）

2012-02-15T17:00:00.000-08:00

倫敦奧運園第一件藝術品完工

更新時間 2012年 2月 15日, 星期三 - 格林尼治標準時間10:54

倫敦奧運公園的彩筆圖騰將來可用作船隻泊位標記。

東倫敦奧運公園發現園內第一件藝術作品已經完成。

那是由35根巨型蠟筆狀彩柱組成的裝置，在公園內的運河河道一字排開。

Building hope

2012-02-06T19:31:00.000-08:00

用大楼治癌？
Building hope

作者：英国《金融时报》埃德温•希思科特


Can architecture cure cancer? Can buildings make you better? Can space heal? Nah, ’course not. No matter what claims are made for the trade, architecture is only ever the background, the setting for moments in life which may be joyous, momentous, traumatic or tragic. But the idea that architecture can make a difference is as old as civilisation and the newest incarnation of that conception of the power of place and its role in therapy is the remarkable Maggie’s Cancer Caring Centres.	建筑能够医治癌症吗？它能让人身体好转吗？空间能有疗效吗？不能，当然不能。不管把这个行当吹得有多神，建筑永远只是作陪衬之用，只是记录生活中欢乐、伟大、创伤以及悲情瞬间的场所。但建筑能起到重要作用的理念自文明以来就已有之。建筑有神奇的作用与疗效，体现这一理念的最新标志就是雄伟壮观的马吉癌症康复中心(Maggie’s Cancer Caring Centres)。
Three new Maggie’s centres, radically different and strikingly conceived, have just opened, and others are on site. One, at Glasgow’s Gartnavel Hospital, is the work of one of architecture’s last remaining intellectuals, Rem Koolhaas and his firm OMA, and looks like a shattered version of a modernist dream of transparency and regularity. The second, in Nottingham, is by the English eccentric Piers Gough, with an interior by Sir Paul Smith, and resembles a novelty teapot. The third, designed by the late Japanese architect Kisho Kurokawa, opened in Swansea this week and evokes the swirling forms of a cosmos in formation. Each centre is extraordinary, charming and challenging and they ask difficult questions.	三座新近落成的形态各异、设计新颖的马吉癌症康复中心最近刚刚对外开放，其它的康复中心仍在建。其中一座位于格拉斯哥的加特纳维尔医疗中心(Glasgow’s Gartnavel Hospital)，是由建筑界现存的几位大师之一的雷姆•库哈斯(Rem Koolhaas)以及其旗下大都会建筑事务所(OMA)设计，碎片式的外形酷似由透明及规则构筑的现代主义梦境。第二座马吉癌症康复中心位于诺丁汉 (Nottingham)，由英国设计怪才皮尔•斯高夫(Piers Gough)设计，外形酷似一把别致的茶壶，室内则由保罗•史密斯爵士(Sir Paul Smith)设计。第三座马吉癌症康复中心由已故日本建筑师黑川纪章(Kisho Kurokawa)设计，本周刚在斯旺西(Swansea)对外开放，其外表让人浮想联翩旋涡状的宇宙。每座康复中心气度不凡、魅力十足、让人过目不忘，它们提出了很难回答的问题。
The architecture of healing was once placed firmly at the heart of the city. The Greeks established a magical city of culture and cure at Epidaurus, a site that set theatre, dream cures and sports against a dramatic coastal landscape. Medieval builders created monastery complexes that embraced vineyards, almshouses, hostels and hospitals (hostel, hospital and hotel share the same etymological root), including the Hospices de Beaune in Burgundy, from where some of the finest wine still flows (then, as now, red wine was regarded as healthy stuff). The Enlightenment produced its own monumental hospitals, such as Les Invalides in Paris and Christopher Wren’s Royal Hospitals in Chelsea and Greenwich.	过去的康复中心一直牢牢占据城市中心。希腊人在厄庇道鲁斯(Epidaurus)建起了一座集文化与治病于一体的瑰丽城市，背靠着迷人海滩，他们建起了剧院、理想的疗所以及运动场所。中世纪的建筑师则围着葡萄园、养老院、客栈以及医院（客栈、医院以及旅馆的词根相同）修建了修道院群，包括法国勃艮第的伯恩济贫院(Hospices de Beaune in Burgundy)，此处酿出的极品葡萄酒至今飘香（与如今一样，红酒当时也被认为是有益于身体健康）。启蒙时代(The Enlightenment)也修建了不朽的标志性医院，如巴黎荣军院(Les Invalides)以及由克里斯托弗•雷恩爵士(Christopher Wren)所建、位于伦敦切尔西(Chelsea)与格林尼治(Greenwich)的皇家老残军人疗养院(Royal Hospitals)。
But something went wrong. Hospitals got more grim and bleak, conflated with workhouses and prisons. In the 20th century, the sanatorium emerged as an archetype of modernity, from Thomas Mann’s The Magic Mountain to Alvar Aalto’s Paimio Sanatorium. It became the symbol of the purging of an old world via the fresh, cool air and light of a crystalline contemporaneity. The magic mountain quickly descended into the medical machine, the hospital as a massive, inhuman mechanism, a place to process patients. And that is what Maggie’s were reacting to. The hospital is a vast ecosystem of technologies and processes. But as a charity concerned with the well-being of cancer patients and their families – as opposed to medical processes – they can afford to think about architecture and atmosphere.	但经似乎有点念歪了，集救济所及监狱于一身的医院越发变得阴森与凄凉。20世纪，从托马斯•曼 (Thomas Mann)的《魔山》(The Magic Mountain)到阿尔瓦•阿尔托(Alvar Aalto)的拜米欧疗养院(Paimio Sanatorium)，作为现代社会标志的疗养院横空出世。疗养院充斥着新鲜清凉的空气以及属于那个时代的明媚阳光，成为了彻底告别旧世界的标志。但魔山很快异化为纯粹的治病机器，一座规模宏大、没有人情味的机构，一个按部就班给病人治病的地方。这也正是马吉癌症康复中心缘何运运而生的原因。康复中心就象一座大型生态系统，集各种科技与治疗于一身。但作为关注癌症病人以及病人家人福祉的慈善机构——与按部就班给病人治病截然不同——马吉癌症康复中心有足够的底气去思索建筑及其所营造的氛围对治疗的效果。
The centres were instigated by Maggie Jencks and have been built into an architectural and medical exemplar by her widower, the architectural writer Charles Jencks. The aim has been to challenge a kind of architecture of inoffensiveness, which has defined the construction of buildings for traumatic situations for decades. Whether it’s a care home or a crematorium, a hospital or a hospice, the default architecture throughout the western world has been an anodyne vernacular moderne. These are then placed in suburban landscapes of golfing aesthetics – neutered nature.	马吉癌症康复中心由马吉•詹克斯(Maggie Jencks)发起成立，并由其鳏夫、建筑师查尔斯•詹克斯(Charles Jencks)把它建成建筑学与医疗机构的典范，旨在挑战医疗机构那种不事张扬的建筑风格，而这种建筑风格几十年来成了建造医疗机构的固定模式。不管是康复中心、火葬场、医院还是收容所，这些不事张扬的建筑一直就是现代西方各国解除病人痛苦的场所，因而它们都是建在市郊，自然环境可以与高尔夫球场的风景相提并论。
The Maggie’s centres bring architecture back into the foreground; strident, stylised mini-cultural buildings that respond not to anaesthetised modernity but to the explosion of expressive postmodernity. Some of architecture’s most sculptural protagonists have built centres; Frank Gehry in Dundee; Zaha Hadid in Fife; Lord Richard Rogers in London; Sir Richard MacCormac in Cheltenham.	马吉康复中心使建筑重新成为主角；这些时尚张扬的微型文化建筑对应的不是麻木不仁的现代社会，而是后现代社会个性张扬的集中爆发。一些建筑界最富才华的雕塑大师（如弗兰克•盖里(Frank Gehry)在邓迪(Dundee)、扎哈•哈迪德(Zaha Hadid)在法夫(Fife)、理查德•罗杰斯勋爵(Lord Richard Rogers)在伦敦以及理查德•麦克科马克(Richard MacCormac)在切尔腾纳姆(Cheltenham)）设计建造了很多类似的康复中心。
Jencks has a compelling metaphor for the success of the centres. He dismisses any idea of an architecture of healing but he does introduce the intriguing analogy of the placebo. These buildings and gardens might, he suggests, exert some effect not clinically but psychologically, and the placebo effect is measurably real. A 2006 study by the Lighthouse Architecture Centre of patients at Frank Gehry’s Maggie’s centre in Dundee found that the longer patients had spent in the centre, the more positively they viewed their quality of life. It was found that their ability to make small changes in their environment – moving furniture around, opening a window – had a disproportionate impact. It was that control they had been stripped of in the institution.	对于这类康复中心的成功，詹克斯自有颇为形象的比喻。他对建筑有疗效的观点嗤之以鼻，但的确提出了建筑就是慰藉剂的形象类比。他暗示，这些建筑与花园或许有一定疗效，但并非是临床作用，而是心理慰藉，而且据测，这种慰藉效果是真实存在的。2006 年，在弗兰克•盖里设计的邓迪市马吉康复中心，Lighthouse Architecture Centre进行的研究发现：病人在康复中心呆的时间越久，就越能积极看待自己的生活质量。研究还表明他们对居住环境的微小改动——挪动家具、打开窗户 ——都会有着超乎寻常的效果。而在一般医疗机构中，病人对居住环境的控制权却被剥夺了。
Indeed, beyond the dramatic architecture the most interesting thing about the centres is this domesticity, an idea of being at home. Each centre is built around a kitchen table, the informal forum for conversation, encouraging patients to make a cup of tea for themselves – the wider philosophy is one of helping yourself within a framework of support. The rooms are familiar in scale, the furniture is comfortable rather than the kind of theatrical stuff architects favour. There are no corridors or flickering fluorescent strip lights. Some spaces encourage chat, others allow patients to withdraw with a book, there are nooks, corners and, always, views out to the gardens.	没错，除了宏伟壮观的建筑外，康复中心最吸引人的正是它的家庭式生活，即居家生活的理念。每座中心都围着餐桌而建，此处是非正式谈话的场所，鼓励病人自己动手泡茶——更深的寓意是在总体受助的框架内，让病人尽可能自立。房间的大小合适，放置家具给人以温馨感，而非建筑师喜欢的那种剧院风格。康复中心没有走廊，也没有声控式条状荧光照明灯，有些区域鼓励病人闲聊天，有些区域允许病人带着书到隐秘及偏僻的地方去看，但病人至始至终能看到花园。
Jencks, a landscape designer whose works include the extraordinary gardens at Jupiter Artland near Edinburgh and his extensive grounds at Portrack House in Holywood, imbues the gardens with a sense of cosmic order, of the curious correlations between cosmos, creation and cancer.	詹克斯是位园林设计师，作品包括位于爱丁堡附近Jupiter Artland美伦美奂的花园，以及位于霍利伍德(Holywood)Portrack House的规模宏大的庭院，他赋予花园某种宇宙秩序的理念，使宇宙、万物生灵以及癌症之间存在着某种奇怪的关联。
The landscape at Gartnavel was designed with Maggie by his daughter Lily Jencks, who created a courtyard garden of elegant beauty amid the harsh landscape of the hospital. A centre under construction at Oxford by architect Chris Wilkinson is a tree house, elevated on stilts so that it sits in the wood at the level of the leaves. The centre in Nottingham looks oddly like a face, its four green-tile-clad oval planes presenting a friendly if eccentric façade. Paul Smith’s interior brings his quirky version of Englishness, with floral-clad chairs, vintage lights and specially designed mugs.	加特纳维尔医疗中心的马吉癌症康复中心由马吉与女儿莉莉•詹克斯(Lily Jencks)联袂设计，在缺乏人情味的医院环境中，他们营造了一座别致的庭院式花园。在建的牛津康复中心由建筑师克里斯•维尔金森(Chris Wilkinson)设计，这是一座树屋，坐落于丛林树巅的高脚屋中。诺丁汉康复中心则形似一张怪异的脸谱，四面贴着绿瓦的椭圆形平面呈现的是一副友善的面孔（有人说它怪异）。保罗•史密斯的内部设计（鲜花装点的椅子，古式灯饰以及专门设计的马克杯）呈现的则是诡诈版的英国人性格。
These elements create a sense of place. It is this establishment of the Maggie’s centres as particular places, not placeless institutions, that makes them such a critical intervention into the bland lands of PFI-era hospital architecture. These are spaces that make people feel better – which is not the same thing as making them better. They also have a huge impact on the staff who work amid astonishing architecture, feeling they are part of something that is valued, and they communicate that optimism to patients. There is a lesson here for all workplaces.	这些元素营造出某种方位感，正是把马吉康复中心营造成有特殊方位感的地方（而不是没有方位感），才使得它们成为摆脱“民间主动融资”(PFI)时代医院建筑单调乏味氛围的革命性力量。困在这些地方会让病人感觉更棒（这与让病人病情更好不是一回事），而且它们也会对在这种标新立异建筑中工作的员工产生巨大影响，他们觉得自己是崇高事业的一分子，而且能把这种乐观情绪传递给病人，希望所有的医疗机构都可以从中借鉴一二。
Maggie’s has also reintroduced an idea of a correspondence between health and the city. With a tendency to displace hospitals from the city and marginalise them, illness becomes symbolically forgotten, exiled. Yet, as we live longer lives, more of us will live with cancer and it will become a chronic condition rather than the death sentence it can still be perceived as.	马吉康复中心还引进了健康与城市关联的理念。随着现代社会越来越多地把医院从城市挪走、并使之边缘化，疾病象征性地被遗忘、被放逐。然而，随着人类的寿命越活越长，更多的人会患上癌症，它会成为一种长期疾病，而不是象现代人认为的是被判了死刑。
These are striking buildings that provoke reactions in their reflections on the cosmos, the house of healing and the city. The house used to be the place where we were born, where we fell sick and where we died. Now those momentous events have been institutionalised and the house has become a more neutral container, an asset. The Maggie’s centres offer a chance to re-evaluate the role that architecture can play in the everyday and the extraordinary. It would be as radical a change as they are sparking in healthcare.	这些别致的康复中心引发了人们对宇宙，治疗机构以及城市本身的反思。房子过去是人类生老病死的场所。如今，这些人生大事都俨然由各种机构代劳了，房子则成为更为中性化的载体，变成了有价资产。马吉康复中心提供了这样的机会：重新评估建筑在日常生活以及非常情形中的作用。正如它催生了康复观念的根本变化，这个变化本身也是革命性的。
www.maggiescentres.org	详情请浏览以下网址：www.maggiescentres.org
Edwin Heathcote is the FT’s architecture critic	埃德温•希思科特为《金融时报》建筑方面的评论员
	译者：常和

英美義繪畫與雕塑

2012-02-02T17:32:00.000-08:00

美國繪畫與雕塑 Modern American Painting and Sculpture

達文西倫敦世紀展粉絲搶朝聖

22:13:04

（中央社記者黃貞貞倫敦2日專電）義大利藝術大師達文西一生據說只創作9幅畫作，倫敦國家藝廊傾力全球借展，安排其中7幅展出，這個被喻為「一生僅有一次」的特展引發轟動，各地愛好藝術民眾搶票進場朝聖。

達文西（Leonardo da Vinci）特展側重在1480及1490年代、達文西在佛羅倫斯的創作，是全球第1個以達文西畫作為主題的特展，並安排數十幅他的素描作品，讓參觀者了解大師創作鉅作前紮實不苟的準備功夫。

特展中最具震撼力的是創作於1483年和1491年、分別借自巴黎羅浮宮與倫敦國家藝廊（National Gallery）的2公尺高油畫「岩窟中的聖母」（The Virgin of the Rocks），相對展列在展覽室的各一邊。

策展者賽森（Luke Syson）表示，這是史上首次2幅鉅作同時在1個展場展示，也是羅浮宮破天荒將鎮館之寶外借，「我相信達文西本人有生之年也從未同時看到自己這2幅創作」。

國家藝廊珍藏的版本是達文西約於1491年著手創作、晚於羅浮宮的收藏版，圖中的人物與構圖也有些許變化。賽森說，這是愛好藝術者獨一無二可以近距離觀畫，並作比較的機會。

另 1幅首次在英國展出的是波蘭查托里斯基博物館（Czartoryski Museum）珍藏，1488到1490年創作的「抱著白貂的女子」（The Lady with an Ermine），畫中16歲的模特兒加勒蘭妮（Cecilia Gallerani）是達文西當時的雇主--米蘭公爵的情婦，更是1位傾城美女。

賽森說，達文西在「抱著白貂的女子」畫中，安排加勒蘭妮抱著代表純潔與尊榮的白貂，臉部朝左，優雅出眾的姣好面容及豐富的內在美，盡在畫中展現，被視為達文西傑出的人物像畫作，並被喻為現代肖像畫的濫觴。

達文西一生據說只畫了4幅女性肖像，最知名的是羅浮宮收藏的「蒙娜麗莎的微笑」。賽森表示，許多參觀者沒有注意到羅浮宮內達文西的另1幅仕女肖像油畫，1493年所畫的「女肖像圖」（Portrait of a Woman），也首次在英國亮相。

至於達文西唯一創作的男性肖像畫「音樂家」，是達文西以音樂家身份和其他同業一起工作、設計樂器及安排演出時，於1486年的創作。

而最近在美國被發現、達文西所畫持水晶球的耶穌，也都是特展裡不可錯過的作品。

國家藝廊主管告訴中央社記者，達文西的油畫作品有500多年歷史，十分脆弱不宜經常搬運，收藏者或單位也多為保存理由不願外借，因此國家藝廊花了5年時間才促成這項空前的展覽，極為不易。

特展每天約只出售500張門票，預售票早在去年11月就銷售一空，許多粉絲為免向隅，清晨5時不到就頂著寒風開始排隊，有人甚至專程搭歐洲之星火車從歐陸到倫敦，門票很快被搶光。

為遵守公共場所安全的規定，並讓參觀者能好好欣賞作品，展場內進行人數管控，每半小時最多只能有180人看展。

首相卡麥隆（David Cameron）日前低調由學習藝術的妻子莎曼珊擔任解說員，在非開放時間觀賞一生難得一見的達文西畫作。特展將於2月5日結束。（本文附有照片）1010202

傅抱石Fu Baoshi (1904-1965)展

2012-01-31T04:16:00.000-08:00

History Unfolding on a Hand Scroll

Nanjing Museum
Nanjing Museum
Nanjing Museum
Jennifer S. Altman for The New York Times
Nanjing Museum
Nanjing Museum
Nanjing Museum
Jennifer S. Altman for The New York Times

“Heaven and Earth Glow Red” (1964), on display in “Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965)" at the Metropolitan Museum.

