sábado, 5 de diciembre de 2009
Music: Jacqueline du Pré - Bach Cello Suite No.1 (I. Prelude & II. Allemande) (Nadie va a tocarlo como ella - Nobody will play it as she)
The Garden Of The Tea - Cielo. Dalia. Fruto. Brillo. Gato - 5-12-09 - big size Photos by ricardo marcenaro
Bertrand-Jean Redon (clic here Wiki), better known as Odilon Redon (April 20, 1840 – July 6, 1916) was a French Symbolist painter, printmaker, draughtsman and pastellist.
Odilon Redon (pronounced o dee lawn r'dawn) was born in Bordeaux, Aquitaine to a prosperous family. The young Bertrand-Jean Redon acquired the nickname "Odilon" from his mother, Odile. Redon started drawing as a child, and at the age of ten he was awarded a drawing prize at school. Aged fifteen, he began the formal study of drawing, but on the insistence of his father he changed to architecture. His failure to pass the entrance exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect, although he would later study there under Jean-Léon Gérôme.
Back home in his native Bordeaux, he took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. However, his artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War.
At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled, À rebours (Against Nature). The story featured a decadent aristocrat who collected Redon's drawings.
In the 1890s, he began to use pastel and oils, which dominated his works for the rest of his life. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor. His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show. In 1923 Mellerio published: Odilon Redon: Peintre Dessinateur et Graveur. An archive of Mellerio's papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago.
In 2005 the Museum of Modern Art launched an exhibition entitled "Beyond The Visible", a comprehensive overview of Redon's work showcasing more than 100 paintings, drawings, prints and books from The Ian Woodner Family Collection. The exhibition ran from October 30, 2005 to January 23, 2006. 
Analysis of his work
The mystery and the evocation of the drawings are described by Huysmans in the following passage:
- "Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance--heavy jawbone, protruding brows, receding forehead, and flattened skull top--recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."
Redon also describes his work as ambiguous and undefinable:
- "My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined."
Redon's work represent an exploration of his internal feelings and psyche. He himself wanted to "place the visible at the service of the invisible"; thus, although his work seems filled with strange beings and grotesque dichotomies, his aim was to represent pictorially the ghosts of his own mind. A telling source of Redon's inspiration and the forces behind his works can be found in his journal A Soi-même (To Myself). His process was explained best by himself when he said:
- "I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased."
Odilon Redon (clic aquí Wiki) (22 de abril de 1840 – 6 de julio de 1916) fue un pintor simbolista, nacido en Burdeos, Aquitania, Francia. Es considerado un pintor postimpresionista, dentro de la corriente del simbolismo, aunque también se le considera como uno de los primeros precursores del surrealismo.
Recibió formación como escultor, así como en grabados y litografías. En 1870 se unió al ejército para servir en la guerra franco-prusiana. Después de la guerra, en París, trabajó casi exclusivamente a carboncillo y litografía. Su primer álbum de litografías fue Dans le Rêve (1879). Mantuvo cierto anonimato hasta que se publicó una novela de culto en 1884, de Joris-Karl Huysmans titulada À rebours (A Contrapelo), en la que aparece un aristócrata decadente que colecciona dibujos de Redon. Admirador de Poe, su relación con la literatura le llevaría a ilustrar varios libros de su amigo Baudelaire. También mantendría una estrecha relación con científicos como Armand Clavaud (quien le hace estudiar anatomía, osteología y zoología), o Charles Darwin. Todas estas influencias se reflejarían en su trabajo.
En 1884 fue uno de los fundadores del Salón de artistas independientes, para poder exponer con libertad, separadamente del Salón oficial de París.
La Obra de Odilon Redon se inicia en curiosa oposición a la corriente impresionista dominante en su época. Mientras los impresionistas experimentan con el color, Redon trabaja en una extraordinaria serie de dibujos y litografías que él mismo llamaría "Los Negros".
Así, Redon da rienda suelta a su fantasía, entremezclando mitos paganos con materialismo científico, animales imaginarios con maquinaria de la Revolución industrial. En su iconografía poética de lo corriente derivado en extravagante y místico se halla la clave tanto del entusiasmo suscitado por su trabajo en contemporáneos como los Nabis como de su futura consideración como precursor del surrealismo.
Hasta 1890 su trabajo fue casi exclusivamente en blanco y negro, pero poco a poco, y rondando ya los cincuenta años, sus litografías se tornan más luminosas, hasta alcanzar finalmente el color. Es entonces cuando las litografías y dibujos al carbón son sustituidos por acuarelas y óleos. Sus temas siguen siendo los mismos: mitos clásicos, orientales, bíblicos, literarios y científicos adaptados a su particular y un tanto alucinada visión interior.
