martes, 17 de noviembre de 2009
The Port in Cannes. 1926. Oil on canvas. Private collection.
The Tea. 1916. Oil on canvas. Private collection.
The Terraces. 1941. Oil on canvas. Private collection.
The Terrasse Children with Black Dog. 1902. Oil on canvas. Private collection.
Saul Stacey Williams (born February 29, 1972) is an American poet, writer, actor and musician known for his blend of poetry and alternative hip-hop and for his leading role in the independent film Slam.
This song has a sample of Rage Against the Machine's 'Born of a Broken Man'
Este comentario hice ante este artículo del diario
La Nación http://www.lanacion.com.ar/nota.asp?nota_id=1200871:
El horror de lo que nos pasa es lo siguiente: Actores, malos, regulares u buenos hasta que los pescan (siempre, la mentira los hará caer siempre), ocupan lugares de una escena que excede los teatros, las ágoras y los foros, escenario país que se vende en el mundo, nuestros actores, políticos, sindicalistas, aspirantes al poder, el éxito, la circulación del dinero grande donde capturarse un futuro que dure generaciones. Todo dado vuelta gracias a estos actores y actrices que mienten, engañan, timan, roban, hieren y matan.
Creo que no hay nada que explicar en este comentario al artículo de citas que hice en el día de la fecha, alguien se sintió ofendido, lo reportó como abuso y fue suprimido. ¿Pero por qué debo asistir al circo y quedarme callado?
En mi país mueren todos los días niños de hambre, personas mal atendidas médicamente o en el total abandono que también mueren, agonizan comunidades como los matacos, sufren los Wichís sin derechos a las tierras que habitan antes que esto se llamase Argentina, corridos, segregados, obligados cada vez a una pobreza más grande que pareciera buscar la miseria y con ella, la desaparición.
Todos los argentinos tenemos responsabilidad en nuestro destino, en la vida que vivimos, pero la responsabilidad del que gobierna es suprema e indelegable. Mientras esto siga pasando, como pasa la indefensión en la ciudad de Buenos Aires, el suburbano de la misma y otras ciudades, donde todos los días es asesinado algún ciudadano que se dedica al trabajo y no al robo, serán para mi deudores, delincuentes como el que asalta en las calles.
Pero también para este artículo en el mismo diario http://www.lanacion.com.ar/nota.asp?nota_id=1200878
Ya el título debe poner muy contentos a los miembros de la embajada de Nueva Zelanda, ¿Irán a eso solo?. Pero todo muy gracioso. Que lleven un primus. Con soplete más fácil, si fueran argentinos llevaban unos chori y glú glú. Ahora, una reseña sobre Shackleton no hubiera estado nada mal, es una historia heroica y fabulosa, remaron en la nada para salvarse, llegaron a una isla, la cruzaron y salvados fueron a buscar a sus compañeros. Luego el muere en su ley, años después, siempre con los hielos en los ojos de sus sueños. Fue un gran hombre ese, los diarios debieran hablar más de grandes hombres que de hombres miserables en su codicia, sean políticos o ladrones. Disculpen, es que conozco la vida de Shackleton y me parece admirable, si los chicos tuvieran héroes como ese, una sociedad más sana viviríamos, avívenla amigos, nunca se arrepentirán de eso.
(“…avívenla amigos, nunca se arrepentirán de eso.” Esto está especialmente dedicado a los periodistas y a los dueños y responsables de medios de comunicación, aclaro aquí, por si no se entiende, más allá de la exhortación al general de la gente)
Mi cuenta en
La Nación es Capiscum pues estos adalides de la libertad de prensa me cerraron la cuenta Ricardo Marcenaro hace casi un año, sin ninguna razón más que el capricho y la falta de humor.
Así que a los que votaron abuso suprimiendo mi comentario al artículo primero, mis jajajaces.
1843 L'Odalisque romaine (Marietta)
Jean-Baptiste Camille Corot (clic here Wiki) (July 17, 1796 – February 22, 1875) was a French landscape painter and printmaker in etching. Corot was the leading painter of the Barbizon school of France in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.