By ROBERTA SMITH

Published: January 26, 2012was born in China in 1904, seven years before the Chinese Revolution brought 2,100 years of dynastic rule to an end. He died in 1965, months before China’s Communist regime unleashed the Cultural Revolution, which aggressively persecuted the country’s writers, artists and other intelligentsia, sometimes unto death.

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Nanjing Museum

Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965) “Drunken Monk” (1944), a hanging scroll, at the Metropolitan Museum.

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Nanjing Museum

“Goddess Crossing the Xiang River,” an undated hanging scroll.

Fu, a fervent devotee of the ancient tradition of Chinese brush-and-ink painting, as well as an art historian and exceptionally skilled seal carver, often walked a kind of tightrope through the tumultuous times that came in between: the internecine power struggles following the Chinese Revolution of 1911; the upheavals of the Sino-Japanese War of 1937-45; and the Communists’ final triumph, after a bloody civil war, in 1949.

His trajectory is the subject of an intriguing up-and-down survey at the Metropolitan Museum of Art. It suggests that Fu, who came from very humble circumstances and was largely self-taught, was sustained by exceptional talent and a steely yet flexible dedication to his art. His skill and refinement, as well as his willingness to adapt, pervade this show, which is serene on the surface but less so beneath.

“Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965)” contains nearly 90 paintings. Early examples depict Tang-style court ladies, scholars perusing paintings and a calligrapher monk imbibing wine before setting to work. In later works, a line of destroyers plows through waves, and steam shovels strip mine for coal. The most imposing works throughout are panoramic views of majestic mountains, rivers and forests, in which a range of robust textures and scratchy, dry-brush markings impart a vigorous, sometimes wild sense of modernity.

Organized by the Nanjing Museum in China and the Cleveland Museum of Art, this exhibition is a landmark: the first full-dress retrospective of a 20th-century Chinese artist to be seen at the Met. It occupies ground prepared by the excellent exhibitions of classic Chinese painting that Maxwell K. Hearn, a longtime curator at the Met and now head of its department of Asian art, has been staging there for more than three decades.

In some ways it might have made more sense for the Met’s first 20th-century Chinese artist to be a better-known figure, like Fu’s contemporary Zhang Daqian (1899-1983) or the elder Qi Baishi (1864-1957). (Their work has been in the news because, thanks to the enthusiasm and wealth of Chinese collectors, it ranked first and second in earnings at auction last year, above Warhol’s and Picasso’s). Zhang, a collector and brilliant forger of historical paintings, left China forever in 1948, and went on to develop an astute fusion of Chinese ink painting and Abstract Expressionism that can be quite dazzling. Qi, an immensely popular painter who specialized in bold, often whimsical calligraphic close-ups of vegetables, insects and water creatures, stayed on, protected by his fame, living and working in Beijing a bit like a hermit in his hut, and having little to do with Mao’s regime.

With Fu, we have something altogether different, an implicitly more austere, possibly academic artist, but one immersed in his moment. Not only did Fu not leave China, but he also participated actively in the Communist apparatus as an artist, teacher and writer. His work reflects its historical context with particular vividness, although it is also sometimes so completely reflective that it becomes a curiosity, a historical artifact, and we lose the sense of its art. All of this means that the show raises all sorts of interesting questions about the relationship between art and freedom, aesthetics and politics, and innovation and tradition.

The through line of Fu’s career is ink-and-brush painting, for which he was never less than an impassioned advocate even when, in the 1920s, he had little access to it. Sequestered in private collections in a country with few museums, this kind of painting was also frequently viewed as a fusty, if not decadent, relic of the imperialist elite. Fu would come into his own as an artist only in the 1930s, after two extended visits to Japan, where Chinese painting, treasured for centuries, was more accessible and avidly studied by artists and art historians alike. Also important to him were histories of Chinese painting by Japanese art historians, which he translated into Chinese and which influenced his own writings.

The show’s earliest works, on view on the left in the first gallery, are four hanging scrolls from 1925, in which Fu deftly but rather one-dimensionally demonstrates the ink-brush techniques — the soft dots, short dashes and calligraphic outlines — basic to the long literati tradition of Chinese landscape painting, which he was then studying mostly in woodblock reproductions.

Across the room are examples of the carved seals that he began making in high school to help support his family, displayed beside red impressions of their spare, nested characters. And straight ahead, a monumental landscape, painted in 1933, probably during his first trip to Japan, pays homage to the Yuan master Wang Meng (1301-1385) with a dense surface richness that also testifies to Fu’s consummate synthesis of techniques.

The show’s strongest works are a series of images of mist-shrouded or rain-swept mountains from the 1940s. Here he pushes the traditional ink medium to new levels of atmospheric abstraction with a range of innovative, sometimes crazed brush textures and pale washes.

The show is never quite so visually exciting again, although Fu’s faith that his medium can serve the needs of the Communists, who favored Soviet-style Social Realism and were heartily suspicious of ink painting, provides its own drama. In both his writing and his art, Fu mounted a nationalistic argument for the medium as an important symbol of China’s illustrious culture and an appropriate means by which to celebrate its amazing natural wonders (or their exploitation), and for a while created a window of opportunity for himself. Basically, Fu opened ink painting to a new kind of reality, both in terms of the visible landscape and historic events.

In the works from the 1950s on, the clouds often come from smokestacks that signify industrial progress, and pine trees are joined by telephone poles. A river view shows Mao in a boat full of soldiers making a famous escape during the Long March, much like Washington crossing the Delaware. Some landscapes have an almost photographic, wide-angle precision, like the 1961 hand scroll “Sea of Trees by the Heavenly Lake,” which resembles a barren earth-work until you grasp its vastness.

Others, like “Oh, Changbai Mountain!” and “Snow Over an Expanse of Forests,” build on the rich markings of the 1940s works. In the final gallery, in images at once beautiful and a bit chilling, tints of red — the Communist Chinese color, par excellence — creep into skies, spread across water and inflame a national monument.

It is hard not to feel in the second half of the show that Fu was often painting for his life, working in a torturous situation as he tried to meet the shifting imperatives of the party, while also attempting works of a more personal, expressive nature.

Like the Ming painter Shitao, whose free brush Fu especially revered, Fu believed that liquor stirred the creative juices. “Often After Being Drunk” is the phrase on a personal seal that he frequently stamped on his paintings. More than one art historian believes that Fu drank himself to death. If so, it may have been just in time. He navigated more than his share of ideological challenges, but it seems unlikely that he would have survived those of the Cultural Revolution.

“Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965)” is at the Metropolitan Museum of Art through April 15; (212) 535-7710, metmuseum.org.

Arachnophobe creates cape woven from spider silk

2012-01-26T07:37:00.001-08:00

pass for, orb, cape, arachnophobe, harness,bananas...

Arachnophobe creates cape woven from spider silk

By Bryony Jones, CNN

January 26, 2012 -- Updated 1127 GMT (1927 HKT)

Millions of spiders create silk cape

STORY HIGHLIGHTS

Cape and scarf made of spider silk on display at London's V&A Museum
Dozens of specially-trained handlers spent seven years collecting more than 1.2 million golden orb spiders
Bright yellow, extremely strong silk was harvested from the spiders, which were later released back into the wild
Cape is embroidered with spiders, brocade scarf is woven in traditional Malagasy style

London (CNN) -- A golden cape woven from the silk of 1.2 million Golden Orb spiders has gone on display at London's Victoria and Albert Museum.

The richly-embroidered garment -- its bright yellow hue is the natural color of the spider silk -- is the result of a seven-year project on the Indian Ocean island of Madagascar.

Using long poles, a team of 80 people worked to collect the spiders from their webs each day and harvest their silk before returning them to the wild.

The project was the brainchild of American fashion designer Nicholas Godley and British art historian and textile expert Simon Peers, who have both lived in Madagascar for many years.

"The idea of using spider silk to create garments goes back 300 years," Godley told CNN. "The last significant attempt to succeed was at the turn of the century, when a French Jesuit priest based in Madagascar, Jacob Paul Camboue, experimented with 'milking' spiders for their silk."

Peers had long been intrigued by the idea, and on a visit to his office, Godley's imagination was sparked when he spotted an unusual-looking tool which Peers explained was for collecting silk from spiders.

The cape has a mystical, ephemeral quality - just like a spider's web - but also a permanence
Nicholas Godley

"The idea never died, we kept revisiting it over the years, and eventually I shut my handbag factory so we could build a proper 'spidery' and experiment with harnessing spiders and harvesting their silk. We found that it worked.

"We were amazed -- you stand there watching it happen and you start to question your sanity. Is this really happening, or have I lost my bananas?

"We had 24 spiders harnessed up, the spindle was going, and silk was coming out. That was our eureka moment. We were over the moon, but it was just the beginning."

Scaling the project up proved a huge challenge -- only female Golden Orb spiders make silk. Hundreds of thousands of them were needed, and their cannibalistic nature meant the creatures had to be separated to prevent them from eating their neighbors.

Godley admits that the properties of spider silk -- and the practicalities and costs involved -- mean that industrial-scale production for use in textiles is unlikely ever to succeed.

"From a fashion perspective, it's impractical," he told CNN. "It's a natural fiber, and it shrinks, so you can't wash or dry clean it, and obviously it is hugely expensive to produce, so how would you begin to price it?"

Instead, they simply wanted to prove that it could be done, and to create two items which could help revive traditional Malagasy weaving techniques and embroidery skills, and to showcase the talents of people working on the island.

The four-meter-long brocade scarf, which was first shown at New York's Natural History Museum in 2009, was created using old Malagasy patterns, but as Godley explained, the inspiration for the cape, which made its debut at London's V&A Museum today, came from the spiders themselves.

A spiderweb is here today and gone tomorrow, but we have found a way to harness that and turn it into something lasting
Nicholas Godley

"After we finished the scarf, we wondered what to make next, and I really liked the idea of a cape, because of the fact that spiders cocoon their prey, wrapping them up, and I was intrigued by the thought of being cocooned in spider silk."

The cape is covered in images of spiders, plants and flowers, which took 6,000 hours to embroider, and those lucky enough to get up close have discovered that it is virtually weightless.

"We do a party trick where we get people to close their eyes and we put the tassels from the cape in one of their hands and ask them to guess which hand it is in. Half of them have no clue, and the other half get it wrong -- only a few guess, but only because of the warmth.

"The cape itself is like an invisibility cloak, you almost wouldn't know you were wearing it, and it has this mystical, ephemeral quality, just like a spider's web, but also a permanence.

"A spiderweb is here today and gone tomorrow, but we have found a way to harness that and turn it into something lasting."

But despite working so closely with them for so many years, Godley admits he is still afraid of spiders.

"I am fascinated by them, but still frightened of them: Spiders are poisonous, and they bite people," he said. "I am slowly trying to overcome it, but it hasn't stopped."

Weegee Made Blood and Guts Familiar and Fabulous

2012-01-22T09:14:00.000-08:00

Weegee (Arthur Fellig), 1899-1968, American photojournalist, b. Zolochiv, Ukraine (then in Austria-Hungary) as Asher Fellig. His family immigrated (1910) to New York City, where he soon quit school, held various photography-related jobs, and worked for Acme Newspictures (later part of United Press International) until 1935. For the next decade he freelanced, selling photos mainly to New York tabloids. About 1938 he adopted the name Weegee, supposedly a phonetic version of the name of the Ouija board, in tribute to his seemingly clairvoyant ability to arrive where and when news was breaking (he monitored the police radio). With his big flash-popping Speed Graphic, the cigar-chomping photographer became a fixture of the New York night. Drawn to the grotesque and illicit, he created contrasty black-and-white shots of grisly crime scenes, fires, and car crashes and of New Yorkers at pleasure spots and grim scenes. He became known to a larger audience with his 1945 bestseller Naked City. Weegee later worked as a Hollywood movie consultant (1947-52), experimented with portraits shot with distorting lenses, and made three short films (1948, c.1950, and 1965).

Bibliography

See his autobiography, Weegee on Weegee (1961); his other collections, Weegee's People (1946, repr. 1985), Naked Hollywood (1953, repr. 1975), Weegee's New York Photographs, 1935-1960 (1984, repr. 2000), and The Village (1989); J. Coplans, ed., Weegee: Naked New York (1997); A. Talmey, ed., Weegee (1997); M. Barth et al., Weegee's World (1997), and K. W. Purcell, Weegee: Arthur Fellig (2004).

He Made Blood and Guts Familiar and Fabulous

By ROBERTA SMITH

Published: January 19, 2012

The International Center of Photography has been Weegee Central since the end of 1993. That’s when it was bequeathed 16,000 photographs and 7,000 negatives by Wilma Wilcox, the longtime companion of Arthur Fellig (1899-1968). Fellig, the Austrian-born son of Jewish immigrants, grew up poor on the Lower East Side, fell in love with photography as a darkroom assistant, and in 1935 set out as a freelance news photographer.

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Weegee/International Center of Photography

Weegee's images of his 1941 Photo League exhibition, “Murder Is My Business,” are in the photography center show. More Photos »

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‘Weegee: Murder Is My Business’

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Weegee/International Center of Photography, Steven Kasher Gallery, New York

Weegee's more quotidian fare like “Rent Party” (1950) typify how the photographer was, as one curator said, “not a reporter but a fabulist.” More Photos »

He was just in time to convert the emerging genre of tabloid photojournalism, with its surfeit of murder and mayhem, into an earthy and memorable art form. Within a very few years he was a kind local personality and folk hero known for reaching crime scenes ahead of the competition, if not the police. He called himself Weegee the Famous.

Weegee’s achievement is multidimensional, reaching all the way to underground film, but its main base is photography and books of photographs, especially the foundational noir classic “Naked City,” a 1945 compilation of 229 images for which Weegee also wrote the text. Its success inspired him to give up tabloid photojournalism and move to Hollywood, where he worked as a photographer, actor and film consultant before shortly hightailing it back to New York to turn his attention to making what he considered art photography, mainly distorted images. In 1957, after developing diabetes, he moved in with Miss Wilcox, a Quaker social worker whom he had known since the 1940s, and who cared for him and then cared for his work.

The Weegee Archive, as it is now known, has resulted in a series of riveting exhibitions at the International Center of Photography. The first and largest was the 329-image “Weegee’s World: Life, Death and the Human Drama,” brought forth in 1997. It was followed in 2002 by “Weegee’s Trick Photography,” a show of woozy, distorted or otherwise caricatured images, many of them called “art” by their creator, and four years later by “Unknown Weegee,” a survey that emphasized his more benign, post-tabloid photographs.

On Friday comes “Weegee: Murder Is My Business,” a trim but multilayered exhibition that takes its title from popular back-to-back exhibitions of Weegee’s work that he staged at the Photo League on East 21st Street in 1941.

Organized by Brian Wallis, this latest foray into Weegee’s complex universe circles back with a new scrutinizing intensity to the core of his achievement: his frenetic, formative first decade as a full-time photographer. From 1935 to 1946, he lived by his wits and mostly at night, taking harsh, flash-lighted pictures of fast-moving, often violent breaking news that he sold to the city’s several dailies. Dead criminals — killed by one another or the police — fires, gruesome accidents and other catastrophes were his initial subjects. The show zeroes in on these early works, mixing in a raft of contextualizing materials, including photographs by others.

Tellingly, one of his first acts of genius was not to focus only the events themselves — although his images are certainly strewn with bodies, crushed automobiles and the like — but on the people hanging out of windows or peering over rooftops for a better look, who mirror and encourage our own undisguised interest. One of his most famous photographs, “The First Murder,” captures a group of unsettled school children, whose surging faces and torsos set the image aswirl; the motion is anchored by a distraught adult face toward the center of the scene that belongs to the aunt of the victim, a hoodlum named Pete Mancuso. The image perfectly typifies what Diane Arbus admiringly called Weegee’s “wild dynamics,” as well as the observation of John Szarkowski, the Museum of Modern Art’s prescient photography curator, that Weegee was “not a reporter but a fabulist.”

This exhibition affirms that Weegee brought to street photography a new, often shocking vitality. The combination of grit, humanity, intensity, merciless opportunism and spatial precariousness, coupled with an eye for uncanny details, regularly resulted in pictures that you can’t stop looking at — even when your finer instincts suggest that you should — and don’t soon forget. And you need to see only a few of his images to understand how he paved the way for Robert Frank, Arbus and Andy Warhol and others who have explored America’s dark side through photographic images.

But arguing for Weegee’s greatness is not the show’s main goal, even if it ultimately can’t help doing so. Instead it conveys a weird and very tangible sense of Weegee himself, both as a driven hustler in pursuit of humankind in extremis and as the creator of a tough-guy, crime-fighter persona, as evidenced by examples of his many self-portraits that dominate the show’s first gallery. (One shows him flopped down on his stomach on the floor of a paddy wagon, camera cocked, like a hunter, waiting for the first arrest of the night.)

We also get a more intense view than usual (even by Weegee standards) of the harsh, turbulent world of post-Prohibition New York that was both the subject of, and the audience for, his images, a pressure cooker teeming with immigrants, inequity, crime, tawdriness and possibility. And because the show focuses on the different ways Weegee’s work reached this audience, it reveals a great deal about how this world was covered by the press.

For all the gritty reality of its subject’s work, the show is a rather delicately orchestrated series of framing, echoing, mutually elaborating contexts. There are labels to read and a series of brilliantly deployed touch screens that can take you deep into different aspects of Weegee’s world.

On these you can leaf through the first edition of “Naked City,” read news articles about the murders that Weegee photographed or study the crime scenes, then and now. You can listen to Weegee on the set of “Dr. Strangelove” as he talks briefly with Peter Sellers, who based the accent of the film’s title character at least partly on Weegee’s nasal New Yawkese. Or you can peruse whole issues of PM, the short-lived daily that deftly combined sensational photographs and social concern, for which Weegee worked in the early 1940s.

For a more unbridled sense of Weegee, I recommend “Weegee: Naked City,” at the Steven Kasher Gallery in Chelsea, a kind of greatest-hits presentation of 125 images that roams across most of his career, divided into sections loosely inspired by the chapter headings of his first book. It is in many ways the perfect, sprawling, uncouth antidote to the rather more surgical approach of Mr. Wallis’s museum show.