Donizetti - L'elisir d'amore / The Elixir of Love
Beniamino Gigli (1890-1957)
Una furtiva lagrima
Negli occhi suoi spunto:
Quelle festose giovani
Che piu cercando io vo?
Che piu cercando io vo?
M'ama! Sì, m'ama, lo vedo, lo vedo.
Un solo instante i palpiti
Del suo bel cor sentir!
I miei sospir, confondere
Per poco a' suoi sospir!
I palpiti, i palpiti sentir,
Confondere i miei coi suoi sospir
Cielo, si puo morir!
Di piu non chiedo, non chiedo.
Ah! Cielo, si puo, si puo morir,
Di piu non chiedo, non chiedo.
Si puo morir, si puo morir d'amor.
A furtive tear
welled up in her eye...
those carefree girls
she seemed to envy...
Why should I look any further?
She loves me, she loves me.
I can see it, I can see it.
To feel for just one moment
the beating of her dear heart!
To blend my sighs
for a little with hers!
Heavens, I could die;
I ask for nothing more.
I could die of love.
Una furtiva lágrima
en sus ojos despuntó,
a aquellas alegres jóvenes
¿Qué más buscando voy?
¿Qué más buscando voy?
Me ama, sí, me ama, lo veo, lo veo.
¡Un solo instante los latidos
de su hermoso corazón sentir!
Mis suspiros confundir
por poco con sus suspiros.
Los latidos, los latidos sentir,
¡confundir los míos con sus suspiros!
¡Cielos, se puede morir...!
No pido más, no pido.
¡Ah! ¡Cielos, se puede, se puede morir...!
No pido más, no pido.
Se puede morir...
¡Se puede morir de amor!
The „Last Sunday" -- erroneously called „THAT Last Sunday" -- was composed by the Polish composer Jerzy Petersburski in 1936. It is a nostalgic tango with lyrics by Zenon Friedwald describing the final meeting of former lovers who are parting. The Polish title was: "To Ostatnia Niedziela" ("The Last Sunday"). The song was extremely popular and was performed by numerous artists (the best known performance by the pre-war Polish singer Mieczysław Fogg). Along the way, it first gained the nick-name of "Suicide Tango" due to its sad lyric (although, the real „suicie song" in the night restaurants of Warsaw -- where the shoot in the brow at 12 at night was not an unusual happening - was in 1930s another sad „Sunday": the „Gloomy Sunday" (in Polish: „Smutna niedziela") by a Hungarian composer Rezső Seress.
Soon, it became an international hit; in the US sung by Billie Holiday.
But Polish „Last Sunday" also had a terribly sad fate. During World War II In the concentrations camps it was often played while Jewish prisoners were led to the gas chambers and ovens, to be executed.
During World War II its Russian version was prepared by Iosif Alveg and performed by Leonid Utyosov under the title of "Weary Sun" (Russian: "Utomlyennoye Solntse"). After World War II, the song remained largely successful and appeared in a number of films, including Yuriy Norshteyn's 1979 "Tale of Tales" (considered by many international critics to be the greatest animated film ever made), the award-winning Krzysztof Kieślowski's "White" (1994) and Nikita Mikhalkov's "Burnt by the Sun" of the same year. The Russian title of the song also became the name-sake for the latter film and -- as the result - for even more educated and worldly Russians, nowadays, it is considered as the „Russian national song"!
Recording: Alexandr Cfasman Orkestr, Russian vocal refrain by Pavel Mihailov - Utomlennoe Solnce (J.Petersburski), Noginskij Zawod 1932
No me pregunten que es lo que dice el cantante, pero seguro, se le fue la mujer con otro hombre.
Do not ask me what that says the singer, but surely it was the woman with another man.
Не спрашивайте меня, что это говорит певица, но ведь она была женщиной, с другим мужчиной.
Pyotr Leshchenko - "The King of Russian Tango", owner of a breathtaking, soft baritone voice - was born on June 14, 1898 in a village Isaeva in Ukraine. His father was a clerk, mother - illiterate. During the First World War, his mother and stepfather moved to Kishinev (now part of Moldavia). As a result Leshchenko has been claimed as a national by Russia, Ukraine, Moldova and Romania. In his early childhood he sang in a church choir and learned how to play the guitar and the balalaika. After the war Pyotr worked at various restaurants performing small theatrical acts, mostly dancing.