Early life and training
Camille Corot was born in Paris in 1796, in a house at 125 Rue du Bac, now demolished. His family were bourgeois people—his father was a wigmaker and his mother a milliner—and unlike the experience of some of his artistic colleagues, throughout his life he never felt the want of money, as his parents made good investments and ran their businesses well. After his parents married, they bought the millinery shop where she had worked and he gave up his career as a wigmaker to run the business side of the shop. The store was a famous destination for fashionable Parisians and earned the family an excellent income. Corot was the middle of three children born to the family, who lived above their shop during those years.
Corot received a scholarship to study in Rouen, but left after having scholastic difficulties and entered a boarding school. He “was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes.” Unlike many masters who demonstrated early talent and inclinations toward art, before 1815 Corot showed no such interest. During those years he lived with the Sennegon family, whose patriarch was a friend of Corot’s father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature. At nineteen, Corot was a “big child, shy and awkward. He blushed when spoken to. Before the beautiful ladies who frequented his mother’s salon, he was embarrassed and fled like a wild thing…Emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke.” When Corot’s parents moved into a new residence in 1817, the twenty-one year old Corot moved into the dormer-windowed room on the third floor, which became his first studio as well.
With his father’s help he apprenticed to a draper, but he hated commercial life and despised what he called "business tricks”, yet he faithfully remained in the trade until he was 26, when his father consented to his adopting the profession of art. Later Corot stated, “I told my father that business and I were simply incompatible, and that I was getting a divorce.” The business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and began immediately with landscapes. Starting in 1822 after the death of his sister, Corot began receiving a yearly allowance of 1500 francs which adequately financed his new career, studio, materials, and travel for the rest of his life. He immediately rented a studio on quai Voltaire.
During the period when Corot acquired the means to devote himself to art, landscape painting was on the upswing and generally divided into two camps: one―historical landscape by Neoclassicists in Southern Europe representing idealized views of real and fancied sites peopled with ancient, mythological, and biblical figures; and two―realistic landscape, more common in Northern Europe, which was largely faithful to actual topography, architecture, and flora, and which often showed figures of peasants. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors. Highly influential upon French landscape artists in the early 19th century was the work of Englishmen John Constable and J.M.W. Turner, who reinforced the trend in favor of Realism and away from Neoclassicism.
For a short period between 1821–1822, Corot studied with Achille-Etna Michallon, a landscape painter of Corot’s age who was a protégé of the painter David and who was already a well-respected teacher. Michallon had a great influence on Corot’s career. Corot’s drawing lessons included tracing lithographs, copying three-dimensional forms, and making landscape sketches and paintings outdoors, especially in the forests of Fontainebleau, the seaports along Normandy, and the villages west of Paris such as Ville-d’Avray (where his parents had a country house). Michallon also exposed him to the principles of the French Neoclassic tradition, as espoused in the famous treatise of theorist Pierre-Henri de Valenciennes, and exemplified in the works of French Neoclassicists Claude Lorrain and Nicolas Poussin, whose major aim was the representation of ideal Beauty in nature, linked with events in ancient times.
Though this school was on the decline, it still held sway in the Salon, the foremost art exhibition in France attended by thousands at each event. Corot later stated, “I made my first landscape from nature…under the eye of this painter, whose only advice was to render with the greatest scrupulousness everything I saw before me. The lesson worked; since then I have always treasured precision.” After Michallon’s early death in 1822, Corot studied with Michallon’s teacher, Jean-Victor Bertin, among the best known Neoclassic landscape painters in France, who had Corot draw copies of lithographs of botanical subjects to learn precise organic forms. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature. His notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two.