The museum presentation often sharpens appreciation of Weegee by comparing his images with those by other photographers. Juxtaposition of his work with that of his newshound competitors and police photographers reveals his innate sophistication. Juxtaposition of his work with pictures taken by members of the Photo League, like Helen Levitt and Aaron Siskind, emphasize his relative lack of compassion.

With the help of the touch screens, it is possible to see the same image move among different formats, from the cramped front page of The New York Post to the more generous proportions of PM, which had superb print quality and often treated Weegee himself as part of the news, to the relatively text-free spreads of “Naked City.”

“Their First Murder” appears several times, including in a 1944 issue of U.S. Camera accompanied by an admiring text. We are informed that it is one of the most popular photographs in “Action Photo,” an exhibition then on view at the Museum of Modern Art, and that an “over-enthusiastic museum official calls it the greatest news photo of the last 10 years.” Today that assessment doesn’t sound over-enthusiastic at all.

Mr. Wallis’s exhibition recreates the “Murder” portion of Weegee’s Photo League show, “Murder Is My Business.” As in the original “Murder” section, the wounds of the victims in these black-and-white photos have been touched up with red nail polish, and in case you doubt that this really happened, a picture by an unidentified photographer shows Weegee doing the touching up at the Photo League.

Nearby are his photographs of other sections of the Photo League show, including “Faces,” “Society” and “Coney Island.” As Weegee proceeded, murder and other mayhem actually became less and less his business. His view of the living rarely seems genuinely sympathetic, but that is part of the enduring strength of his images. Their often cold-blooded toughness is, in its way, a tribute to human resilience.

“Weegee: Murder Is My Business” runs through Sept. 2 at the International Center of Photography, 1133 Avenue of the Americas, at 43rd Street; (212) 857-0000, icp.org. “Weegee: Naked City” continues through Feb. 25 at the Steven Kasher Gallery, 521 West 23rd Street, Chelsea; (212) 966 -3978, stevenkasher.com.

True to Ellsworth Kelly' s Abstraction

2012-01-22T09:04:00.000-08:00

True to His Abstraction

Fred R. Conrad/The New York Times

Ellsworth Kelly in the area of his studio where he paints. More Photos »

By CAROL VOGEL

Published: January 20, 2012

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Color, Line and Shape

ELLSWORTH KELLY’S studio here is a sprawling labyrinth of white-walled rooms, some with skylights, some with large windows looking out onto the rolling landscape. The walls are either bare or impeccably hung with a selection of Mr. Kelly’s striking painting reliefs. Everything is simple, spare and modern with one exception: at the entrance is a small mustard-yellow ladder-back chair with a multicolored woven straw seat inspired by van Gogh’s paintings of his bedroom in Arles.

“I did this in shop class in sixth grade,” Mr. Kelly said during a visit one recent wintry afternoon. “It was my first color spectrum.”

“The negative,” he went on, pointing to the spaces between the slats in the back, “is just as important as the positive.”

A classic observation coming from this 88-year-old artist, whose seven-decade career has been an unwavering exploration of shape, line and color in their purest forms. While many other artists of his generation were appropriating images of American flags or movie stars or newspaper clippings, Mr. Kelly was relentlessly immersed in abstraction: creating color spectrums and panel paintings with nothing but a giant curve or rectangle, or making drawings depicting the simple outline of a leaf.

Refusing to be labeled a Minimalist or Abstract Expressionist, he spent decades fighting for attention, while others of his generation — Warhol, Lichtenstein, Rauschenberg and Jasper Johns — were grabbing the spotlight.

“Ellsworth never tried to second-guess art history,” said Robert Storr, dean of the Yale School of Art. Yet while Mr. Kelly’s lifelong focus on abstraction in paintings, sculptures, collages, drawings and prints may not have been a smart career move — there were years, especially in the 1970s and ’80s, when his work went ignored and unsold — now it appears that the tide has turned.

Abstraction is hot again, with canvases by Gerhard Richter fetching astronomical prices at auction and the recent Willem de Kooning retrospective at the Museum of Modern Art was a crowd pleaser. Reflecting on the multiple exhibitions of Damien Hirst’s spot paintings that opened this month in Gagosian’s 11 galleries around the world, Mr. Kelly said: “He’s been able to get a lot of attention, making color and form stand alone. That’s something that has taken me decades.”

“Time has always been very important in my work,” he added. “Tastes have changed recently, and although abstraction has been difficult, people are more open to it now.” As a result Mr. Kelly finds himself more in demand than ever before. In July two 18-foot-high wall sculptures were installed on the facade of the American Embassy in Beijing. He is juggling several new sculpture commissions and has a full schedule of museum exhibitions, including one of his wood sculptures at the Museum of Fine Arts, Boston, and a show of black-and-white works that closes this weekend at the Haus der Kunst in Munich and reopens on March 1 at the Museum Wiesbaden. Another exhibition of prints and paintings will open this weekend at the Los Angeles County Museum of Art, and in June the Metropolitan Museum of Art will offer a show of his plant drawings.

Meanwhile the Chelsea art dealer Matthew Marks turned to Mr. Kelly for the opening of his first gallery in Los Angeles, a former garage in West Hollywood that has been turned into an all-white 3,500-square-foot space. Not only will it be filled with Mr. Kelly’s works, but he has transformed the facade with a black sculpture in relief along the top, inspired by a collage and a painting he did in the ’50s and ’60s.

“Ellsworth has been fearless in his commitment to the limitless possibilities of abstraction,” said James Cuno, chief executive and president of the J. Paul Getty Trust in Los Angeles, who first met Mr. Kelly in 1989 and has exhibited and commissioned his work in various museums where Mr. Cuno has been a director, including the Hood Museum of Art at Dartmouth College, the Fogg Art Museum at Harvard and the Art Institute of Chicago. “With concentrated imaginative power he has made some of the most beautiful and important paintings of the Modernist era. And he is at the height of his powers, not elegiac but ecstatic, filled with the wonder of seeing the world afresh.”

Tearing around his studio in gray flannel pants and sneakers, hampered only by long tubes for the oxygen machine that he is hooked up to because of a recent lung condition — possibly caused by years of inhaling turpentine, oil paint and other materials in his studio — Mr. Kelly was animated. With an almost boyish energy and laser-sharp memory that make him seem a lot younger than his years, he spoke about his work, his recent surge of popularity and his life in this secluded hamlet in upstate New York, a few miles west of Stockbridge, Mass.

In one of the largest rooms he pointed out a brightly splattered area he called his painting wall. Unlike younger artists, including Mr. Hirst and Jeff Koons, who often direct studio assistants, Mr. Kelly creates everything with his own hand. “I wouldn’t feel right doing it any other way,” he said. “Kids do anything these days, but I’m still an old-fashioned painter. Maybe in a few years when I’m too old, I’ll need help, but what am I going to do, say to an assistant, put the yellow there?”

Mr. Kelly was staring at a group of painting reliefs — simple forms with dramatic combinations of orange and blue, dark blue and black, green and blue, black and white — that filled the adjacent walls. They were drying, each with long wood strips separating the background canvas from the colored relief panel in front. “I have to wait a week for each to dry,” he said. “Oil takes that long, sometimes longer. I don’t like acrylic because you can’t get the density of color. And with each coat of oil paint the surface gets better and richer.”

Creating these unframed relief paintings, he explained, is his way of “going into the viewer’s space,” adding, “If I painted it all on one canvas, it wouldn’t have the depth. It would be flat.”

“What I’ve made is real — underline the word real,” he added. “It becomes more of an object, something between painting and sculpture.”

Mr. Kelly has been experimenting with the notion of painted reliefs since he lived in Paris in 1949. “I began with cardboard painted reliefs,” he said. “Some of them were all white. And I’ve continued this relief work ever since. I like the relief of Romanesque architecture.”

He draws constantly, sometimes making tiny sketches on a scrap of paper, even a folded cigarette carton picked up on a New York City street because the shape caught his eye. Often he’ll save these bits and use them years later as inspiration. Some start out as drawings and over time morph into a painting or a monumental sculpture. The lyrical, folded sculpture outside the Beyeler Foundation in Basel, Switzerland, for example, started out as a three-inch piece of cardboard that developed into a sketch, then a sculpture in wood, then aluminum, then steel, becoming refined with each incarnation. “A shape for a painting could come from the shadow a leaf casts on a branch,” said Mr. Marks, his dealer. “He’ll draw it over and over again and use it in a painting, a print, a sculpture.”

The actress Gwyneth Paltrow is a big fan of Mr. Kelly’s work and has been collecting his plant drawings since 1997, “as soon as I got my first paycheck,” she said in a telephone interview. “There are certain artists you have a visceral reaction to, and Ellsworth is one of them.” The two met when she was in a play in Williamstown, Mass. “He came backstage and introduced himself,” she recalled.

Mr. Kelly grew up in Oradell, N.J., the second of three sons. His father was an insurance company executive. After serving in the Army during World War II he moved to Boston, where he qualified under the G.I. Bill for tuition at the School of the Museum of Fine Arts. There he studied old master painting and drawing and taught night classes in art in the Roxbury neighborhood, in exchange for room and board.

He moved to Paris in 1948 and got to know John Cage, Merce Cunningham, the Surrealist artist Jean Arp and the abstract sculptor Constantin Brancusi, whose simplification of natural forms had a lasting effect on him.

He moved to New York in 1954, settling in a 19th-century loft on an old dock called Coenties Slip, near Wall Street. At the time artists living nearby — like Robert Indiana, Barnett Newman, Rauschenberg and Mr. Johns — were creating pioneering work that bridged Abstract Expressionist and the Pop and Minimalism of the 1960s. The Abstract painter Agnes Martin lived in the same building, and the two became close friends and exchanged ideas about their work.

During these years Mr. Kelly created single canvases of hand-drawn shapes that were different from his Paris paintings, which were mostly panels, each canvas a separate color. He also joined several powerful galleries: Betty Parsons, then Sidney Janis and later Leo Castelli. Although he got some attention, he was eclipsed by bigger stars like Rauschenberg and Mr. Johns.

In 1970 he decided to abandon the city’s flourishing art scene, putting down roots here, where he still lives with Jack Shear, a photographer. In the ensuing decades he has worked steadily, if quietly. Despite some ups and downs his art has been purchased by museums and collectors around the world. He has also had shows at numerous galleries and museums, including a giant retrospective in 1996 at the Solomon R. Guggenheim Museum in New York that traveled to the Museum of Contemporary Art in Los Angeles, the Tate in London and the Haus der Kunst.

Mr. Marks, who has been his dealer for 20 years, recalled that when he first began representing Mr. Kelly, a German dealer said to him: “Why did you take on Ellsworth Kelly? He’s so boring.”

“I ignored it,” Mr. Marks recalled.

An obsessive archivist, Mr. Kelly has kept examples of his work from every decade of his career, studying them continually for inspiration, as a way to move forward. “He’s the last artist to repeat himself,” Mr. Storr said. “But he always comes back to his basic vocabulary: surface, scale, color, image. And he always gets it as simple as he can.”

The facade of Mr. Marks’s new Los Angeles gallery, for instance, was inspired by ”Study for Black and White Panels,” a collage he made while living in Paris in 1954, and a painting, “Black Over White,” created in New York 12 years later. Both are predominantly white with a black bar that floats in relief on the upper portion of the all-white stucco facade.

“He’s making art as good as the art that inspired him when he was in Paris,” Mr. Storr said. Comparing him to Mr. Johns, perhaps the only other major artist of his generation who is actively working today, Mr. Storr continued: “To a great extent Jasper is a literary artist. His work is coded with secret messages. Ellsworth is purely a visual artist. With Ellsworth there is no message, just an experience.”

正欲清言聞客至。偶思小飲報花開

2012-01-22T03:51:00.000-08:00

598
大篆對聯

吳平
書法
墨、紙本
177.4 × 47.8cm × 2
1992
A Pair of Scrolls in Majuscule Seal Script
Wu Ping
Ink on paper

　作品賞析　

　　墨色厚重而不嚴肅，結體自然帶有拙趣，在筆勢部分起筆謹慎圓實，而收筆自由放鬆，飛白的部分蒼勁瀟灑；非線性的排列順序呈現出閒散的氣息。作者在款識部分使用澀筆書寫，行書字體在虛實交錯之間展現蒼勁剛硬的質感。內文墨色濃重有光澤，上下款文字墨色乾而輕澀，加上線條篤實厚重與纖細流暢的分別，在整體畫幅空間中形成明確的賓主關係。(文/李幸潔)

作者款識(落款簽名年款)：堪白吳平書陸放翁句

作者鈐印(朱文白文)：吳平(白文)。堪白(朱文)。

簽名位置：下聯左

釋文：正欲清言聞客至。偶思小飲報花開。

　藝術家小傳　

　　其尊君克剛公，工詩文書畫、尤精於山水，為弘一大師李叔同門人。堪白先生為學為藝，皆淵源家傳，箕裘克紹。其作品書畫篆刻皆精。書法擅四體。初淑糞翁鄧散木。行草以宋明人韻緻為尚。來台後久任公職，曾任故宮博物院書畫處處長。並從雁高軒高氏游，遂棄其早歲所事山水。專功花鳥一科。先後加入「七修畫會」、「海嶠印集」、「六六畫會」等，個展多次，有書畫集刊行。堪白先生不論書畫或篆刻藝術，莫不自成風格；其人則澹泊不爭，矜而不趨，故其藝雖出入古人，然自具面貌，不以狂怪邀譽，唯傳清響於後世也。

*****

已將原聯更正:

大篆對聯 - 高雄市立美術館--典藏品資料查詢

collection.kmfa.gov.tw/kmfa/artsdisplay.asp?... - 頁庫存檔

(文/李幸潔) 作者款識(落款簽名年款)：堪白吳平書陸放翁句作者鈐印(朱文白文)：吳平(白文)。堪白(朱文)。簽名位置：下聯左釋文：正欲清言聞客至。偶思小飲報花開。

*****原址:

寫給台灣的情書

http://blog.roodo.com/michaelcarolina/archives/18812216.html

阿諒哥送我們春聯
書法家官大欽先生的字，陸游的詩：

正欲清言聞客至
偶思小飲報花開

Architectural Geometry

2012-01-16T23:28:00.001-08:00

Architectural Geometry (The Bentley Institute Pre...

2012年1月17日在臺大圖書館偶遇許多書，有幾本是印象比較深刻的。

第一次碰到贈書簽署者為「讀者」；某本1930年代《英國姓氏史考》……台灣的政府單位印刷品和私人印書等很精美：新式幸福風：時尚酩品美學劉其偉傳奇百年……

碰到Architectural Geometry (The Bentley Institute Press)一書，有些感慨。這要從陳其寬老師說的，東海路思義教堂的設計故事說起：貝聿明先生到成大演講之後，回東海說，成大的師生建議，東海教堂的設計應該更有創新…..陳其寬當時知道雙曲面的牆面設計最先進……於是，有今天的這一「形」。它建成之後，50年過去了，西方這領域的進步更是神速，更拜電腦科技的進步，所謂後現代的「形形色色」，更是新境界紛陳。總之，他們的設計真的是邁向「真善美」的綜合，科學與藝術兼顧。

新式幸福風：時尚酩品美學

2012-01-16T21:22:00.001-08:00

主辦單位:高雄市立美術館

展覽名稱:新式幸福風：時尚酩品美學

展覽日期: 100.10.22- 101.02.19

展覽地點:三樓301-304展覽室

酒的歷史與人類文明與時俱進，更是美術、舞蹈與文學的靈感泉源，充滿了意義、魔法與魅力。這是一項全新觀念的展覽，結合動態影像影片、時尚服裝、酒瓶標籤設計的多元形式，從視覺的象徵到迷人的莊園故事，呈現設計與創意運用在當代文化生活、飲食產業品牌行銷與視覺傳達的重要性。本館也藉此平台，特別推出台灣酒標籤的發展歷程，並邀請在地藝術家參與創意藝術酒標的創作。

瀏覽人數：6332

公告時間： 100.10.22- 101.02.19

圖片：Inspired by versace

圖片：Inspired by adidas

Aristide Maillol馬約爾

2012-01-16T01:29:00.000-08:00

Aristide Maillol (1861-1944)

《馬約爾人體素描》成都四川美術 1987

Virgil Eclogues (1912 1926) 插畫

He depicted only the human figure, especially the female nude. .... asked by the committee what form he proposed to give it and replied 'Eh! une femme nue. ...

The arts in 2012: James Bond and Occupy/post-war sculpture

2012-01-08T03:51:00.001-08:00

Art | 03.01.2012

Cologne exhibition examines role of the body in post-war sculpture

Thomas Schütte, "Vater Staat" (Father State), 2011

Human beings are fragile, and the law often isn't enough to protect them. The Cologne exhibition "Before the Law" brings post-war and contemporary sculptures together to show how art deals with those realities.

"Vor dem Gesetz steht ein Türhüter" (A gatekeeper stands before the law) is the world-famous first sentence of Franz Kafka's short story about a country doctor that comes to the city and requests entry into the law. In vain, the visitor waits for years to be let in. Just before his death, he asks the gatekeeper why he is the only one to have requested entry in so long. The answer: The gate was made just for him.

The man from the countryside learns that any given law is open to interpretation.

Artists, in particular, can attest to that fact, having often seen their right to expression trampled by hostile social movements and governments. In the wake of the Second World War, creative spirits in Germany took up questions like what it means to live in a world that has no respect for human life. The exhibition "Before the Law" in Cologne's Museum Ludwig examines how neglect for human rights shaped art from the post-war period through the present. The focus is on sculpture.

Diagnosis of the present

Untitled by Marko Lehanka, 1999 / Zoe Leonard, "Tree," 2011Painting can only illustrate suffering and can easily become kitschy, said exhibition curator Kasper König, one of Germany's most celebrated art experts. In 1977, he established the Sculpture Projects Münster, which has since taken place ever 10 years. Since 2000, König has been director of Museum Ludwig, a major exhibition hall for modern and contemporary art.

Before he completes his time in office at the end of this year, he's offering one more major show in Cologne that examines some of the fundamental elements of human life. For König, the show is both about reflecting on existential questions and offering a diagnosis of the present.

Broken bodies

Wilhelm Lehmbruck's "Sitting Youth" from 1916-1917 is among the earliest pieces in the exhibition. The figure sits with her limbs turned inward and her head hanging in sadness. The sculpture was first shown in the year 1955 at the inaugural edition of the famous documenta art show in Kassel, Germany.