After the revolution, in Paris he took some ballet lessons to perform with his Latvian wife Zinaida, who was a dancer. Their act was a mixture of ballet, folklore dance and European tango, which was so popular it led to tours to Egypt, Persia, Turkey, Germany and Britain. It was at Riga, when he improvised a kind of a gypsy/tango singing to make up for the absence of his pregnant wife, that he discovered he could sing in front of an audience. Skon he started to perform regularily. In 1935 he was at the peak of his success. Though he still included old Russian romances, and even Soviet songs , like „Serdtse" („A Heart" ) - tango from the Stalinist movie production, which was originally sung by Leonid Utyosov - in a different version, as „Kak mnogo devushek horoshih" (How Many Goud Girls Are Around!"). ) In his repertoire, one of his favourites was a Polish composer Jerzy Petersburski, but he also sung certain songs composed specifically for him were (Oscar Strok, Mark Maryankovsky and Yefim Sklyarov).
Leshchenko performed for European nobles and "White" Russian emigres at his own "Leschenko" cabaret in Bucharest (dubbed the "Eastern Maxim"). The first part of every performance would typically be dedicated to gypsy music, but during the second part Leshchenko would dress up in a tuxedo, with a white silk handkerchief and sing and dance Argentine tango. He recorded dozens of sides for „Columbia".
In the Soviet Union his work was banned both because he was believed to be a White emigre (which he was not legally) and because the style (tango and foxtrot) was deemed counter-revolutionary. Nevertheless, secretly he was very popular: people would even listen to Radio Tehran to hear his music, '78 plates were smuggled into the country from the Baltics, and specialists would bootleg his music onto "ribs" (used X-ray plates). When during the Second World War and the subsequent occupation of Odessa by the Romanian army, Leshchenko was finally able to perform in the country he still considered his own, people would queue for hours on end to buy a ticket to one of his Odessa concerts. It was at Odessa that Pyotr met his second wife, Vera Georgievna, for whom he would later, back in Romania, divorce Zinaida.
After Romania switched sides during World War II and the Soviet army came to Romania, Leshchenko was not arrested and became the protege of General Bulganin. Some sources believe this was due to Marshall Zhukov being a secret admirer of his music - Pyotr probably thought so, and after the War, wrote many letters to friends in the Soviet Union asking them to contact high-level officials so that he and Vera may be allowed back to the country of their birth.
In 1951, immediately after receiving an from the Soviet government an official letter granting them permission to settle in the USSR, he and his wife were arrested by the communist Romanian militia. Vera was sent to the Soviet Union (where she was condemned to penal labour for amongst other things, "marrying a foreigner") and Pyotr was imprisoned near Bucharest. Both outlived Stalin, but Pyotr died in a prison hospital on July 16, 1954, without Vera (who had already been released but did not know her husband was still alive) at his side.
Recording: Pyotr Leshchenko - Wino Lubwi (Wine of Love), Columbia 1936
Una de las mejores películas que he visto en mi vida
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
Esto le va a gustar a las personas que cocinan. Saber de donde vienen los cortes es útil.
Estoy pensando que diferenciar los tipos de carnes es una sofisticación humana de la muerte que el animal en su piedad no tiene.
Pero bueno, una buena carne asada, a la cacerola o como sea que se tenga arte en hacerla, con arte, es irresistible.
This is going to like people who cook. To know where the cuts are helpful.
I'm thinking that differentiate the types of meats is a human sophistication of death That the animal in his mercy don't has.
Anyway, a good roast, in a pan or whatever you takes to make art, in art, is irresistible.
The genus Coprinus (clic here Wiki) is a small genus of mushrooms consisting of Coprinus comatus (the shaggy mane) and several of its close relatives. Until 2001, Coprinus was a large genus consisting of all agaric species in which the lamellae autodigested to release their spores. (The black ink-like liquid this would create gave these species their common name "inky cap".) Molecular phylogenetic investigation found that Coprinus comatus was only a distant relative of the other members of Coprinus, and was closer to genera in the Agaricaceae. Since Coprinus comatus is the type species of Coprinus, only that species and its close relatives C. sterquilinus and C. spadiceisporus retained the name of the genus.
The majority of species of Coprinus were therefore reclassified into the genera Coprinellus, Coprinopsis, and Parasola. Coprinus and these segregate genera are now referred to collectively as coprinoid fungi.
Coprinus means living on dung.
El género Coprinus agrupa a hongos Agaricales que forman setas con lamelas que se autodigieren como método para dispersar las basidiosporas. Si bien en clasificaciones antiguas poseía multitud de especies, el análisis filogenético condujo a la separación de la especie C. comatus, de hecho la especie tipo, de las otras especies del género: tanto fue así, que algunas de éstas fueron reclasificadas en otros taxones; no obstante, C. sterquilinus y C. spadiceisporus permanecen en él. El resto de las especies, por tanto, fueron trasladadas a los géneros Coprinellus, Coprinopsis, y Parasola; a los representantes de estos tres taxones y a Coprinus se les denomina comúnmente «hongos coprinoides».
Agrego, son Coprinus por Copro: estiércol.