First trip to Italy
With his parents' support, Corot followed the well-established pattern of French painters who went to Italy to study the masters of the Italian Renaissance and to draw the crumbling monuments of Roman antiquity. A condition by his parents before leaving was that he paint a self-portrait for them, his first. Corot’s stay in Italy from 1825 to 1828 was a highly formative and productive one, during which he completed over 200 drawings and 150 paintings. He worked and traveled with several young French painters also studying abroad, who painted together and socialized at night in the cafes, critiquing each other and gossiping. Corot learned little from the Renaissance masters (though later he cited Leonardo da Vinci as his favorite painter) and spent most of his time around Rome and in the Italian countryside. The Farnese Gardens with its splendid views of the ancient ruins was a frequent destination, and he painted it at three different times of the day. The training was particularly valuable in gaining an understanding of the challenges of both the mid-range and panoramic perspective, and in effectively placing man-made structures in a natural setting. He also learned how to give buildings and rocks the effect of volume and solidity with proper light and shadow, while using a smooth and thin technique. Furthermore, placing suitable figures in a secular setting was a necessity of good landscape painting, to add human context and scale, and it was even more important in allegorical landscapes. To that end Corot worked on figure studies in native costume as well as nude. During winter, he spent time in a studio but returned to work outside as quickly as weather permitted. The intense light of Italy posed considerably challenges, “This sun gives off a light that makes me despair. It makes me feel the utter powerlessness of my palette.” He learned to master the light and to paint the stones and sky in subtle and dramatic variation.
It was not only Italian architecture and light which captured Corot’s attention. The late-blooming Corot was entranced with Italian females as well, “They still have the most beautiful women in the world that I have met….their eyes, their shoulders, their hands, and their asses are spectacular. In that, they surpass our women, but on the other hand, they are not their equals in grace and kindness…Myself, as a painter I prefer the Italian woman, but I lean toward the French woman when it comes to emotion.” In spite of his strong attraction to women, he writes of his commitment to painting, “I have only one goal in life that I want to pursue faithfully: to make landscapes. This firm resolution keeps me from a serious attachment. That is to say, in marriage…but my independent nature and my great need for serious study make me take the matter lightly.”
Jean-Baptiste Camille Corot (clic aquí Wiki) paisajista francés nacido en París el 16 de julio de 1796 y fallecido también en la capital francesa el 22 de febrero de 1875).
Sus primeros años
Jean-Baptiste Camille Corot nació en París, en una casa desde la que se tenía una perspectiva del palacio de las Tullerías, el Sena y El Louvre. De familia acaudalada, Corot recibió una educación burguesa y realizó sus estudios secundarios en la ciudad gótica y normanda de Ruán, entre 1807 y 1812, tales estudios le marcaron definitivamente. Allí vivía con un amigo llamado Sennegon, lector de Jean-Jacques Rousseau y próximo a las ideas ilustradas, de quien adquirió el gusto por la naturaleza. Continuó su formación en Poissy y al concluirla, manifiesta su deseo de ser pintor, pero su padre se opuso a ello y lo empleó como aprendiz en el negocio familiar. Camille, sin embargo, dedicó casi toda su jornada laboral a dibujar, por lo que la familia terminó por aceptar su vocación y financió su formación artística.
Etapa de aprendizaje
Corot ingresó en el estudio de Achille-Etna Michallon, reputado paisajista, de quien aprendió a "observar con exactitud y ser verdadero al reproducir la naturaleza". Pero su temprana muerte le condujo en 1822 al estudio de Jean-Victor Bertin, otro paisajista que le aportó destreza en los principios de composición clásicos que caracterizan los paisajes sosegados y bien estructurados que pintó en Italia entre 1825 y 1828. Ejemplos de esta etapa son Forum (1826) y el Puente de Narni (1827), ambos en el Museo del Louvre, París.
Por entonces, Corot muestra ya la frescura de ejecución y la fidelidad al motivo contemplado y esbozado al aire libre (plein-air ) que lo convertirán en referencia inexcusable de los impresionistas, entonces en ciernes.
Madonna and Child and Two Angels
Madonna and Child with Eight Angel
Madonna and Child with Six Saints
Madonna del Libro
Bass - Keith Lowe
Piano and Bass Clarinet - Hans Teuber
Vocals and Acoustic guitar - Stone Gossard
Vocals - Barbara Ireland
Recorded by Barrett Jones
Directed, cinematography by
Josh Taft and Tadd Sackville-west
Edited by Duncan Sharp