Gerhard Marcks' "Chained Prometheus" from 1948 is another sculpture with suffering at its core. The figure's narrow, fragile features suggest a likeness with expressionist sculptor Wilhelm Lehmbruck. The bowed head and chained hands reflect the artist's own persecution during the Nazi era.

The fragility of the human body is a central theme in early post-war art, evident also in a mutilated figure sculpted by Henry Moore, in a powerless Madonna sculpture by Fritz Cremer, and in Alberto Giacometti's "La Jambe," which consists of a leg fragment resembling a prosthesis joined to a base. Each piece exudes a sense of helplessness. The post-war works on display are proof of art's capacity to make pain perceptible.

Bruce Nauman, "Carousel," 1988

One question remains

Contemporary art doesn't restrict itself to a single point in the room or to a single base. Rather, the works often draw in entire rooms. Bruce Nauman's "Carousel" offers a good example. The lifeless remains of animals' bodies hang suspended from poles that turn on their own. Each corpse is covered with a dead grey material.

In the entryway to the exhibition, guests see American artist Jimmy Durham's "Building a Nation." Its theme is the appropriation of North America by European settlers, and the piece recalls an abandoned building. Pieces of a door and furniture allow the viewer to imagine an edifice. Racist statements hang on the few walls of the structure, many of which represent arrogant demands like, "Indians out!"

Jimmie Durham, "Building a nation," 2006Jimmy Durham is of Native American heritage and offers a personal take on the colonial slaughter of his ancestors.

The exhibition brings historical sculptures into dialogue with contemporary installations. But violations of human rights make up the thread that unifies the diverse works on display.

At least one question lingers after taking in the exhibition: Where are we today as people, artists and society?

Author: Sabine Oelze / gsw
Editor: Kate Bowen

Culture | 02.01.2012

The arts in 2012: James Bond and Occupy

Kassel prepares for the 13th edition of its prestigious art festival

From the latest James Bond film to the 13th documenta contemporary art exhibition and a fresh supply of new books, 2012 has something in store for everyone: moviegoers, art and music lovers, and book worms, too.

Frederick the Great, known as "Old Fritz," believed each person should be happy in his own way. He is known for his passion for politics and military drills, but also for playing the flute. In 2012, the former King of Prussia would have turned 300.

This year also marks one century since the death of German writer Karl May, best known for his "Winnetou" books. Fans will commemorate him by visiting the Karl May Museum near Dresden. With more than 100 million books sold, he is the most widely read German language author.

Contemporary art

Prussian history is in the foreground this yearDocumenta in Kassel will be opening its doors once again. The exhibition, which takes place every five years, is considered the most significant event for contemporary art, objects, installations and performances from artists around the world.

"Collapse and Reconstruction" is the theme of documenta 13, while the event maintains its tradition of keeping its list of artists under wraps ahead of time. Only three of the 100 participating artists are known: Italian Guiseppe Penone, American sculptor and city planner Theaster Gates, and Johannesburg-based artistWilliam Kentridge.

A growing interest in modern art is driving the prices up. Renowned German artist Gerhard Richter said the sums his paintings go for are "as absurd as the banking crisis." Its not uncommon for his works to sell for eight-digit sums.

Such amounts have more to do with speculation than with the value of a canvas, added the artist, who will celebrate this 80th birthday in February.

'Idee di Pietra' Giuseppe Penone was the first work from documenta 13 to be revealed"The works are no longer exhibited, but put in storage as a safe investment, like a Rolex or a Porsche," said Markus Eisenbeis, owner of Cologne-based auction house Van Ham.

Silver screen

The Berlin International Film Festival will kick off a series of cinematic events in 2012. After that, "The Hobbit," a film by Oscar-winner Peter Jackson, should draw a lot of attention. The movie is expected to be similar to his trilogy, "The Lord of the Rings," and include spectacular special effects.

George Clooney leads the cast in "The Descendants," while Hollywood newcomer Andrew Garfield stars in a sequel to "Spiderman," and Daniel Craig returns as 007 in the latest James Bond movie, "Skyfall."

German cinema also has its share of interesting movies on deck. Director Helmut Dietl is filming "Zettl," a sequel to the successful television series, "Kir Royal," with actor Michael Herbig.

One of Germany's best-known younger actors, Matthias Schweighofer, is the main character in a film adaptation of Vladimir Kaminer's novel, "Russian Disco." He plays a Russian who moves to Berlin to begin a new life shortly after the fall of the Wall in 1989.

George Clooney stars in 'The Descendants'

Relevant stories

The literary world is seeing a return to the banal this year, University of Duisburg literature expert Andreas Erb told Deutsche Welle. The more complex life becomes, the more people want to read books they can grasp.

Stories this year will focus on issues like the debt crisis, the Occupy movement and the protests against storage and transport or radioactive material.

"There is a tendency to capture the moment," said Tanja Postpischil from Suhrkamp publishing house. She expects books from celebrities and politicians to remain bestsellers.

One highly anticipated book will be related to Germany's "trial of the year" in 2011. Former weatherman Jörg Kachelmann, who was acquitted on charges of raping his girlfriend, is set to release the novel "Mannheim," which recounts his experiences in prison.

German Family Minister Kristina Schroeder is expected to tackle the ongoing issue of quotas for women in boardrooms in a book entitled, "Danke, emanzipiert sind wir selber" (Thank you; we are emancipated on our own).

But literature won't be limited to current affairs. Biographies on Frederick the Great should be a hit, as well as new editions of works by Charles Dickens, who would be turning 200 in 2012.

The Leipzig Book Fair in March will present a new section on education. Others are eyeing the Frankfurt Book Fair in October, which will coincidentally feature another country with volcanoes after Iceland took center stage in 2011. New Zealand will step into the spotlight with the slogan, "While you were sleeping."

Clouds over Bayreuth

Tension on Bayreuth's Green Hill is nothing new - but trouble with the German Court of Auditors is. The festival has come under fire for its system of allocating tickets, with accusations that too many tickets are given to sponsors and celebrities.

The timing of the investigation is especially unpleasant because it comes just a year ahead of the 200th anniversary of composer Richard Wagner's birth. A revival of Wagner's "Ring" tetralogy is in the works, but has come up against a few hurdles. Well-known filmmaker Wim Wenders turned down the high-profile directing job, which was then given to Frank Castorf, the controversial director of the Berliner Volksbühne theater. Critics bemoan his complete lack of opera experience.

Bayreuth is no stranger to stressWhat's more, the Bayreuth Festival's main sponsor, Siemens, has pulled out, and it remains unclear whether the event will the open-air broadcasts will continue.

Nevertheless, a bit further south, things are looking up. The Salzburg Festival is expected to focus on religious music and become longer and more exclusive under the new director, Alexander Pereira.

On the other hand, the new director of the Ruhr Triennale, composer and theatre director Heiner Goebbels, promises to make the international festival for music, theater, literature, and dance, more unconventional and innovative. Productions will take place in unusual locations, like former machine halls and coking plants.

Author: Gudrun Stegen / cc
Editor: Kate Bowen

Saint-Sulpice

2012-01-06T20:46:00.000-08:00

"人們從聖-敘爾皮斯過渡到色情畫"
觀看書寫 --建築與文學對話桂林:廣西師範大學頁147

Wikipedia article Église Saint-Sulpice, Paris.

http://www.sacred-destinations.com/france/paris-st-sulpice

Saint-Sulpice is a huge, Late Baroque parish church located in the fashionable neighborhood of Saint-Sulpice in Paris. It recently became even more popular with tourists than usual thanks to its prominent role in the novel The Da Vinci Code, which is dicussed below.

History

Saint Sulpicius, the patron of the church, was a 7th-century bishop of Bourges noted for his piety and his resistance to the tyranny of the Merovingian kings.

The Church of St-Sulpice was founded by the Society of St-Sulpice to replace a small Gothic church. It was built over a century in several phases, with the various architects contributing different designs.

Construction began in 1646, was expanded on a larger scale in 1670, stalled from 1678 to 1719, then resumed under Gilles-Marie Oppenordt and was mostly complete by 1745.

The west front was designed by the Florentine architect Giovanni Servandoni until 1766. The north tower was built by Chalgrin in 1778-80, but construction was abandoned before the south tower was completed.

A wealthy and fashionable church on the Left Bank, Saint-Sulpice went on to host the christenings of none-too-devout Marquis de Sade and Charles Baudelaire as well as the wedding of author Victor Hugo.

During the Revolution, the Church of St-Sulpice was damaged and turned into a Temple of Victory. It was restored and redecorated in the 19th century with the help of Eugène Delacroix.

St-Sulpice under restoration in July 2008. Photo © Sacred Destinations.

Closer look at the facade and south tower. Photo Steve Roe.

Historic photo of St Sulpice. Photo Notre Dame Architecture Library.

Interior of St-Sulpice, looking west to the organ. Photo Te-Min Ong.

The grand organ of Saint-Sulpice. Photo Robert Catalano.

The "Rose Line" gnomon. Photo Emilio del Prado.

Obelisk inscription explaining the gnomon. Photo Andy Hay.

Stained glass window with "PS" initials that stand for Peter and Sulpice, not the Priory of Sion. Photo Sathish J.

Delacroix fresco of Jacob wrestling with the angel. Photo Lutetia.

Chapels and dome. Photo gogoninja.

Chapel of the Virgin in St-Sulpice. Photo Franck Rondot.

Burmese artists walk a thin line between art and politics

2012-01-06T20:41:00.000-08:00

Arts | 06.01.2012

Burmese artists walk a thin line between art and politics

U Maung Maung Thein feels safe painting landscapes

The motto for the latest film festival in Myanmar was quite unusual: free art, free thoughts, freedom. The country has been opening up politically, but does that apply to the art scene?

Comfortably, the Burmese censor leans back in his cinema seat - pot-bellied and slightly sleepy after the filling lunch the producer paid for him. Suddenly he stares at the screen, wide-eyed he yells: "Ban that scene! Remove it! That makes the State look undignified. If people from abroad see it, they will think that beggars exist in Myanmar." "Everybody knows there are beggars in Myanmar," another censor replies. The former responds: "They can exist in real life, but not in this movie!"

"Ban that scene!" by director Htun Zaw Win is an astonishing work of art. In only 18 minutes the film puts censors on and accuses them of corruption. That is probably why the film won the audience award at the Art of Freedom Film Festival, which took place in Yangon in the first week of January. More than 50 films were shown – without having passed the censors beforehand. And that is probably the biggest surprise.

Burmese artists have not been free to paint what they want

Forced labour for a joke

For decades the Burmese military reigned ruthlessly over the people of Myanmar. Every song, book or work of art had to be approved by censors. Those who criticised the government could be arrested, tortured and severely punished.

That is exactly what happened to the Moustache Brothers, a comedic trio from Mandalay, a city in central Myanmar: In 1996 the three comedians performed at a rally for opposition politician Aung San Suu Kyi. Shortly thereafter, two of the three disappeared for years in labour camps in the countryside. Since their release the Moustache Brothers are no longer allowed to put on public shows.

Instead, they perform for a couple of tourists in a Mandalay garage every night; marked by age and grief – but undaunted nonetheless. "My 85-year-old mother," Lu Maw, one of the "Brothers" yells in his rattling, "sits outside our garage every night, watching out for our secret service. And when she sees them, she whistles." Then she whistles. The tourists laugh.

Old government, new shape

However, the new government – installed after controversial elections in November 2010 – tries to appear more democratic. On a few occasions, it has released political prisoners, among them popular comedian Zaganar. It has also slackened censorship laws and has invited opposition politician Aung San Suu Kyi to hold talks with President Thein Sein. Myanmar seems to be opening up.

Nonetheless, Lu Maw remains sceptical. "You see this bottle of Mandalay Beer. Now I put a new label on it. Johnny Walker Red, for example," he says. "But, you know, inside it is still the same old beer, not Whiskey. It is the same with Burma: New bottle, old content."

Whether or not the changes will last, jazz guitarist Zeck is not so sure. "For us, it is very difficult to understand what is happening. We cannot assess reliable information. Therefore we cannot predict what is going to happen. But it is obvious that people need change," Zeck explains.

Two of the Mustache Brothers Par Par Lay und Lu Maw in Mandalay

Criticism is lurking everywhere

Like every musician, 32-year-old Zeck files his song texts with the censorship board. His songs are philosophical. They deal with love, the search of oneself and one’s place in this world. They do not have much to do with politics. But even he was censored once - when he used the word "sword" in one of his texts. According to the censors the choice of words sounded too dangerous.

But not only words are considered a threat; even paintings are black-listed by the authorities. "There are many rules for the modern artists. That is why some people do not dare to paint what they really want to paint," 73-year-old painter and collector U Maung Maung Thein explains.

He points at one of his paintings depicting pagodas against a sunset. Thein is a landscapist, an impressionist. With that kind of art, he has never really had much to fear. "In other countries in this world, artists are free to paint whatever they want. Even in China the artists have a little chance to be free – and that is a very strict country. But this is not possible in Myanmar."

Testing the limits

Burmese artists walk a fine line when expressing themselves through art. Like in many other countries, the art scene in Myanmar flourished or withered depending on the political situation, the extent of exchange with other cultures and facilitation of the arts. Nowadays, democracy icon Aung San Suu Kyi seems to embody the latter.

According to her, "Artists help to create more beauty in this world. To open our eyes to aspects of our life that otherwise we may not have noticed. This is why artists are important. To imprison them for their beliefs and for their ideas is to make our world more narrow."

The band Big Bag has helped create Myanmar's rock scene

Last fall, the politician asked Burmese musicians to write more political songs. In the last few decades, bands mostly borrowed Western melodies, and added to them their own lyrics. Now the country has its own pop and rock scene slowly emerging. Painters and filmmakers have started to stretch the boundaries of their freedom – as displayed at the Art of Freedom Film Festival, for which Aung San Suu Kyi delivered the opening speech.

"We want to test the limits of the state," Min Htin Ko Ko Gyi, one of the organisers of the festival, explained in an interview. For now, the limits for artists are still quite strict. But that has just begun to change.

Author: Monika Griebeler

Editor: Sarah Berning

Olympic Posters Make a Leap

2012-01-06T01:03:00.000-08:00

Carrying the Olympic Torch

Music, dance, film, theater and literature all feature in the London 2012 Cultural Olympiad, but one of the most interesting and notable components of the program is in the field of visual arts.

• All of Britain Will Be a Stage

• Olympic Posters Make a Leap

Olympic Posters Make a Leap

London 2012

Rachel Whiteread 'LOndOn 2O12.'

More on Arts at the Olympics

London 2012

Howard Hodgkin 'Swimming.'

A dozen of Britain's leading artists were invited to design official posters for the Olympics and Paralympics, and some of these are so fine that art lovers with deep pockets will want to invest in a boxed set of the complete, signed limited editions from Counter Editions (wwwcountereditions.com/london2012), at £11,805. The rest of us will have to make do with those available at £7 each from shop.london2012.com, or a trip to the Tate Britain, where they're all on display in a free exhibition that runs from now until the London 2012 Festival ends Sept. 9.

Some of the posters rise well above the level of something to tack on a student's dormitory wall, which is a tribute to the taste of the mystery commissioners (their identities are concealed somewhere in the labyrinth of Olympics-related committees).

Chris Ofili's "For the Unknown Runner" has a classical urn containing one of his generic African figures, whose gender is cleverly made ambiguous by a thick black line. Rachel Whiteread's "LOndOn 2O12" plays on the five Olympic circles in a random and colorful way.

Tracey Emin's "Birds 2012," depicting two small birds on a branch kissing, looks too much like Mary Poppins hanging on to her open umbrella, and bears the scrawled caption, "You inspire me with Your determination And I Love You." It's the most expensive of the limited editions at £1,800, and, I'd say, is the least interesting.

Michael Craig-Martin's wonderfully colored blue stopwatch, done with his characteristic black-outlined precision, is simply called "GO." Howard Hodgkin's "Swimming" is a masterclass in blue (disclosure: both are good friends of mine). Most of the artists commissioned have contributed images that are typical of their work. But Mr. Hodgkin has done something remarkable, in that his picture appears to be abstract swirls of blue laid on with a heavily loaded, very wide brush—but from the lowest suggestion of a wave emerges the dark form of the heroic swimmer.

—Paul Levy

Rare exhibition brings Chinese masterpieces to Japan

2012-01-03T04:55:00.000-08:00

Rare exhibition brings Chinese masterpieces to Japan

2012/01/03

In honor of the 40th anniversary of normalization of Japan-China ties in 2012, Chinese authorities are loaning some of their country's most cherished artworks to the Tokyo National Museum for a special exhibition from Jan. 2 through Feb. 19.

Many of these national treasures of paintings and calligraphic works have never left China because of their priceless significance to Chinese art.

Nobuyuki Matsumoto, director of curatorial planning at the Tokyo National Museum, said the exhibition is unprecedented for the display of 41 artworks from the Song Dynasty (960-1279) and the Yuan Dynasty (1271-1368) from the collection of the Palace Museum in Beijing.

"There were a number of shows on works on loan from the Palace Museum, but only a couple of works were shown from the Song and Yuan dynasties on each occasion," Matsumoto said.

Thirty-nine of them will be shown for the first time in Japan.

The exhibition, "Two Hundred Selected Masterpieces from the Palace Museum, Beijing," will be held in the Heiseikan Special Exhibition Galleries at the Tokyo National Museum in Ueno district.

The works are among the crown jewels of a collection of more than 1.8 million pieces at the Palace Museum, the former home of China's 24 emperors.

The artistic style and traditions formed in the Song and Yuan dynasties developed into an influential movement in Chinese art and had tremendous impact on Japanese art.

The centerpiece of the exhibition is "Qing Ming Shang He Tu" (Life along the Bian River at the Qingming Festival) by Zhang Zeduan, a painter from the Northern Song Dynasty (960-1127). It will be shown through Jan. 24.

Approval from the Chinese authorities to allow the display of the silk scroll, arguably China's most renowned national treasure, came only in December.

This will be the first time that the picture scroll, 24.8 centimeters in height and 5.28 meters long, has left China. Scholars believe it to be a depiction of Bianjing, the capital of Northern Song (today's Kaifeng in Henan province), in early April under the solar calendar, when Chinese visit family graves.

