lunes, 19 de octubre de 2009
Music: Marcus Miller Master of All Trades - Teen Town and Bass Solo
He is in other planet of the musicÉl está en otro planeta de la música
Music: Marcus Miller - Moonlight Sonata (Live)
The feeling of Markus is wonderful
El sentir de Markus es maravilloso.
Sculpture: Baga. Africa, Escultura: Baga. Africa
Serpent Headdress (clic here Met Museum), 19th–20th centuryBaga peoples; Guinea
Wood, paint
H. 54 1/2 in. (138.4 cm)
The Michael C. Rockefeller Memorial Collection, Purchase, Nelson A. Rockefeller Gift, 1964 (1978.412.339)
The spiritual force represented by this headdress, known as a-Mantsho-na-Tshol, or roughly "master of medicine," reigns supreme in Baga society. The primary physical manifestation of a-Mantsho-na-Tshol is as this brilliantly colored, larger-than-life aquatic serpent resembling a boa constrictor. The sinuous curves and undulating contours of the elegant sculptural representation evoke the power, elusive grace, and flexibility of this Baga spiritual entity. From base to summit, the broad vertical column rises, bends to one side, rises at an angle, and ascends again, culminating in a bold head, which features two round eyes. A chain of lozenges is incised and enhanced with applied color up the length, the interstices in red and white pigments. The early Sudanic heritage of the Baga is evident in the geometric forms, pierced and linear decoration, horizontal orientation, and brilliantly colored surfaces of this and many of other Baga art forms.
Among the Baga, a-Mantsho-na-Tshol's form is considered mutable; he may materialize as a being with human attributes, or as a rainbow that "after having drunk, comes out again at the river sources." The Baga consider the rainbow both the source of rivers and the end of rains. The appearance of a-Mantsho-na-Tshol at initiations was thus consistent with these associations with beginnings and conclusions, life and death, and, by extension, the perpetuation of lineages. The headdresses also appear to have served as emblems of a clan's identity and power, and were used in competitions between families. The headdresses could also be danced at any time to enliven the community. Despite their seemingly unwieldy size, these sculptural forms are manipulated during performances with astonishing dexterity and dynamism. In performance, the massive wood sculptural element would be set vertically on top of a conical framework of palm branches, which was covered with a palm fiber costume that fell to the ground. The ensemble was then placed over the dancer's head. Brilliantly colored textiles were wrapped directly below the base; and at the summit, feathers and cloth streamers flew in the air as the dancer moved. The performers, all strong young men, would take turns dancing to demonstrate varied styles and approaches to the choreography.
Among the Baga, public accessibility to the instruments of spiritual power like this mask was relatively restricted. They were linked with male esoteric knowledge, and their control lay in the hands of leaders of secret associations and family lineages. Following Guinea's independence from France in 1958, the continuity of regional artistic practices within the new nationally defined boundaries was radically disrupted, and masquerade traditions like a-Mantsho-na-Tshol were discouraged and gradually abandoned. During the 1990s, the Baga experienced a popular revival of earlier art forms, including a-Mantsho-na-Tshol.
Although this artwork appears on the 20th-century segment of the Timeline, it is ascribed a date of 19th–20th century.
Music: Sun Ra. Calling planet earth
This guy is one of the genius of the music of the twentieth centuryEste tipo es uno de los genios de la música del siglo XX
Painter: García y Rodriguez Manuel
A Street Scene with a Mosque, Tangier
Feeding Poultry in a Courtyard
Figures in a Spanish Courtyard
Mother and Daughter Sewing on a Patio
On The Edge Of The Town
Painter: Provost Jan (1465-1529)
Abraham, Sarah, and the Angel
Crucifixion 1
Crucifixion 2
Death and the MiserJan Provoost, or Jan Provost (clic here Wiki) (1462/5, Mons–January 1529, Bruges) was a Flemish painter. He was one of the most famous Netherlandish painters of his generation, a prolific master who left his early workshop in Valenciennes to run two workshops, one in Bruges, where he was made a burgher in 1494, the other simultaneously in Antwerp, which was the economic center of the Low Countries. Provoost was also a cartographer engineer and architect. He met Albrecht Dürer in Antwerp in 1520, and a Dürer portrait drawing at the National Gallery, London, is conjectured to be of Provoost. He married the widow of the miniaturist and painter Simon Marmion, after whose death he inherited the considerable Marmion estate.
The styles of Gerard David and Hans Memling can be detected in Provoost's religious paintings. The Last Judgement painted for the Bruges town hall in 1525 is the only painting for which documentary evidence identifies Provoost. Surprising discoveries can still be made: in 1971 an unknown and anonymous panoramic Crucifixion from the village church at Koolkerke was identified as Provoost's. It is on permanent loan to the Groeninge Museum, Bruges, which has several works of Provoost: a retrospective exhibition is scheduled for 2008–9.
Donor with St Nicholas and his Wife with St GodelinaJan Provoost, o Jan Provost (clic aquí Wiki) (Mons, 1465 – Brujas, 1529) fue un pintor flamenco.
Fue uno de los más famosos pintores de su generación. Conoció a Durero en Amberes, en 1520. Hay una efigie de este último en la National Gallery de Londres que se cree pintada por Provost. Las pinturas religiosas de Provost acusan la influencia tanto de Gérard David como de Hans Memling.