The scroll depicts about 800 characters, along with horses and carriages on the streets of Bianjing, ships on the river and small and large shops.

Zheng Xinmiao, director of the Palace Museum, said the State Administration of Cultural Heritage had decided to allow its first showing overseas, given the long history of exchanges between Japan and China.

"We believe people in Japan, a country very familiar with Chinese art, will be able to appreciate the true splendor of 'Qing Ming Shang He Tu,' " he said. "We hope the Japanese will enjoy the essence of Chinese culture."

Masaaki Itakura, associate professor of Chinese art history at the Institute for Advanced Studies on Asia at the University of Tokyo, echoed Matsumoto's view that the exhibition is one of the finest ever to be held abroad on Asia from the Palace Museum.

One of the must-see works, he said, is "Water Village," by Zhao Mengfu, a painter from the Yuan Dynasty. It is a portrayal of a village in Jiangnan, a region to the south of the lower reaches of the Yangtze River in south China.

"With dry brush strokes and ink wash, it depicts the soft curves of a mountain and wet atmosphere," Itakura said. "Lines are so lively that viewers will be able to have a feeling of texture and sensation to touch and even imagine the painter at work."

Zhao is also known for his acclaimed calligraphy. His brush strokes should prove fascinating to fans of calligraphy.

"Portrait of Yang Zhuxi," the portrayal of an intellectual in the late Yuan Dynasty, was executed jointly by Wang Yi and Ni Zan.

Wang drew the character and Ni the pine tree and rocks in the background.

Although it is a small piece, the character's true-to-life expression is striking.

"While his face is depicted in a manner that could not be more detailed, his clothes are finished with a minimum of detail," Itakura said. "That way, visitors' attention will inevitably turn to the character's face."

The pine tree, an evergreen, symbolizes the intellectual's never failing lofty ideals.

"Visitors should pay close attention to the minute details of the works," Itakura said. "The more they examine them carefully, the more they will be struck by the delicate expression presented in the works."

The special exhibition is sponsored by The Asahi Shimbun and other organizations.

Qing Ming Shang He Tu by Zhang Zeduan, Northern Song Dynasty (Collection of the Palace Museum, Beijing)Huang with Openwork Double-headed Dragon Design, Southern Song Dynasty (Collection of the Palace Museum, Beijing)Portrait of Yang Zhuxi by Wang Yi and Ni Zan, late Yuan Dynasty (Collection of the Palace Museum, Beijing)Cloisonne Vase with Dragon-shaped Pierced Handles and Interlocking Lotus Design, Yuan-Ming Dynasty (Collection of the Palace Museum, Beijing)Water Village, by Zhao Mengfu, Yuan Dynasty (Collection of the Palace Museum, Beijing)

Paisley or Paisley pattern

2012-01-03T01:40:00.000-08:00

the Paisley Tiger

Wikipedia

Paisley wallpaper

Paisley or Paisley pattern is a droplet-shaped vegetable motif of Indian, Pakistani and Persian origin. The pattern is sometimes called "Persian pickles" by American traditionalists, especially quiltmakers,^[1] or "Welsh pears" in Welsh textiles as far back as 1888.^[2]

Contents

Origins

Resembling a twisted teardrop, the kidney-shaped paisley is Iranian and Indian in origin, but its western name derives from the town of Paisley, in central Scotland.^[3]

In Tamil the design is known as mankolam and has long been used in India. It resembles a mango and has sometimes been associated with Hinduism.^[4]^[5]

In Persian the design is known as boteh jegheh and it has been used in Iran since the Sassanid Dynasty.

Some design scholars call the distinctive shape boteh and believe it is the convergence of a stylized floral spray and a cypress tree: a Zoroastrian symbol of life and eternity.^{[citation needed]} A floral motif called buteh,^[6] which originated in the Sassanid Dynasty (200–650 AD) and later in the Safavid Dynasty of Persia (from 1501 to 1736), was a major textile pattern in Iran during the Qajar Dynasty and Pahlavi Dynasty. In these periods, the pattern was used to decorate royal regalia, crowns, and court garments, as well as textiles used by the general population. According to Azerbaijani historians, the design comes from ancient times of Zoroastrianism as an expression of essence of that religion and it became subsequently a decor element which is widely used in Azerbaijani culture and architecture.^[7]

The pattern is still popular in Iran and South and Central Asian countries. It is woven using gold or silver threads on silk or other high quality textiles for gifts, for weddings and special occasions. In Iran and Uzbekistan its use goes beyond clothing – paintings, jewelry, frescoes, curtains, tablecloths, quilts, carpets, garden landscaping, and pottery also sport the buta design. In Uzbekistan the most frequent item that can be found featuring the design is the traditional headdress doppi.^{[citation needed]}

The modern French words for paisley are boteh and palme, the latter being a reference to the palm tree, which, along with the pine and the cypress, is one of the traditional botanical motifs thought to have influenced the shape of the paisley element as it is now known.^[8]^{[not in citation given]}

In Pakistan, Paisley designs are widely termed the carrey design. Carrey in Urdu means mango seed.^{[citation needed]}

In Punjab, this pattern is referred to as an "Ambi". Ambi is derived from the word Amb which means mango in Punjabi.^{[citation needed]}

European introduction

Hand stamp for printing traditional "paisley" designs, Isfahan, Iran

Imports from the East India Company in the first half of the 17th century made paisley and other Indian patterns popular, and the Company was unable to import enough to meet the demand. It was popular in the European Baltic states between 1700 and 1800 and was thought to be used as a protective charm to ward off evil demons. However, in modern culture, the youth of these countries have used it as a symbol of rebellion.

Local manufacturers in Marseilles began to mass-produce the patterns via early textile printing processes at 1640. England, circa 1670, and Holland, in 1678, soon followed. This, in turn, provided Europe's weavers with more competition than they could bear, and the production and import of printed paisley was forbidden in France by royal decree from 1686 to 1759. However, enforcement near the end of that period was lax, and France had its own printed textile manufacturing industry in place as early at 1746 in some locales. Paisley was not the only design produced by French textile printers; the demand for paisley which created the industry there also made possible production of native patterns such as toile de Jouy.^[9]

In the 19th Century European production of paisley increased, particularly in the Scottish town from which the pattern takes its modern name. Soldiers returning from the colonies brought home cashmere wool shawls from India, and the East India Company imported more. The design was copied from the costly silk and wool Kashmir shawls and adapted first for use on handlooms, and, after 1820,^[10] on Jacquard looms.

From roughly 1800 to 1850, the weavers of the town of Paisley in Renfrewshire, Scotland, became the foremost producers of these shawls. Unique additions to their handlooms and Jacquard looms permitted them to work in five colors when most weavers were producing paisley using only two.^[10] The design became known as the Paisley pattern. By 1860, Paisley could produce shawls with fifteen colors, which was still only a quarter of the colors in the multi-color paisleys then still being imported from Kashmir.^[10]

In addition to the loom-woven fabric, Paisley became a major site for the manufacture of printed cotton and wool in the 19th Century, according to the Scotland's Paisley Museum and Art Gallery.^[11] The paisley pattern was being printed, rather than woven, onto other textiles, including cotton squares which were the precursors of the modern bandanna. Being able to purchase printed paisley rather than woven paisley brought the price of the costly pattern down and added to its popularity. The key places of manufacture for printed paisley were Britain and the Alsace region of France.^[12]

Contemporary style

Paisley ties

Paisley was particularly popular during the Summer of Love, heavily identified with psychedelic style and the interest in Indian spirituality and culture brought about by the pilgrimage of The Beatles to India in 1968. Also, Fender Guitars made a Pink Paisley version of their Telecaster guitar, by sticking paisley wallpaper onto the guitar bodies. The modern recording artist Prince paid tribute to the rock and roll history of paisley when he created the Paisley Park Records recording label and established Paisley Park Studios, both named after his 1985 song "Paisley Park".

At the 2010 Winter Olympics, Azerbaijan's team sported colorful paisley trousers.^[13] A Russian publication noted that "Azerbaijan has no chance of winning at the Winter Olympics; however, the country had already left its mark on the games".^[14]^[15]

References

Jonathan Ive Knighted

2012-01-02T19:38:00.000-08:00

Apple Lead Designer Knighted

Apple Senior Vice President Jonathan Ive has received a knighthood from Queen Elizabeth II for his work in leading the design of some of the company's most innovative products.

SAN FRANCISCO—Apple Inc. Senior Vice President Jonathan Ive has received a knighthood for his work in leading the design of some of the company's most innovative products, British officials here said late Friday.

Queen Elizabeth II named the London-born Ive, who goes by Jony, a Knight Commander of the ...

歐元設計上的馬後炮

2011-12-31T20:02:00.000-08:00

2c, 10c and 20c coins,
showing their unique edges.

歐元設計上的馬後炮

Julien Goldstein for The New York Times

No Fireworks for Euro’s 10th Birthday

By NICHOLAS KULISH 2:36 PM ET

As the currency ends its first decade, the word “euro” in a headline is usually paired with the word “crisis.” Michel Prieur, a numismatist, called the euro’s design sterile.

Helen Frankenthaler, Abstract Painter

2011-12-30T03:49:00.000-08:00

Helen Frankenthaler, Abstract Painter

Who Shaped a Movement, Dies at 83

Suzanne DeChillo/The New York Times

The artist Helen Frankenthaler in her studio on Contentment Island in Darien, Conn., in 2003, with her work, "Blue Lady," acrylic on paper. More Photos »

By GRACE GLUECK

Published: December 27, 2011

Helen Frankenthaler, the lyrically abstract painter whose technique of staining pigment into raw canvas helped shape an influential art movement in the mid-20th century and who became one of the most admired artists of her generation, died on Tuesday at her home in Darien, Conn. She was 83.

Multimedia

Slide Show

Helen Frankenthaler Dies at 83

Critic's Notebook: Two Artists Who Embraced Freedom (December 29, 2011)

Enlarge This Image

Helen Frankenthaler/Artists Rights Society (ARS), New York — via National Gallery of Art

Helen Frankenthaler's "Nature Abhors a Vacuum," 1973. Patrons' Permanent Fund and Gift of Audrey and David Mirvish, Toronto, Canada. National Gallery of Art, Washington. More Photos »

Enlarge This Image

Suzanne DeChillo/The New York Times

Helen Frankenthaler in her studio in Darien, Conn., in 2003. More Photos »

Her longtime assistant, Maureen St. Onge, said Ms. Frankenthaler died after a long illness but gave no other details.

Known as a second-generation Abstract Expressionist, Ms. Frankenthaler was married during the movement’s heyday to the painter Robert Motherwell, a leading first-generation member of the group. But she departed from the first generation’s romantic search for the “sublime” to pursue her own path.

Refining a technique, developed by Jackson Pollock, of pouring pigment directly onto canvas laid on the floor, Ms. Frankenthaler, heavily influencing the colorists Morris Louis and Kenneth Noland, developed a method of painting best known as Color Field — although Clement Greenberg, the critic most identified with it, called it Post-Painterly Abstraction. Where Pollock had used enamel that rested on raw canvas like skin, Ms. Frankenthaler poured turpentine-thinned paint in watery washes onto the raw canvas so that it soaked into the fabric weave, becoming one with it.

Her staining method emphasized the flat surface over illusory depth, and it called attention to the very nature of paint on canvas, a concern of artists and critics at the time. It also brought a new, open airiness to the painted surface and was credited with releasing color from the gestural approach and romantic rhetoric of Abstract Expressionism.

Ms. Frankenthaler more or less stumbled on her stain technique, she said, first using it in creating “Mountains and Sea” (1952). Produced on her return to New York from a trip to Nova Scotia, the painting is a light-struck, diaphanous evocation of hills, rocks and water. Its delicate balance of drawing and painting, fresh washes of color (predominantly blues and pinks) and breakthrough technique have made it one of her best-known works.

“The landscapes were in my arms as I did it,” Ms. Frankenthaler told an interviewer. “I didn’t realize all that I was doing. I was trying to get at something — I didn’t know what until it was manifest.”

She later described the seemingly unfinished painting — which is on long-term loan to the National Gallery of Art in Washington — as “looking to many people like a large paint rag, casually accidental and incomplete.”

Unlike many of her painter colleagues at the time, Ms. Frankenthaler, born in New York City on Dec. 12, 1928, came from a prosperous Manhattan family. She was one of three daughters of Alfred Frankenthaler, a New York State Supreme Court judge, and the former Martha Lowenstein, an immigrant from Germany. Helen, their youngest, was interested in art from early childhood, when she would dribble nail polish into a sink full of water to watch the color flow.

After graduation from the Dalton School, where she studied art with the Mexican painter Rufino Tamayo, she entered Bennington College in 1946. There the painter Paul Feeley, a thoroughgoing taskmaster, taught her “everything I know about Cubism,” she said. The intellectual atmosphere at Bennington was heady, with instructors like Kenneth Burke, Erich Fromm and Ralph Ellison setting the pace.

As a self-described “saddle-shoed girl a year out of Bennington,” Ms. Frankenthaler made her way into the burgeoning New York art world with a boost from Mr. Greenberg, whom she met in 1950 and with whom she had a five-year relationship. Through him she met crucial players like David Smith, Jackson Pollock, Willem and Elaine de Kooning and Franz Kline.

In 1951, with Mr. Greenberg’s prompting, she joined the new Tibor de Nagy gallery, run by the ebullient aesthete John B. Myers, and had her first solo show there that year. She spent summers visiting museums in Europe, pursuing an interest in quattrocento and old master painting.

Her marriage to Mr. Motherwell in 1958 gave the couple an art-world aura. Like her, he came from a well-to-do family, and “the golden couple,” as they were known in the cash-poor and backbiting art world of the time, spent several leisurely months honeymooning in Spain and France.

In Manhattan, they removed themselves from the downtown scene and established themselves in a house on East 94th Street, where they developed a reputation for lavish entertaining. The British sculptor Anthony Caro recalled a dinner party they gave for him and his wife on their first trip to New York, in 1959. It was attended by some 100 guests, and he was seated between David Smith and the actress Hedy Lamarr.

“Helen loved to entertain,” said Ann Freedman, the former president of Knoedler & Company, Ms. Frankenthaler’s dealer until its recent closing. “She enjoyed feeding people and engaging in lively conversation. And she liked to dance. In fact, you could see it in her movements as she worked on her paintings.”

Ms. Frankenthaler’s passion for dancing was more than fulfilled in 1985 when, at a White House dinner to honor the Prince and Princess of Wales, she was partnered with a fast stepper who had been twirling the princess.

“I’d waited a lifetime for a dance like this,” she wrote in a 1997 Op-Ed article for The New York Times. “He was great!”

His name meant nothing to her until, on returning to her New York studio, she showed her assistant and a friend his card. “John Travolta,” it read.

Despite the early acknowledgment of Ms. Frankenthaler’s achievement by Mr. Greenberg and by her fellow artists, wider recognition took some time. Her first major museum show, a retrospective of her 1950s work with a catalog by the critic and poet Frank O’Hara, a curator at the Museum of Modern Art, was at the Jewish Museum in 1960. But she became better known to the art-going public after a major retrospective organized by the Whitney Museum of American Art in 1969.

Although Ms. Frankenthaler rarely discussed the sources of her abstract imagery, it reflected her impressions of landscape, her meditations on personal experience and the pleasures of dealing with paint. Visually diverse, her paintings were never produced in “serial” themes like those of her Abstract Expressionist predecessors or her Color Field colleagues like Noland and Louis. She looked on each of her works as a separate exploration.

But “Mountains and Sea” did establish many of the traits that have informed her art from the beginning, the art historian E. A. Carmean Jr. suggested. In the catalog for his 1989-90 Frankenthaler retrospective at the Modern Art Museum of Fort Worth, he cited the color washes, the dialogue between drawing and painting, the seemingly raw, unfinished look, and the “general theme of place” as characteristic of her work.

Besides her paintings, Ms. Frankenthaler is known for her inventive lithographs, etchings and screen prints she produced since 1961, but critics have suggested that her woodcuts have made the most original contribution to printmaking.

In making her first woodcut, “East and Beyond,” in 1973, Ms. Frankenthaler wanted to make the grainy, unforgiving wood block receptive to the vibrant color and organic, amorphous forms of her own painting. By dint of trial and error, with technical help from printmaking studios, she succeeded.

For “East and Beyond,” which depicts a radiant open space above a graceful mountainlike divide, she used a jigsaw to cut separate shapes, then printed the whole by a specially devised method to eliminate the white lines between them when put together. The result was a taut but fluid composition so refreshingly removed from traditional woodblock technique that it has had a deep influence on the medium ever since. “East and Beyond” became to contemporary printmaking in the 1970s what Ms. Frankenthaler’s paint staining in “Mountains and Sea” had been to the development of Color Field painting 20 years earlier.

In 1972, Ms. Frankenthaler made a less successful foray into sculpture, spending two weeks at Mr. Caro’s London studio. With no experience in the medium but aided by a skilled assistant, she welded together found steel parts in a way that evoked the work of David Smith.

Although she enjoyed the experience, she did not repeat it. Knoedler gave the work its first public showing in 2006.

Critics have not unanimously praised Ms. Frankenthaler’s art. Some have seen it as thin in substance, uncontrolled in method, too sweet in color and too “poetic.” But it has been far more apt to garner admirers like the critic Barbara Rose, who wrote in 1972 of Ms. Frankenthaler’s gift for “the freedom, spontaneity, openness and complexity of an image, not exclusively of the studio or the mind, but explicitly and intimately tied to nature and human emotions.”

Ms. Frankenthaler and Mr. Motherwell were divorced in 1971. In 1994 she married Stephen M. DuBrul Jr., an investment banker who had headed the Export-Import Bank during the Ford administration. Besides her husband, her survivors include two stepdaughters, Jeannie Motherwell and Lise Motherwell, and six nieces and nephews. Her two sisters, Gloria Ross Bookman and Marjorie Iseman, died before her.

In 1999, she and Mr. DuBrul bought a house in Darien, on Long Island Sound. Water, sky and their shifting light are often reflected in her later imagery.

As the years passed, her paintings seemed to make more direct references to the visible world. But they sometimes harked back to the more spontaneous, exuberant and less referential work of her earlier career.

There is “no formula,” she said in an interview in The New York Times in 2003. “There are no rules. Let the picture lead you where it must go.”

She never aligned herself with the feminist movement in art that began to surface in the 1970s. “For me, being a ‘lady painter’ was never an issue,” she was quoted as saying in John Gruen’s book “The Party’s Over Now” (1972). “I don’t resent being a female painter. I don’t exploit it. I paint.”

感謝有您邁向2012

2011-12-29T17:36:00.001-08:00

感謝有您 邁向2012

hc的”剪貼簿”在2011年約有25萬人次造訪

戴明圈: A Taiwanese Deming Circle

"交情千千" 電子連絡簿(日報)

胡適的世界 The World of Hu Shih

管理學新生

 Books Birdviews 書海

 People 人物

 品質世界 quality world

教育人

 英文人行道 et cetera, et cetera .

漢語人行道：演變風貌

 譯藝

 英國風

 日本心得帖

 亞洲

 SHE健康一生

The Q&A: Terence Conran

2011-12-27T04:22:00.000-08:00

The Q&A: Terence Conran

Make things with your hands

Dec 23rd 2011, 15:52 by G.D. | LONDON

A DESIGNER, restaurateur and retailer, Sir Terence Conran has significantly influenced the way we live and eat in Britain over the past five decades. Beginning in 1964, his Habitat chain of stores helped to introduce simple, well-designed housewares at affordable prices. Decades later, his restaurants did much to introduce the country to fine and stylish cuisine.

Sir Terence remains busy: having turned 80 in October, he recently launched a collection of housewares for Marks & Spencer. A new retrospective of his work is also now on at London’s Design Museum. That this museum even exists is in part due to Sir Terence’s work in establishing its forerunner, called the Boilerhouse, in the basement of the Victoria and Albert Museum in 1982. The project’s success led to the opening of the Design Museum in 1989 at its current spot in Shad Thames. Over the past 30 years the Conran Foundation has supported the museum to the tune of £50m.

Why did you feel strongly about creating a design museum in London?

I’d always been fascinated by Milan’s Triennale in my early years as a designer. I saw how stimulating and influential it was for both students and manufacturers to see the design of the best contemporary products in the world. I started to dream about how something similar could happen in the UK—so when I made serious money through the flotation of Habitat I set up the Conran Foundation with the idea of creating a permanent home in the UK for the display of modern design.

Unlike many young designers today you learned how to make many things with your hands, from brick-laying and pottery to welding. Do you think that was important for your career as a designer?

Absolutely—I have always related my work to the manufacturing process and never designed anything I wouldn’t know how to make myself. As a small child I remember my favourite present was a bag of wooden off cuts and a pretty basic tool kit. After much pestering, my mother gave me a space for a small workshop and allowed me to set up a wood fired pottery kiln. There is no doubt it is where I first began to develop the curious mind of a designer. I think it is vital for any designer to roll their sleeves up and get heavily involved in the making process because it helps you get a deeper level of understanding about design and how it relates to the consumer.

Do you think all designers should learn to 'make' things without using a computer?

While we must embrace computers, we must not become slaves to them—the best ideas always start with an HB pencil and a sheet of plain paper.

Can you tell me something about your new collection for Marks & Spencer?

To work with M&S on this project is the opportunity of a lifetime. It gives us the chance to produce a truly democratic and British collection, everything that William Morris and the Bauhaus—both great inspirations to me—hoped to achieve. It’s really everything that goes into a home. To me design has, and always will be, about problem solving and making people’s lives easier and more comfortable. Because design is all around us, in the shape of our houses and the arrangement of our interior space, in the way we entertain ourselves and the ease with which we move from place to place. Even at the start of my career I had a fierce conviction that there was a great opportunity to sell furniture to a wider domestic audience.

You were the first person to make flat-pack furniture in Britain, and you introduced new cooking utensils such as Italian coffee-makers to this country. Why do you think you had such a desire to change people's lifestyles?

It grew out of our generation’s sense of frustration.What you have to remember is how grim things were in postwar Britain. But there was a younger generation growing up who, for the first time, had a bit of money in their pockets and wanted to live a different life to that of their parents. The seeds of the “swinging sixties” were actually sewn a decade earlier. Over two decades later when we were establishing Conran restaurants it was a similar story—Londoners were flush with money and wanted to enjoy the pleasure of eating out, but there were practically no good restaurants around. In fact the choice was appalling, which is incredible to think as London is now the best city in the world to eat out. People can only buy what they are offered, and that is fundamentally how people’s taste evolves.

The Habitat catalogues were also quite unique. They were like glossy magazines.

Along with the shopfronts, the catalogues were just a new and exciting way of showcasing our products and opening people’s eyes to how they may look in their own home. We wanted to inspire people. We started them in 1965 as loose sheets attached in one corner, and eventually the catalogue grew to 88 pages in full colour, managed by a specialist department within the company dedicated entirely to its production.

I have heard you say that living in a country that doesn't make things destroys national pride. What do you mean?

My lifelong belief is that we have the most amazing craftsmen in this country. If you add this to the fact the UK’s creative industries are the finest in the world, then why on earth are we no longer a country that prides itself on making things? We need to ensure we keep utilising and valuing these skills. They were a vital part of our past and we must find a way to make them part of our future. There is nothing more profoundly depressing in life than unemployment, and the easiest way to create jobs is to employ people to make things. It seems so absurdly simple to me. The government needs to understand the vital role of the arts, design, craft and ultimately manufacturing. They give back so much more to the economy in return for a relatively small amount of funding.

"Terence Conran: The Way We Live Now" is on view at the Design Museum in London until March 4th

The Q&A: Terence Conran

Make things with your hands

A conversation with a pioneer of contemporary user-friendly design(7)

Holbein and England

2011-12-26T17:41:00.000-08:00

May 2005
320 p., 9 3/4 x 11 1/4
180 b/w + 40 color illus.
ISBN: 9780300102802
Cloth: $65.00 sc

Holbein and England

Susan Foister

REVIEWS

PREVIEW

CONTENTS

EXCERPTS

Shortlisted in 2005 for the William Berger Prize for British Art History, awarded by the Berger Collection Educational Trust and the British Art Journal.

Included in Choice's Outstanding Academic Titles list, January 2006

One of the greatest artists of sixteenth-century Europe, Hans Holbein the younger earned high acclaim for his work both in the city of Basel and in England for Henry VIII and other patrons. This book is the first to explore the full range of the artist’s English body of work as well as the relation of this work to the visual and material culture of Tudor England. Providing a detailed account of the paintings, drawings, and woodcuts that Holbein produced in England, the book demonstrates convincingly that that country was not as remote from a common European culture as is often assumed. Rather, it was an unmistakable part of that culture.

Susan Foister discusses not only Holbein's well-known portraits but also his decorative paintings and murals, now lost, his designs for goldsmiths, and the works that can be associated with the English Reformation. In addition, she considers Holbein's religious and secular images, his techniques and practices, his status as an official court painter, and a variety of other intriguing topics.

Susan Foister is curator of Early Netherlandish, German and British painting and Director of Collections, National Gallery London.

Table of Contents

Preface and Acknowledgements
Introduction
1 Holbein
Holbein in England
Holbein’s English Patrons
Holbein at Work
A Holbein Workshop?
2 England
Paintings in Early Sixteenth-century England
Valuing Paintings
Acquiring Paintings
3 Decoration and Design
The Greenwich Revels of 1527
The Hanseatic Commissions
Designs for Goldsmiths
4 Holbein and the English Reformation
Holbein and the Imagery of the English Reformation
The Coverdale Bible
Holbein’s Radical Reformation Woodcuts
5 Holbein the Portraitist
From Basel to England
Princely Portraits
Portraits of Foreigners
Portraits for the English
Conclusion: Holbein and England after 1543
Abbreviations
Notes
Bibliography
Appendix
Photograph Credits
Index

Noli me Tangere by Hans Holbein the Younger, 1524.

Noli me tangere, meaning "don't touch me" / "touch me not", is the Latin version of words spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognizes him after his resurrection.

The original phrase, Μή μου ἅπτου (mê mou haptou), in the Gospel of John, which was written in Greek, is better represented in translation as "cease holding on to me" or "stop clinging to me".^[1] The biblical scene of Mary Magdalene's recognizing Jesus Christ after his resurrection became the subject of a long, widespread and continuous iconographic tradition in Christian art from late antiquity to the present.^[2] So Pablo Picasso for example used the painting Noli me tangere by Antonio da Correggio, stored in the Museo del Prado, as an iconographic source for his famous painting La Vie (Cleveland Museum of Art) from the so-called Blue Period.^[3]

The phrase also appears in the sensual poem Whoso list to hunt by Sir Thomas Wyatt, where it refers to the elusive lover.

According to Solinus, white stags found 300 years after Caesar's death had their collars inscribed with: "Noli me tangere, Caesaris sum", meaning "Do not touch me, I am Caesar's".^[4]

[hide]

[edit] Liturgical use

The words were a popular trope in Gregorian chant. The supposed moment in which they were spoken was a popular subject for paintings in cycles of the Life of Christ and as single subjects, for which the phrase is the usual title.

In the Eastern Orthodox Church the Gospel lesson on Noli me tangere is one of the Twelve Matins Gospels read during the All Night Vigil on Sunday mornings.

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2011-12-24T03:49:00.000-08:00

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Frank Lloyd Wright and the Art of Japan: The Architects Other Passion [Hardcover]

Julia Meech (Author)

From The New Yorker

Wood-block prints by artists like Hiroshige and Hokusai exerted a palpable influence on Frank Lloyd Wright's design aesthetic, but Wright was able to profit materially from them as well. During his early years as an architect, he supplemented his income by dealing in Japanese art, earning tens of thousands of dollars from sales, often at highly inflated prices, to private collectors, museums, and clients for whom he had built homes. In this meticulously researched, lavishly illustrated account, Wright's mercenary impulse is laid alongside his genuine passion for Japonisme, culminating in a 1919 episode in which, duped by a Tokyo dealer, he wound up selling forged and retouched prints to his best customers. His reputation forever damaged, he responded by ignoring his mounting debts and buying Japanese art only for himself.
Copyright © 2005 The New Yorker

About the Author

Julia Meech, a scholar and art historian, is a senior consultant in the Department of Japanese Art at Christie's in New York.

Product Details

Hardcover: 304 pages
Publisher: Harry N. Abrams; First Edition edition (March 1, 2001)
Language: English

Albrecht Dürer: Portrait of the artist as an entrepreneur

2011-12-24T03:48:00.000-08:00

Albrecht Dürer

Portrait of the artist as an entrepreneur

How the greatest figure of the northern Renaissance invented a new business model

Dec 17th 2011 | from the print edition

IN JULY 1521, as Albrecht Dürer was packing up to return to Nuremberg from Antwerp, he received a message. Would he come at once to do a portrait of Christian II, King of Denmark, who happened to be in town? Naturally he dropped what he was doing, and went. One did not turn down kings.

Dürer drew Christian’s sad-eyed, fur-swathed figure in a charcoal sketch that still survives, kept in the British Museum. The king then asked, would he paint him in oils? Again Dürer said yes, and did so in record time, a couple of days. When it was done, he found 30 florins pressed into his hand. Soon afterwards, he left for home.

For Dürer, this was an unusual incident. Then 50, he had been for some years the most famous artist in northern Europe; but he was not in essence a court painter. He thought of such people as “parasites”, hanging round great men, waiting for a commission to fall from the lordly lips. He, by contrast, was an independent businessman. He made his money not by grovelling, but by selling copies of the woodcuts and engravings printed, since 1495, at his workshop in the centre of Nuremberg. He was not even a member of a guild, for there were no artists’ guilds in the city: he was a free individual, unaffiliated, making money and a reputation purely for himself.

His journey of 1520-21 was simply a business trip. The bales he was packing up as he left Antwerp had originally been stuffed with printed engravings and woodcuts, loose or bound as books, which he or his agents were selling, or sometimes giving away, all over the Netherlands. Some of these—the “Nemesis”, with Great Fortune teetering on her globe, the “Melancholia 1”, with Melancholy surrounded by instruments of learning, and the “St Jerome”, with the saint sitting snugly in his cell with dog and lion—already qualified as bestsellers. Copies had been sent ahead to be sold before he arrived, building up excitement and publicity.

It was easy to meet demand, however high he fanned it. Though the fundamental work, carefully incised in mirror-image with knife or burin on the wood or copper plate, was every bit as laborious as drawing, it could then fly out in hundreds of copies. Dürer or his assistants just inked a wood or copper plate and cranked a lever. Thanks to the printing press he had bought, he was never in thrall to a publisher; his book of extra-large printed woodcuts of the Apocalypse, which had made his fame in Nuremberg, was the first to be both illustrated and published by a great artist.

He could now replicate and communicate his art. In 1520, for example, he sent a whole set of prints to Raphael’s studio in Rome (he had hoped to impress Raphael himself, but the master had just died), and expected prints of Raphael’s work in return. Artists no longer needed to meet, or ship precious works along dangerous roads, to show each other what they could do. Dürer was not the first artist to exploit the joy of the new medium, but he was the most assiduous and influential—and the best.

Painting, to be honest, rather bored him now. What was the good of slaving away for weeks over a panel, preparing the ground with layers of colour, paying half a stiver (at 24 stivers to the florin) for a porpoise-bristle brush, and two stivers to the boy who ground the colours, and a hefty 12 florins for an ounce of good ultramarine, if only a few could see it? Of course a fine altarpiece, installed in a commercial hub such as Frankfurt or Ghent (where he had silently worshipped Jan van Eyck’s stupendous “Adoration of the Lamb”) could be a grand advertisement for a painter. But the public on the other side of the rood screen often couldn’t see them, or had to pay, as he had to (one stiver to the sacristan) to view them. Painting was noble work, but it seemed suddenly elitist and restricted.

And slow. A good oil portrait, carefully done, might take a week and bring in, on average, ten florins. He could charge that for ten full-sheet prints, which took hardly any time on his press. Compared with that near-instantaneous wonder, the time and effort of painting suddenly seemed intolerable. A huge commission, such as the immense “Madonna of the Rose Garlands” of 1506 that now hangs, much restored, in Prague, could tie him up for months. To lay and scrape the ground alone took many weeks. “My picture… is well finished and finely coloured,” he wrote to a friend when the Madonna was at last complete; “[but] I have got…little profit by it. I could have easily earned 200 ducats in the time.”

Dürer was always keenly aware that he could make much more money by engraving. At a florin a sheet, or 12 stivers a half-sheet, or six stivers for his quarter-sheets of small Passion scenes, he could easily make about 400 florins a year. (The mayor of Nuremberg, at the time, enjoyed a yearly salary of 600 florins.) It was steady money, too, where painting was unpredictable. Dürer concluded, as he wrote to a customer in 1509, that “I shall stick to my engraving, and if I had done so before I should today be a richer man by 1,000 florins.”

Yours for half a florin

The art market was widening rapidly, and he was doing much to widen it single-handed; his wonderful “Knight, Death and the Devil” could now be had for the cost of a rabbit-fur coat; his half-sheet of St Anthony reading, with Nuremberg’s spires piled in the background (see illustration above), for the price of a basket of raisins. His quarter-sheet prints—some devotional, some hotly topical, concerned with comets or monstrous births—were being bought by market-goers, shopkeepers, even artisans, to mark the place in their prayer books, to give as new year cards, or simply to collect, as pieces of art. That had never been possible before; but in Nuremberg, a fine city of 50,000 people, there were plenty of would-be connoisseurs.

People bought from his shop directly, but he had branched out, too. By 1497 he was using Contz Schwytzer to handle his print sales in far-flung places. In Nuremberg Dürer’s aged mother often sold his prints for him, keeping some of the money for her own small needs. To the Frankfurt fair he sent agents, but also his wife Agnes, a plain and untidy young woman on the evidence of his drawings, but apparently a willing business partner, and eventually the sole inheritor of the 6,874-florin estate he left when he died in 1528.

A masterpiece for nothing

This market, however, was evidently not one he could control. Though Dürer set a mental price for his work, based precisely on labour, materials and how good he thought it was (“a wonderful artist should charge highly for his art. No money is too much”), the buyer in the market—like the rich man in his hall, when his portrait was done—could still insist on paying only what he thought it was worth. Sometimes a recipient did not pay for a picture at all, seeming to think it had no cost, or was a present.

Occasionally Dürer used them that way himself, almost frittering them away, piling print on print to get something he wanted. His “works of art” (as he referred specifically to his printed woodcuts and engravings) were often simply exchanged for services, such as the help given by stableboys and servants, or the useful permit granted by the Bishop of Bamberg that enabled him to pass free through the dozens of town gates and customs points along the Rhine.

Art was currency in other ways, too. Hosts were thanked for hospitality with a quick charcoal sketch, which Dürer valued at a florin. Aristocratic or merchant customers bartered his works for rings or jewels, whose value he could only guess. The shrewdest could exploit Dürer’s weakness for sweets (marzipan, candied citron, barley sugar, sugar canes “just as they grow”) and his equal weakness for curiosities—buffalo horns, bits of bamboo, spears from Calicut, monkeys, coral, parrots, or anything at all from Mexico, “the new land of gold”. He would often pay, or barter, over the odds for such things: a whole set of prints (30 florins to him) in exchange for an ivory whistle and “a beautiful piece of porcelain”. The bales that went home from his trips were stuffed with oddities, some of which can still be seen in his pictures.

Dürer’s own estimate of what his work was worth was based, first of all, on his own skill. He knew he was good. He could do things that astounded other artists: as when the great Giovanni Bellini asked to see the “special brushes” with which Dürer painted long tresses of hair, and found they were simply common-or-garden half-stiver ones, floated over the paper to make rippling parallel lines. Dürer could depict like no one else the fur on a dog, the tiles on a roof, the inner life of a clump of grasses; but he could also infuse a scene with horror, piety or drama, through his mastery of human form. When he said he had done a work “carefully”, as he often did, he meant it. His “Praying Hands”, for example (right), wonderfully cross-hatched in white chalk on blue paper, was only one of dozens of preparatory sketches for an altarpiece that contained, in its central panel alone, 13 full-sized figures.

“I shall stick to my engraving, and if I had done so before I should today be a richer man”

His pride in his own work extended to everything he did. (“How pleased we both feel when we think well of ourselves,” he wrote to his best friend, the humanist Willibald Pirckheimer, “me with my painting, you con vostra learning!”) At a time when artists did not sign their names, he put his, or more often his “AD” monogram, not only on finished pictures but even on the smallest, roughest sketches: an outline of a limb, a scribble of a pillow, a blur of brown and grey brushed quickly in his sketch book as he paused by a roadside quarry on a journey. The monogram was never forgotten.

Again, he was not the first to do this; but no one else remotely did it to his extent. It was a necessary precaution, of course. Artistic rivals had long slandered each other and trashed each other’s work; Dürer’s enemies said he didn’t know how to use colour, for example (“though I’ve shut them up…and everyone now says they have never seen such beautiful colours”). In Venice Dürer thought the Italian painters might try to poison him. But the new technology produced a much more pervasive danger: that an artist’s printed output would be so quickly and thoroughly copied and pirated that his work would be diluted and his good name undermined. Clinging on to authorship, in an age of open access, was as hard then as now.

Dürer twice went to court to defend his sole use of his trademark, in Nuremberg and in Venice, and twice won the case. The guilty parties were made to remove his monogram from their prints. Merely copying “AD”, however, was not adjudged a crime. The crime was to sell the fake print as an original. From then on, therefore, false monogrammed prints “after Dürer” kept appearing, confusing collectors to this day.

A trademark was not the only identifier Dürer put on his pictures. He left lines of commentary on the sketches, and gave the finished engravings elaborate marble tablets explaining his subject and his purpose. He wanted to tell the world that he, Albrecht Dürer of Nuremberg, had done this: that it was made, gemacht, with his genius and effort.

That word seemed to carry a particular weight and satisfaction with him. He made sure it applied to his prints, as well as his paintings. It went along with Gewalt, literally “control”, his special word for exercising his artistic power, first the limner and then the re-creator of everything he surveyed. “The imagination of a good artist”, he wrote, “is full of forms.” In his exquisite landscape watercolours of the 1490s—painted with a sense of light not seen again till Cézanne—his AD is usually placed at the centre top, commanding the scene like the sun.

Joking around once in a letter to Pirckheimer, he called himself (in very choice Venetian) poltrone di pintore, a poor fool of a painter. He didn’t mean it. He knew that in Italy or the Netherlands he moved among masters, was “a gentleman” and was every bit the equal of “Roger” [van der Weyden], “Hugo” [van der Goes] or “Giambellin” [Bellini]. The treatment of artists as international celebrities, rather than mere journeymen, was very new; but Dürer’s engravings had established his reputation all over Europe. In Bruges he was wined and dined on the town, given a tour, accompanied home with many torches and shown “great honour”, as he happily noted. In the Antwerp painters’ hall, “where everything was of silver…as I was being led to the table, everyone on both sides stood up as if I was some great lord.”

This sort of thing still surprised him, but less and less. It was his due. His due, too, was a large pension. Though Dürer was not a court artist, the Emperor Maximilian I—whose magnificent hooked profile he drew in 1518 “in a little room high up in the castle” of Augsburg—had commissioned him to work on designs for a grandiose triumphal arch. All that drawing, Dürer reckoned, ought to be worth 100 florins a year, since “I have served him for three years at my own expense.”

Maximilian, naturally generous beyond his means, granted him that sum for life. It was supposed to come from the imperial tax paid each year by the city of Nuremberg, but Maximilian died too soon to enforce it, and Dürer fought for years to be paid. Financially, he could probably have managed without it. As a matter of self-esteem he could not, and would not.

That self-esteem blazed from his pictures. Before Dürer, an artist would sometimes appear in his paintings half-hidden, as one of the crowd. Dürer, however, painted himself to fill the frame. That was new. He portrayed himself in 1493, just betrothed, holding sea holly (the betrothal flower) and with fashionable slashed sleeves; he painted himself, most famously, in 1500, gazing full-face at the viewer from a nimbus of long flowing hair (see the first illustration of this piece). This was not just the artist as Christ, but the artist as worthy of contemplation, worthy of attention in himself. It is perhaps unsurprising that his earliest surviving picture, drawn in silverpoint on paper at the age of 13 with astonishing facility, was also of himself.

That picture could be identified later because Dürer wrote on it, proudly, “This I drew myself from a mirror in the year 1484, when I was still a child.” With him, pictures were also self-exploration, a record of his feelings and experiences on a certain day at a certain time, the equivalent of the journals and personal letters that men and women were only just beginning to write. “I produced these two faces when I was ill,” he noted over two particularly anguished sketches of the head of the dying Christ, in 1503. “The colour marks where the pain was,” he wrote over a small, later drawing of himself in his underwear, pointing to his side. He drew himself with a headache as a teenager, and as a relatively old man, at 44, he drew his emaciated and completely naked body in savage, unsparing chalk.

Daily minutiae were noted too, since anything might be useful in a painting. A lumpy cushion was drawn several times. He recorded at length, in the Netherlands, the details of the walrus he drew and where it was caught. Most strangely, he also painted a watercolour, and appended a description, of a storm of rain in one of his dreams. The least event was interesting. The most inward, passing thing was of public consequence. Dürer often seems to be carrying on a conversation with the people he imagines looking in on his life, that day or in years to come: constantly updating his progress, his ideas and his image of himself.

Prints, by their nature, were less personal; but he also made sure he featured in those. His AD monogram was seldom confined to a corner. It swung from the Tree of Good and Evil in Eden, as Eve curiously and delicately took the apple from the mouth of the snake. It was scratched on the floor of the room where Gabriel appeared to Mary, and incised into the lid of the stone tomb that awaited the body of Christ. Most shockingly, it appeared on the nailheads hammered into Christ’s hands on the cross. Dürer thus became an actor in the tableaux he had drawn, and especially in the sacred or biblical scenes. He lurked beside the fateful tree. He hurt Christ, or buried him, himself.

Remember me!

There was a Lutheran undertow to this. Dürer took a keen interest in “Dr Martin”, eagerly keeping up with his tracts, and writing pages of agonised invective in his journal when he heard, in May 1521, that Luther had been taken into custody. He remained a stalwart Catholic himself, eagerly queuing to see relics and with his rosary ever in his pocket, but he did not want the church (“the Gates of Hell”, as he thought) laying down the law in his life. Popes, church Fathers, doctrines were all obstacles to “the holy pure gospel” and Christ’s redemptive grace, and they appeared in Dürer’s prints under the hooves of his four apocalyptic horsemen, trampled in the mire.

Already, as if those hated objects had gone, he was making his own way through the Bible in his drawings and engravings. His avatar, with no churchman’s voice to lecture him, could linger in the scenes he chose. This was what the new technology allowed everyone to do. The Vatican could ban books, as it banned Luther’s. But it could not stop Dürer, as a free thinker, reading the ancient sacred words in a new way, and making his pictures accordingly. (He wrote often, too, of “free painting”, in which an inspired artist no longer needed to copy a master and could follow his own rules.) His own interpretation was as good as any bishop’s: merely as a man, his thought and work had value.

Merely as a man, too—despite his spindly pain-racked body, and charcoal Death on his skeleton horse crying “Remember me!” into his ear—he could multiply those thoughts and works endlessly through the new world as well as the old. Perhaps as much as any other craftsman, even in the modern age, Dürer represented human talent and ingenuity made boundless by a machine.

Frank Lloyd Wright and the Art of Japan: The Architects Other Passion

2011-12-24T01:30:00.001-08:00

Frank Lloyd Wright and the Art of Japan: The Architects Other Passion

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Frank Lloyd Wright and the Art of Japan: The Architects Other Passion [Hardcover]

Julia Meech (Author)

From The New Yorker

About the Author

Julia Meech, a scholar and art historian, is a senior consultant in the Department of Japanese Art at Christie's in New York.

Product Details

Hardcover: 304 pages
Publisher: Harry N. Abrams; First Edition edition (March 1, 2001)
Language: English

buildings, hello and good bye

2011-12-22T19:05:00.000-08:00

前天晚上NHK 重播巴塞隆納的建築大師高第的聖家堂
簡直是不可思議 (昨天展讀其作品冊)
http://www.answers.com/topic/antoni-gaud-2
(人生就如此無奈近30年前一位東海的朋友說到他那他的浴室可鳥瞰巴塞隆納...... 不過那是我們末次會面)

Artful sayonara for building facing destruction

BY HIROYUKI OTA STAFF WRITER

2011/12/22

The artist Nobuyuki Ohnishi displays some of his works at his studio in the Kudanshita Building. (Kengo Hiyoshi)A sign for the building at the entrance (Kengo Hiyoshi)Netting covers the Kudanshita Building that is in the process of being torn down. (Kengo Hiyoshi)

Artists are converging on a 85-year-old Tokyo building in the process of being torn down to give it a colorful sayonara.

Stockholm Town Hall (Elías Cornell,Ivar Sviestins)

2011-12-13T04:40:00.000-08:00

書名	Stockholm Town Hall
作者	Elías Cornell, Ivar Sviestins
攝影者	Ivar Sviestins
插圖作者	Ivar Sviestins
出版者	Byggförlagget, 1992

Stockholm Town Hall

Elías Cornell, Ivar Sviestins

Byggförlagget, 1992 - 143 頁

這種優秀的專書內容的質與量遠遠比入門的資料好:Stockholm City Hall - Wikipedia, the free encyclopedia

此書的引語很直得參考

" For hundreds of years, all our upbringing, all our respect, has been devoted to education through the word, to understanding the word. Words flow out of us, in and over all of us! The word is loved before anything else. And the two arts that now sit in power over the world are those of the word and of technology.
How vain it is to speak with form. And yet - what inner pleasure ! colours, form; the triumph of the senses. The senses, not the brain's. The eye's, not that of reflection."

FROM RAGNAR OSTBERG'S ESSAY DEDICATED TO THE SWEDISHAUTHORS HJALMAR SODERBERG, 1919.

藤本壮介(1971- )

2011-12-10T04:21:00.000-08:00

藤本壮介の台湾タワーは史上最もシュールな建造物かもしれない

2011.12.10 12:00 [0] [0]

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ラウンド中の会話に乗り遅れない台湾駐在員の情報インフラです
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地上300mに浮かぶ森。
忽然と現れた、天空のオアシス。
下から青い反重力ビームで押し上げているの？

2017年完成を目指す台湾台中市の巨大建造物「台湾タワー（Taiwan Tower）」です。僕がこれまで見た中で最も超現実的なエンジニアリングになりますね、これは！

この完成予想図を見るだけで、そのヘンテコっぷりと素晴らしさがご理解いただけるかと...。高さはエッフェル塔ぐらいあります。こんなこの世のものとも思えない鉄柱ラビリンスを本当に造ってしまうってところに、痺れます。

このウネウネ伸びる支柱は、どこからどこまでが幹・枝・根っこなのかサッパリわからないベンガル菩提樹（バニヤン、バンヤンジュ）をイメージしました。東京の建築家Sou Fujimoto（藤本壮介）氏はこのデザインで、見事台湾タワー国際コンペで優勝を射止めました。

個人概況：
藤本壯介是日本新生代最有才華的建築師之一。他在2000年創建了藤本壯介建築師事務所，團隊由15位建築師、設計師、工藝師和研究員組成，同時擔任京都大學、東京理科大學、昭和女子大學的客座講師。不管是房屋、臨時裝置還是醫療和文化設施，他們的設計總是獲得來自世界各地的掌聲。先鋒的設計給事務所帶來了眾多的獎項，包括《建築評論》大獎，2008 日本建築家協會大獎，2008巴塞羅那世界建築節一等獎，2009年《Wallpaper》獎。藤本壯介經常用“原始”形容他的作品。他把建築實踐看成是探索世界和人道的一種方式。

Sou Fujimoto Architects / 藤本壮介建築設計事務所

Martyrdom of St. Sebastian, Caspar David Friedrich

2011-12-09T01:27:00.000-08:00

On this grand tour, Beckett encountered the Casper David Friedrich painting that went on to inspire his prize-winning play, "Waiting for Godot." Later recalling Antonello da Messina's "Martyrdom of St. Sebastian," a painting he had seen in Dresden, Beckett wrote, "In front of such a work, such a victory over the reality of disorder, over the pettiness of heart and mind, it is hard not to go and hang yourself."

http://www.dw-world.de/dw/article/0,,6672874,00.html?maca=en-newsletter_en_germany-light-2089-txt-newsletter

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Caspar David Friedrich (September 5, 1774 – May 7, 1840) was a 19th-century German Romantic landscape painter, generally considered the most important ...
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St. Sebastian (1476-‘77). Antonello da Messina. Oil on canvas transferred on table, 171 cm × 85 cm. Gemäldegalerie Alte Meister, Dresden

Saint Sebastian - Wikipedia, the free encyclopedia
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跳到 Martyrdom‎: Martyrdom. Reliquary of St Sebastian around 1497 Victoria and Albert Museum, London. Diocletian reproached Sebastian for his ...
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The Martyrdom of Saint Sebastian - National Gallery
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View: Antonio del Pollaiuolo and Piero del Pollaiuolo, The Martyrdom of Saint Sebastian. Read about this painting, learn the key facts and zoom in to discover ...

The Nature of Design:Ecology, Culture, and Human Intention

2011-12-06T17:11:00.000-08:00

The Nature of Design

Ecology, Culture, and Human Intention

David W. Orr

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ISBN13: 9780195173680ISBN10: 0195173686 Paperback, 248 pages

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I. The Problem of Ecological Design

1. Introduction: The Design of Culture and the Culture of Design

2. Human Ecology as a Problem of Ecological Design

II. Pathologies and Barriers

3. Slow Knowledge

4. Speed

5. Verbicide

6. Technological Fundamentalism

7. Ideasclerosis

8. Ideasclerosis, Continued

III. The Politics of Design

9. None So Blind: The Problem of Ecological Denial (with David Ehrenfeld)

10. Twine in the Baler

11. Conservation and Conservatism

12. The Politics Worthy of the Name

13. The Limits of Nature and the Educational Nature of Limits

IV. Design as Pedagogy

14. Architecture and Education

15. The Architecture of Science

16. 2020: A Proposal

17. Education, Careers, and Callings

18. A Higher Order of Heroism

V. Charity, Wildness, and Children

19. The Ecology of Giving and Consuming

20. The Great Wilderness Debate, Again

21. Loving Children: The Political Economy of Design

Bibliography

Index

Description

The environmental movement has often been accused of being overly negative--trying to stop "progress." The Nature of Design, on the other hand, is about starting things, specifically an ecological design revolution that changes how we provide food, shelter, energy, materials, and livelihood, and how we deal with waste.

The book begins by describing the scope of design, comparing it to the Enlightenment of the 18th century. Subsequent chapters describe barriers to a design revolution inherent in our misuse of language, the clockspeed of technological society, and shortsighted politics. Orr goes on to describe the critical role educational institutions might play in fostering design intelligence and what he calls "a higher order of heroism."

Appropriately, the book ends on themes of charity, wilderness, and the rights of children. Astute yet broadly appealing, The Nature of Design combines theory, practicality, and a call to action.

Product Details

248 pages; 5-1/2 x 8-1/4; ISBN13: 978-0-19-517368-0ISBN10: 0-19-517368-6

About the Author(s)

David W. Orr is Professor and Chair of the Environmental Studies Program at Oberlin College. He is the author of Ecological Literacy and Earth in Mind, as well as more than 100 published articles. Among other awards, he has received a Lyndhurst Prize Fellowship and the National Wildlife Federation's National Achievement Award.

Leonardo da Vinci: Painter at the Court of Milan (London)

2011-11-12T17:24:00.000-08:00

Leonardo da Vinci: Painter at the Court of Milan ... - National Gallery
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'Leonardo da Vinci: Painter at the Court of Milan' is the most complete display of Leonardo's rare surviving paintings ever held. This unprecedented exhibition ...
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Leonardo da Vinci | artist | 1452 - 1519 | The National Gallery, London
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	www.youtube.com/watch?v=dH1amBuz_Hg2010年11月25日 - 2 分鐘 - 上傳者：SzegediImre74 Club Da Vinci @ CNN & DEBÜT. SzegediImre74 44 videos. Subscribe Alert icon Subscribed. Sign In or Sign Up now ...

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Leonardo da Vinci: Painter at the Court of Milan

Date and time

9 November 2011 – 5 February 2012

Sainsbury Wing

Full opening times

Tickets

Ticket information

‘Leonardo da Vinci: Painter at the Court of Milan’ is the most complete display of Leonardo’s rare surviving paintings ever held. This unprecedented exhibition – the first of its kind anywhere in the world – brings together sensational international loans never before seen in the UK.

Leonardo the artist

While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first to be dedicated to his aims and techniques as a painter. Inspired by the recently restored National Gallery painting, The Virgin of the Rocks, this exhibition focuses on Leonardo as an artist. In particular it concentrates on the work he produced as court painter to Duke Lodovico Sforza in Milan in the late 1480s and 1490s.

As a painter, Leonardo aimed to convince viewers of the reality of what they were seeing while still aspiring to create ideals of beauty – particularly in his exquisite portraits – and, in his religious works, to convey a sense of awe-inspiring mystery.

View an accessible version of this slideshow

Works on display

Featuring the finest paintings and drawings by Leonardo and his followers, the exhibition examines Leonardo’s pursuit for perfection in his representation of the human form. Works on display include ‘La Belle Ferronière’ (Musée du Louvre, Paris), the ‘Madonna Litta’ (Hermitage, Saint Petersburg) and ‘Saint Jerome’ (Pinacoteca Vaticana, Rome).

The two versions of Leonardo’s ‘Virgin of the Rocks’ – belonging to the National Gallery and the Louvre – will also be shown together for the first time. Find out more about the two paintings.

The final part of the exhibition features a near-contemporary, full-scale copy of Leonardo’s famous ‘Last Supper’, on loan from the Royal Academy. Seen alongside all the surviving preparatory drawings made by Leonardo for the 'Last Supper', visitors will discover how such a large-scale painting was designed and executed.

Audio guide

An audio guide for 'Leonardo da Vinci: Painter at the Court of Milan' will be available from exhibition ticket desks.

Exhibition guide

A free exhibition guide will be available to visitors, which provides an overview of the exhibition and includes labels of all the paintings on display.

Download the exhibition guide [PDF 610kb – opens in a new window]

The Art of Clyfford Still Re-emerges

2011-11-11T16:13:00.000-08:00

Self-Portrait, 1940
Clyfford Still (1904-80) was a major figure of the Abstract Expressionist movement whose name was once frequently mentioned along with revered artists like Jackson Pollock and Mark Rothko.

PH-77, 1936
When he died, Still's paintings, by decree of his will, were sealed away until a "permanent quarters" devoted to his work — and only his — could be established.

PH-343, 1937
On Nov. 18, 2011, the Clyfford Still Museum will open in Denver and house Still's paintings.

PH-313, 1942
More than a dozen art institutions tried and failed, before Denver, to persuade Still's widow Patricia to house the work.

1944-N No. 1 (PH-235), 1944
The volume of work is substantial: the estate held 825 canvases and 1,575 works on paper, 90% of his life's work.

1949 No. 1 (PH-385), 1949
Toward the end of his lifetime, Still enjoyed great prominence. In 1979, New York City's Metropolitan Museum of Art presented a hugely popular exhibition of his work that was the biggest presentation the institution had ever given to a living artist.

李苦禪/木彫、時代のうねり刻む

2011-11-11T16:04:00.000-08:00

《苦禪宗師藝緣錄》

這是本有緣的書因為書商將它擺在"佛教-禪宗"類
"苦禪"先生是他的藝術同學為他取的名字他接受了
這是李苦禪的次子李燕為其父編的傳記

***

うねり

〔波などの〕the swell ((of the ocean)) (▼複数形で用いない); 〔起伏〕(an) undulation

大きな波のうねりが海岸に押し寄せた
The high waves surged against [upon] the shore.

見わたす限りなだらかな丘のうねりが続いている
The gently undulating hills stretch as far as the eye can see.

木彫、時代のうねり刻む

荒川亀斎「時代主置物」（１８９３年、手前）は台までつく＝愛知県碧南市

江口週「鍬形の碑－NO.５」（手前）や植木茂「トルソ」（左）など抽象的な木彫もそろう＝愛知県碧南市

「或日の少女」（１９３４年、手前）など橋本平八作品が並ぶ＝東京・上野公園

■東京と愛知で展覧会

　古い時代から現代まで、長い時間軸のなかで彫刻表現を見渡すと、何が立ち上がってくるのか。そんな展覧会が２カ所で開かれている。ともに中心は木彫。古いものと新しいものの混交や、文化を超えた作り手の模索などが見えてくる。

　１８９３年のシカゴ万博に出品された竹内久一による堂々たる「執金剛神立像」が、まさに仁王立ち。

　幕末から現代までの木彫表現をたどる愛知県・碧南市藤井達吉現代美術館「抱きしめたい！　近代日本の木彫展」（１３日まで）はここから始まる。

　土生（はぶ）和彦学芸員によると「仏像や人形、置物といった日本の伝統的表現が、西洋の彫刻と出あい、どう変わったかを見せる」ことが狙い。執金剛神立像は起点となる１体なのだ。木のぬくもりへの関心の高まりも意識したという。

　展示はまず、森川杜園、高村光雲ら、人形師や仏師の技術を背景とする作家を手厚く紹介する。以前は等閑視されがちだったこれらの作品を再評価する近年の研究に沿ったものだ。彼らの高い写実力が、後の木彫の土台の一つだと分かる。

　同館や高岡市美術館など地方３館の共同企画であることから、地方の作家も重視。島根出身の荒川亀斎らが紹介されている。

　やがて、ロダンの影響を受けた高村光太郎、動きのある身体表現を見せる新海竹蔵らが登場。戦後に大きなうねりとなった抽象表現からは、植木茂や向井良吉らが展示されている。

　そして三沢厚彦、須田悦弘ら、近年注目の具象作品が並ぶ。見終われば、彼らの表現と明治初めの森川杜園「春日白鹿」の不思議な近さも感じることになる。

　東京・上野の東京芸術大学大学美術館の所蔵品を中心にした同館「彫刻の時間――継承と展開」展（６日まで）は同大学の教員、つまり作り手の企画で、さらに時間軸が長い。第１室には飛鳥時代から鎌倉時代の快慶、江戸時代の円空まで、木の仏像彫刻が並ぶ。

　主に戦前までの近代作品を紹介する第２室には、朝倉文夫らのブロンズ像もあるが、やはり中心は木彫。とりわけ、碧南展にも出ている橋本平八と平櫛田中（ひらくし・でんちゅう）は同館所蔵品をすべて並べて４０点以上だ。平八は円空に共感し、どこか神秘的、土俗的な作品を残し、田中はときに彩色も施した写実的な人物像を見せる。

　企画の中心となった深井隆教授は作り手の立場から「近代の作品でも日本のフィルターを通したものの方が面白い」と話す。

　そして最後の部屋は、彫刻科の教員を中心とした現代作家たち。抽象も具象も、石の作品も金属の作品もある。深井教授は「自らまな板の上に載る覚悟。これから、歴史の中で淘汰（とうた）されるべきものと考えています」と話していた。（編集委員・大西若人）

A Suspension of Willful Disbelief

2011-11-04T05:18:00.001-07:00

Chang W. Lee/The New York Times

A Suspension of Willful Disbelief

By ROBERTA SMITH

A distinction of the Guggenheim’s retrospective of the Italian artist Maurizio Cattelan is that the pieces — 128 in all — hang from near the top of the museum’s rotunda.

rotunda[ro・tun・da]

発音記号[routʌ'ndə]

[名]

1 （特に丸屋根のある）円形建築物.

2 （高い丸天井の）円形大広間.rotund (ro-TUND)

adjective:
1. Plump; fat.
2. Round in shape.
3. Having a full-toned, resonant sound.

Etymology
From Latin rotundus (round), from rota (wheel). Ultimately from the Indo-European root ret- (to run or to roll), which is also the source of rodeo, rotunda, rotate, rotary, roulette, and orotund.

Usage
"The famously rotund Drew Carey has lost 80 pounds." — Pamela Sitt; Reality Show Shake-ups; Kansas City Star; Aug 3, 2010.

"A few years ago, Japanese watermelon lovers suddenly found the normally rotund fruit sitting squarely on the shelves of supermarkets." — Piali Banerjee; Food or Fool's Paradise?; The Times of India (New Delhi); Oct 19, 2003.

"With his rich, rotund voice, Jonathan Lemalu has thrilled audiences around the world." — Christopher Moore; Powerful Accolades; The Press (Christchurch, New Zealand); Jul 26, 2006.

German design goes on show at Sao Paulo Biennale

2011-11-04T00:33:00.000-07:00

Architecture | 02.11.2011

German design goes on show at Sao Paulo Biennale

The European Investment Bank in Luxemburg got good grades for being green

A showcase for German architecture and architectural engineering: Germany is presenting 20 internationally significant architectural projects at the International Architecture Biennale in Brazil.

Since 1975, the International Architecture Biennale in Sao Paulo (BIA) has been a world renowned forum for modern architectural artistry. This year's show, which runs in the Brazilian metropolis from November 1 through December 4, bears the motto "Architecture for All - Building Citizenship."

Architecture and city planning are "partners of society and lead to the creation of communities," according to Brazilian architect Valter Caldana, the curator of this year's Biennale.

German is one of more than 20 countries participating, and its entry to the Biennale in Sao Paulo runs with the slogan "Baukultur: Made in Germany." An expert jury chose 20 projects representing modern environments and sustainable buildings.

"Baukultur: Made in Germany" is as much about buildings created in a Germany as it is about German architectural developments and architectural engineering firms working on projects abroad.

Building 'in harmony'

The German term for the built environment, "Baukultur," has found its way into many other languages. According to the Federal Chamber of German Architects (BAK), the term applies not only to finished constructions but to the entire planning process which in Germany is marked by a high level of transparency and public consultation. That is particularly the case for public buildings, whose planning involves open dialogue with local citizens as standard.

Germay presents 20 projects, including the Cape Town Stadium

"German architects do not conceive of themselves as the trustees of house owners, but view the 'Baukultur' as an obligation," reads the foreword to the German entry at the Biennale in Sao Paulo written by the BAK. "The question of the quality of German architecture and architectural engineering is inseparably tied to the issue of 'sustainable building.' Sustainability encompasses economic efficiency, environmental friendliness and the saving of resources to plan and build in harmony with the given social and cultural landscape."

Living cities and landscapes

During the selection process for Sao Paulo, the BAK prioritized sustainable buildings alongside projects which encompass innovative solutions to special landscape and climate challenges. The aim was to "meet the demands of a dynamically changing world and find solutions that make our cities and landscapes liveable."

The concrete jungle of Sao Paulo hosts the event One project which embodies these ideals is the IBA Dock Hamburg, which is being presented in Sao Paulo. It demonstrates how a building can create its own supply of renewable energy: A photovoltaic panel and hydro-power from the Elbe River deliver electricity and heating is generated through a hydro-extractor.

Through creative insight and the application of environmentally friendly technology and construction techniques, the Cape Town Stadium in Cape Town, South Africa is another example of successful dialogue between nature and society.

Then there is the Albertinum in Dresden, an architectural linking of epochs. The back of the Baroque, listed building which houses Dresden's state art collection is bridged over by a two-storey roof creating space for a flood-proof storage depot.

Other examples of "Baukultur made in Germany" which take into consideration societal, conservational and ecological concerns are the student housing project in the Olympic Village in Munich and the extension to German National Library in Leipzig, which does its bit for climate change by garnering the majority of its energy supply from geothermal ground heat.

Autor: Carlos Albuquerque / hw

Editor: Kate Bowen

為了記憶的博物館Memory is essential to architecture, says Daniel Libeskind

2011-10-27T18:03:00.000-07:00

Architecture | 24.10.2011

Memory is essential to architecture, says Daniel Libeskind

Daniel Libeskind is the son of Holocaust survivors

Without memory, we wouldn't know who we are or where we're going, architect Daniel Libeskind tells DW as his Jewish Museum in Berlin celebrates its 10th anniversary and his restored Military Museum in Dresden reopens.

Deutsche Welle: Mr. Libeskind, you're building, or you've built the addition to the Military Museum in Dresden. Your family suffered from the Nazis. How does that go together?

Daniel Libeskind: Well, I think the story of the Military History Museum in Dresden is a story of change - change of Germany. This armory, which was renovated and where a new structure had been inserted, really tells a story of the transformation of the armory, which was also a Saxon museum, a Nazi museum, a Soviet museum, an East German museum - and of course, in a democracy, the military is very important.

A military museum is important in a democracy because every citizen has the responsibility to understand what is going on. So it's not just a museum of conflicts, of weaponry, of the hardware, but it's a reflection on violence and reflection on the city of Dresden, which itself suffered in World War II. So it's a major new encounter with military history and, just as the new wedge-like form pushes through the opacity and the darkness and the rigidity of the armory to the outside, so does Germany push through its old regimes, its autocratic regimes, totalitarian regimes towards a new window of freedom and democracy of a united Germany.

How did you try to have the building fit together with what's inside the museum?

Libeskind's Dresden design depicts an interrupted chronology in the history of warI worked very closely with the exhibition designers from the very beginning. But there are two aspects. I restored the armory. It was very run-down and it was very abused when it was the East German kind of military museum. So I restored it lovingly (…) but I also cut through it a completely new space, which is a new totally unprecedented space. It's not a space just for more of the same. It's a space which deliberately interrupts that chronology that ended at World War II and presents questions to a democratic society, to the republic, to families, to children: What do these conflicts means? How can we steer them to a better place? How can we avoid wars? And what do they mean for society in a democracy?

It's more an anti-war museum than a military museum, the way you're explaining it now?

I don't think it's an anti-war museum - of course, who's insane enough to be for a war? No one. But, military history is ongoing. We see that Germany, the United States, other countries are participating in conflicts around the world. So we have to understand what these conflicts mean in a democracy. These are no longer decisions made behind big walls, like in the old times, behind the walls of the armory, but they are really made in front of the public. And it is in the public interest and public importance to be participants in the decisions of an open and free government. And that's not really an anti-war museum, it's a museum that will inform the public, educate the public, create a continuity of what are the possibilities that prevent the kind of violence that we have seen all too often coming out of Germany in the 20th century.

The opening of the edition to the military museum in Dresden coincides with the 10-year anniversary of the Jewish Museum in Berlin. Many people feel that the building itself is more important than what's in it. How do you feel about that building today? Does it work the way you were hoping it should work back then?

I think museums have to work for their exhibitions. Now, when I was working at the Jewish Museum, of course, there were many changes. The museum changed its program, even its name, many times across time until it became the Jewish Museum Berlin. It's very different in the Military History Museum in Dresden because I worked from the very beginning on a very profound idea of what the museum should contain, what objects should be there, what stories are to be told. So they are two very different spaces. They address two very different programs, and, of course, they are very different buildings for the public.

The Jewish Museum in Berlin is celebrating its 10th anniversary

You do a lot of museums about remembering, which museums are usually about. But how do you translate remembering into architecture?

Well, I think without memory we would not know where we are going or who we are. So memory's not just a little sideline for architecture, it's the fundamental way to orient the mind, the emotions, the soul. And, of course, how to engage that memory through the visceral experience, not just the intellectual experience, but to the full emotional experience of a human being. That's what architecture is and that can be done through light, through proportions, through acoustics, through materials, through the language of architecture.

Do you like working in Germany?

I do like working [in Germany], very much.

Why?

I think Germany is a very progressive country. It has a youthful spirit. It has a difficult history which will never go away. But Germany is a country that has also faced how difficult history is and hasn't just put it under a carpet but is dealing with it and I think that's something very admirable. Not everyone would be able to face those horrors and yet see that there's a hope, see that there's a new generation, that there's something to be learned from it, something never to be repeated again, and to extend the possibilities of human beings.

Interview: Max Hofmann, DW-TV, New York

Editor: Kate Bowen

Jonathan Ive (Apple Inc.)

2011-10-19T05:14:00.000-07:00

沒

有了史蒂夫﹒喬布斯(Steve Jobs)，蘋果公司(Apple Inc.)的投資者和客戶提出了一個重大問題：失去了這位聯合創始人和設計大師後，蘋果還能夠繼續推出創新產品嗎？

Associated Press

蘋果公司首席設計師埃維已掌管公司的設計團隊長達15年。圖片攝於2008年。

這個問題的答案可能系於喬納森﹒埃維(Jonathan Ive)。埃維是蘋果公司的主管之一，在科技界之外鮮有人知。

作為蘋果公司的首席設計師，埃維自1996年接掌公司設計團隊以來，就一直和他的同事們負責打造蘋果產品的外觀和質感，並成功地幫助蘋果從競爭對手中脫穎而出。

隨著喬布斯的去世，人們對埃維可能會有更高的要求。蘋果僅僅依靠4個產品系列──電腦、音樂播放器、智能手機和平板電腦──來獲得本財年預計超過1,000億美元的大部分收入，這意味著蘋果的產品需要頻繁地更新換代來引發人們的購買興趣。

如今，埃維典雅的設計風格已經幫助蘋果產品成為了消費者身份的象征。埃維設計的iPad──鋁制機身加上簡單的玻璃面板──已經成為了平板電腦市場的標桿。今年第三財季，最新一代的iPad佔據了全球平板電腦出貨量的68%，超過了Research in Motion等競爭對手推出的同類產品。

得益於出色的市場營銷，埃維的設計為蘋果公司注入了強大的增長動力，使其成為了享譽全球的科技公司。

時尚的iPhone已經成為蘋果公司最主要的收入來源，而Mac系列是個人電腦市場增長最為迅速的產品。至於標志著蘋果再度崛起的iPod，自2001年首次上市以來已經使數字音樂在消費市場中普及開來。

視頻：蘋果產品的另一靈魂人物──喬納森﹒埃維

喬納森﹒埃維(Jonathan Ive)是蘋果公司負責工業設計的高級副總裁，向來低調。史蒂夫﹒喬布斯(Steve Jobs)去世後，蘋果公司可能讓伊夫更多地在公開場合露面。《華爾街日報》的Mark Scheffler在紐約報道。

埃維在蘋果公司的地位舉足輕重，因而直接向首席執行長匯報工作。這種安排體現了蘋果在喬布斯的領導下對設計和美感的重視。

蘋果公司拒絕由埃維對本文置評。埃維也未回應要求置評的電子郵件。

埃維1967年出生於倫敦，畢業於諾森比亞大學(Northumbria University)設計專業。他曾在英國設計公司Tangerine工作，蘋果在上世紀90年代初是該公司的客戶。1992年，埃維加入了蘋果，並且很快成為了工業設計部門的負責人。

埃維自加入蘋果公司以來一直在幕後工作，而喬布斯和其他主管們則經常代表公司拋頭露面。埃維的設計團隊讓一度以灰色和淺褐色機身為主的蘋果產品迎來了新生，其中最引人注目的產品包括糖果色的iMac電腦和玻璃面板加鋁制機身的 iPhone。

埃維的同事表示，埃維聰慧過人，而且溫和平靜。埃維與其他設計師常常尋求打造屬於自己的品牌不同，他總是盡力避開人們的注意。

“在設計界，他因屢次獲獎卻不出席領獎而聞名，”唐﹒諾曼(Don Norman)說。“在他身上，你看不到絲毫的自以為是。”

但是，埃維帶來的影響卻非常深遠。

分析人士認為，埃維注重細節的做法使得蘋果從競爭者中脫穎而出。市場研究機構Forrester Research的分析師查爾斯﹒戈爾文(Charles Golvin)一直關注消費領域科技的發展，他說，Macbook的懸浮式鍵盤設計讓輸入變得更為舒適，就是注重細節的體現。

“這一點看似簡單，”戈爾文說，“但這就是我認為埃維設計的典雅之處。”

埃維的設計常常會被拿來和德國工業設計師迪特﹒拉姆斯(Dieter Rams)的作品相比較。拉姆斯在上世紀60年代為博朗公司(Braun)設計了計算器和收音機等產品。

那些產品正如埃維在蘋果公司的設計一樣，因為簡約、典雅和方便使用而聞名於世。

IDC公司移動設備及科技分析師威廉﹒斯托夫加(William Stofega)說，他們有著相同的設計理念，即不過度裝飾，保持簡約。

作家蘇菲﹒洛弗爾(Sophie Lovell)說，大多數人認為設計就是使事物看起來漂亮，但實際上卻遠不止此，喬布斯和埃維都明白這一點。洛弗爾說，當她去年為了一篇雜志文章採訪埃維時，發現他對設計充滿了激情。

埃維的努力已經將蘋果電腦和手機提升到了藝術品的范疇。根據現代藝術博物館(Museum of Modern Art)網站上的介紹，該館收藏的埃維的設計作品有六件，如蘋果公司的第一代 iPod等。

JOHN LETZING / ANDREW MORSE

Art & Design

Steles（Keith Wilson）

倫敦奧運園第一件藝術品完工

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